How does Liliana Porter use objects as playful characters in her prints? How can we create scenes using our own special objects and tell stories about them?
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.
The RISD Museum is proud to participate in this non-partisan initiative of the American Institute of Graphic Arts (AIGA), which uses design to encourage civic engagement.
A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.
Juxtaposing Iké Udé’s photography with Sun Ra’s notions of "mythocracy" and Black Utopia, Ann-Maree Quaynor seeks to reclaim Black Dignity and Existence.
RISD student Tito Crichton-Stuart analyzes Robert Mapplethorpe’s exoticisation of the black body and proposes potential acquisitions that could serve as counterpoints in the collection
In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
How do we describe images and the experience of looking at images? Student Grace Xiao reflects on the process of writing alt text for "Variance: Making, Unmaking, and Remaking Disability."
Curatorial intern Grace Xiao reflects on viewing artwork that embraces instability, disruption, and restlessness, making room for open interpretations in the gallery.
Students in Mariela Yeregui's Decolonial E-Textiles class create radical, critical, situated, and anticolonial projects that combine textile techniques with simple and low-tech electronic mechanisms.
The Back Side Story is a textile book/zine that, with cute and brightly-colored patchwork and embroidery, documents the civilians daily life, sufferings, and resilience under the Chinese government
Safely stored away during gallery renovations, all 196 pieces of RISD's Gilded Frost and Jet Chandelier by Dale Chihuly have been expertly reinstalled.
