A student dismantles the outdated terminology and practice of “master copies” by constructing a series of copies that works to bolster underrepresented artists and subvert the pervasive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.
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."
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.
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.
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.
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.
Embroidery samplers are inextricably linked to an image of colonial America: farmhouses waved sheets of linen like flags of surrender, with fields of flax extending beyond, as far as the eye could
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?
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.
