v.1 is RISD’s student–led publication. Its form and content change from year to year (it’s always “volume 1”).

Info & Submission Guidelines ︎


Fall 2018 
  1. From the Editors
  2. How to Make a Person: A Recipe Mays Albaik
  3. Providence Votes Marcus Peabody
  4. Encounters with the Codex: Redefining Forms of Publication June Yoon
  5. How to Encounter a Puddle Anny Li
  6. A Brief List of Premises from a Maker Stuck with Paper, Politics, and Performance Yasi Alipour
  7. Art Writing and the Place of the “I” Randy Kennedy
  8. Written in Stone: Lineage, Legacy, and Letterforms Irina V. Wang
  9. The Unbearable Whiteness of Being (a Graphic Designer) Tiger Dingsun
  10. Colliers/Necklaces Théïa Flynn
  11. When One Door Closes: Examining Issues of Space and Student Curation on Campus Wen Zhuang
  12. Addressing the Empty Plinth: Lessons from Gallery Shows and Public Art Jeremy Wolin
  13. Modern Usage: In Conversation with Remeike Forbes Eliza Chen and Tiger Dingsun
  14. Dangling Threads: Remaining Unclear in Capital Everett Epstein
  15. A Vagabond Viking Voyage and Midsummer Daydream Mike Fink
  16. Everything is Interdependent Angela Dufresne
  17. La Bolita Elaine Lopez
  18. Bread Day Olive B. Godlee
  19. Against the Archive Satpreet Kahlon


2017 - 2018 
  1. Birds, Bees, and Beyond: The Nature Lab Evolves
  2. Concrete Mixer Drum Solo
  3. Negative Spaces
  4. “Printer Prosthetics” at NYABF
  5. On Writing: Nader Tehrani and Katie Faulkner
  6. On Writing: Marie Law Adams and Dan Adams
  7. On Writing: Kunlé Adeyemi
  8. Connecting Food and Design
  9. Remixing Architectural Discourse
  10. Genesis : 1: Beret Shit
  11. “No voy a actuar en el mundo antes de entenderlo”: Una conversación con Alfredo Jaar
  12. “I Will Not Act in the World Before Understanding the World”: A Conversation with Alfredo Jaar
  13. Imagining Irmgard
  14. Afterwords: Bite
  15. Afterwords: Portals
  16. Afterwords: Calendar
  17. Seeking Drafts
Mark

Afterwords: Portals

Dylan Everett (MFA Photography 2019)

Part of my photographic practice consists of collecting, collaging, and re-contextualizing imagery from Google Earth. This allows me to collapse multiple locations and time periods into new abstract forms, upending the notion of rectangular photographs that represent single moments in space and time. I also use these collages to examine the tension between the landscape and the people who populate it.

At the end of last semester, I realized I had hit a wall with this work—I had grown bored of mining Google Earth for "issues" to comment on. During final critique, a classmate commented that he wasn't sure if he was looking "at the end of the old world or the start of a new one" in response to a collage I created about the edge of a nuclear crater. His comment sparked my new series of Portals. These collages explore the abstract notion of a new world—how might we enter it and what might it look like? I have begun crafting new landforms from existing mountains, canyons, and ravines pushed up against island waters, algae blooms, and barren deserts. They read as portals, mirrors, pools, geodes, and lakes. I’m excited by their endless possibilities.

Portal #1, 2018, collaged inkjet prints on Tyvek, 16 x 16 in.


Portal #9, 2018, collaged inkjet prints on Tyvek, 35 x 33 in.



Portal #6, 2018, collaged inkjet prints on Tyvek, 20 x 23 in.


Mark