A summer intern explores the context of ceremonial objects significant to RISD’s past and present.

How does a landscape painting made in 1828 by English-American artist Thomas Cole both reinforce and intervene in settler-colonial ideas about the environment and Native American people?

Students in Jane'a Johnson's wintersession course explore works in the collection related to Pan-Africanism through Instagram-based creative projects.

Using a questionnaire, curator Peter Selz—and the artists he queried—helped define a movement.

A glimpse into the lives of international merchants in Canton, China.

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 intern describes her experience delving into the RISD Museum's databases, searching for human elements

Anya Ventura visits the studio of Rhode Island stone carver Tracy Mahaffey.

Pixilation Party!, or how, with the help of dozens of RISD Museum visitors, Providence artist Xander Marro recently created one minute of black and white magic.

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

Eastman Johnson was raised in Maine in a family of eight children, and

Plowing on Sunday, from about 1934

Reginald Marsh, the son of American artists Fred Dana Marsh and Alice R

Over the course of his artistic life, Marsden Hartley sought unmediated

Artist Nafis White on her project Raid the Database 2

Unfinished paintings by Eastman Johnson, John Singer Sargent and Mary Cassatt reveal new techniques that emerged in France in the second half of the 19th century.