A student in a RISD course on pan-African aesthetics, inspired by a photograph in the collection, explores Black youth occupying space in movements from La Sape to Noirwave.
Digital Initiatives intern Ariel Hirschhorn explores the “Maker” field in the museum’s database to examine the collection from a programmer’s perspective
Artist and student Jade Cannata creates a chart describing the racial demographics of three all-inclusive resorts in locations with strong historical connections to colonialism, showing the effects of history on the present
In 1971, a group of radical students in Providence produced stirring silkscreen posters. Their images contributed to the vibrant visual culture of antiwar protest.
Luca Cambiaso used iron gall ink and a quill pen to create this drawing in about 1570. RISD professor Andrew Raftery walks us through the making of iron gall ink and a quill pen, and explains how he copied Cambiaso's drawing.
The Museum recently acquired *Huevos de Los Angeles*, a collaborative work by two RISD alumni, Adam Silverman and David Wiseman. Here the artists describe how they created "eggs" to rival the most coveted variety.
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.
The RISD Museum continues to build a robust collaboration with Brown University's Alpert Medical School, providing professional-development opportunities for premedical students, medical students, residents, and practicing attending physicians.
In the fall of 2014, RISD art history students curated an exhibition comparing Tokaido Road views by artist Utagawa Hiroshige (1797–1858). That exhibition is now on view in the Museum.
Designing furniture for the installation "School House Long House" in the exhibition "Locally Made", designer Simcha Davis looked to Shaker craftsmanship to match the spirit of the space. Download her design.
Arlene Shechet discusses the production of works for and the installation design of Arlene Shechet: Meissen Recast with the exhibition's curator, Judith Tannenbaum.
Many museums today struggle with confronting their problematic legacies and transforming their current practices to become the diverse, inclusive institutions they aspire to be.
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.