Curatorial intern Sam Nehila uses collage to create abstracted forms and explore the trans experience of engaging with the museum’s collection of male nude bodies.

A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive presence of white males in the Western art canon.

The handmade object has a tendency to prompt memories from the craftsperson who made it. In this reflection on an embroidered purse from the 1970s, Ariel Wills and Kate Irvin are joined by maker Christina Bevilacqua for a dynamic conversation that demonstrates the narrative qualities embodied in material culture.

A student in a RISD course on pan-African aesthetics contemplates a vinyl record pictured in a Sanlé Sory photograph in the collection, and imagines the songs it contains.

A summer intern’s reinterpretation of a 1600s still life painting as lived ritual and faith in the present

Digital Initiatives intern Ariel Hirschhorn explores the “Maker” field in the museum’s database to examine the collection from a programmer’s perspective

A summer intern’s written and visual re-interpretation of the gender dynamics in "The Fallen Angel," a 1968 series of photographs by Duane Michal

RISD student Abena Gyampo traces the history of the hypersexualization of black bodies from the early 19th century to contemporary popular culture

In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.

Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.

A summer conservation intern’s investigation into the uses of infrared photography in recording Samoan siapo and the significance of new visual information gained.

A summer intern meditates on the medium of murals and how they appear on RISD’s walls, using Photoshop to understand what is lost when seeing incomplete works out of context.

The RISD Museum partners with the Studio Institute’s Arts Intern Providence Program to offer one part-time winter/spring internship pos

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

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 rare example of Gorham's "Mythologique" flatware service was purposefully left unfinished as they are samples, combining elaborate hand-worked detail with mechanized brute force.

In this series, RISD Museum curator Dominic Molon considers the importance and setting of the studio, and calls on Rhode Island artists.

Composer Shawn Greenlee's experimental sound work Substitutions is inspired by the Chinese lithophone in the RISD Museum's Asian art collection

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

In earlier decades, retouching (or “inpainting”) using reversible painting materials would have been employed where compositional elements were missing.

William Stanley Haseltine first studied painting in Philadelphia with t

Five works on paper in the RISD Museum’s collection follow the arc of C

Architects have been recognized as key figures in furniture design since the late 19th century, although they've certainly been designing furniture for far longer. But what compels them to do so?