“The earliest known use of the expression ‘give and take’ can be traced to horse racing. It referred to races in which larger, stronger horses carried more weight, and smaller ones, less. Implied therein is an accounting for relative capacities. In such a race, the goal remains the same—crossing the finish line first—but introducing this variable highlights the relationship between the competing horses. A win is only meaningful if each horse can be considered in relation to the others.
“We… find ourselves in a historical moment that makes our interconnectedness both more visible and more complex. Boundaries—physical, geographical, ideological—have become more porous, and the institutions that have provided structure—while always deeply flawed—have shown themselves to be more vulnerable than some of us would have liked to believe. Old systems are breaking down, giving way. New ones will take hold.”
—Mary-Kim Arnold, from the introduction to Issue 8: Give and Take
From the Files: art historian Josie Johnson charts the roles taken—and given—over the last six centuries by a wooden Madonna and Child.
Double Takes: curatorial assistant Emily Banas and RISD professor John Dunnigan unlock an early 19th century French drop-front secretary; curator Dominic Molon and graphic designer Kelly Walters analyze Living: Affluent college-bound students… by Jenny Holzer.
Object Lessons: art historian Ugochukwu-Smooth C. Nzewi centers the bronze head of a king within the context of Benin visual history; anthropologists Robert W. Preucel and Alexandra M. Peck consider the history and meaning suspended in a Tlingit Thunderbird and Whale frontlet; scholar Claudia Ford accounts for the reciprocal exchange between hunting, Japanese printmaking, and Inuit artists; curator Kate Irvin untangles the intersecting threads of a Scottish Paisley shawl.
Portfolio: lively banter between unlikely couples.
How To: textile conservator Jessica Urich repairs an ethereal 19th century dress.
Artists on Art: a visual essay from Pia Camil; Wendy Red Star annotates photographs of the Diplomats of the Crow Nation.
Subscribe to Manual or purchase back issues by visiting risdmuseum.org/subscribe.
Manual: a journal about art and its making, a twice-yearly publication, uses the collections, exhibitions, and collaborations of the RISD Museum as an impetus for essays and interviews, artist interventions, and archive highlights. A fusion of academic arts journal and design magazine, Manual is a resource for engaged conversations about art, design, and the impact of creative making by curators, artists, scholars, and educators.
Issue 8: Give and Take is supported in part by a grant from the Rhode Island State Council on the Arts, through an appropriation by the Rhode Island General Assembly and a grant from the National Endowment for the Arts. Additional generous support is provided by the RISD Museum Associates and Sotheby’s.
RISD Museum Director: John W. Smith
Manual Editor-in-Chief: Sarah Ganz Blythe
Editor: Amy Pickworth
Graphic Designer: Derek Schusterbauer
Photographer: Erik Gould
ISSN 2329-9193
About the RISD Museum
Southeastern New England’s only comprehensive art museum, the Museum of Art Rhode Island School of Design—also known as the RISD Museum—was established in 1877. Its collection of nearly 100,000 objects includes paintings, sculpture, decorative arts, costume, furniture, and other works of art and design from all over the world, from ancient times to the latest in contemporary art.
