During the Fall of 2015, Brown’s graduate students in the Department of the History of Art and Architecture undertook an investigation of the wood sculptures in the RISD Museum collections.

How a project designed to enhance pain management was born and made possible by the collaboration between RISD Museum and the Brown Emergency Medicine Residency.

Curatorial assistant of contemporary art A. Will Brown on "Raid the Database 2 with Nafis White"

Exploring the process and context behind "Cold Moon X", a work created by Jamestown artist Georgia Marsh.

Insights into Ingres's studio practice and clues to his intellectual process

Inventories have been occurring almost since the beginning of museum practice, but they have changed entirely from their original form.

A summer intern reflects on diversity in the museum's Western European galleries and suggesting curatorial strategies for greater visibility

A summer intern describes her experience delving into the RISD Museum's databases, searching for human elements

In the January 1920 Bulletin of the Rhode Island School of Design, RISD Museum director L.

An intern explores the history of works from the museum’s ancient collection, tracing the archaeological excavations that brought them to light and into the permanent collection.

A wooden “do not touch” partition usually separates the period room in Pendleton House from the public. But one Monday in June, that partition was removed, and museum staff peopled the room.

RISD Museum object photography generally follows typical museum practice: a straightforward approach to framing and lighting with great concern for color fidelity. For *Artist/Rebel/Dandy*, the curators suggested that we go in a different direction.

Exploring the process and context behind the series "Self Portrait as . . .", works created by Newport artist Sue McNally.

The discovery of these treasures resembles that of a valuable manuscript. They are a new “Codex Africanus,” not written on fragile papyrus, but in ivory and imperishable brass.

Inspired by the European galleries, graphic designer Kelly Walters explores 19th-century notions of exoticism and beauty through the creation of a folded broadsheet poster.

After a half-century's journey, Gorham's magnificent writing table and chair made for the 1904 St. Louis World's Fair returned home to Providence.

This article explores the concept of purity in criticisms of Inuit prints by briefly introducing the history of printmaking in Cape Dorset and looking at 1970s Western art historians' expectations of Inuit art.

Reginald Marsh, the son of American artists Fred Dana Marsh and Alice Randall Marsh, was born in Paris in 1898.

While the sixth-floor galleries are undergoing an extensive renovation, the Museum is carefully studying and conducting conservation work on the monumental 12th-century wooden Dainichi Nyorai Buddha. When the Buddha is returned to its gallery in late spring 2014, it will be stabilized and we'll know much more about the art that went into creating this nearly 10-foot-tall sculpture.

Understanding historic frames and how to care for them can be a complicated matter.

The man in this painting lived in the same era and region as some of colonists seen in this gallery.

The RISD Museum’s 2009 acquisition of the Richard Brown Baker collection included two drawings by the English artist Howard Selina—Cowboy Hat (1974) and Two Boots (1974)—carefully and precisely rendered drawings in graphite on paper of well-worn, utilitarian garments.