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.
Editor of publications Amy Pickworth, intern Joanna Cortez, and curatorial assistant of contemporary art A. Will Brown interview UuDam Tran Nguyen about his single channel video Waltz of The Machine Equestrians--The Machine Equestrians (2012).
In earlier decades, retouching (or “inpainting”) using reversible painting materials would have been employed where compositional elements were missing.
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.
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.
Albert Bierstadt was born in Solingen, Germany, but came to the United States with his family in 1832 and settled with them in New Bedford, Massachusetts.
Isabella McCormick (Brown/RISD 2015) explores the intricacies of the Gorham Narragansett Salad Set and their reflections on Rhode Island culture, insights gained from her meticulous cleaning of the utensils as part of her Mellon Summer Internship in conservation.
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.
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 1969, artist Andy Warhol was invited to curate an exhibition at the RISD Museum using works from the permanent collection that were not on view, but in storage.
A colossal Romanesque head in the RISD collection has yet to be securely identified, but the sheen of his nose suggests that it was rubbed by many penitent hands during the course of this sculpture’s life.
This late fifteenth-century Virgin and Child was created with subtlety, flexibility, and portability in mind. These features were central to its medieval use—and its use at the RISD Museum.
This seven-foot-tall Christ would have been suspended above an altar or screen, the juxtaposition of his damaged body and calm, downward gaze reminding those below him of both his humanity and his divinity.
