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 ︎



Pandemic Publishing ︎

  1. Call for Submissions, SOS Edition
  2. 3.29.20 Irina V. Wang
  3. Let Yourself Be Lifted Jackie Scott
  4. Art Is Everything Jen Liese
  5. Two Poems Ella Rosenblatt
  6. Living Room Dance Party Ariel Wills
  7. On Walking When Walking Is Advised Against Keavy Handley-Byrne
  8. Untitled Cita Devlin
  9. Ads in Corona Hannah Oatman
  10. COVID-19 and Communitas Elaine Lopez
  11. A Time for Pie Elizabeth Burmann
  12. How to Stay Motivated When You’re Stuck at Home Clarisse Angkasa
  13. Coerced Harmony (A Tour) Hammad Abid
  14. Zooming In and Out Tongji Philip Qian
  15. [Form] Ciara Carlyle
  16. Hi.txt Dan Luo
  17. A poem about boredom, a composite Maixx Culver-Hagins
  18. Eyewitness News Tristram Lansdowne
  19. Distance Maps Marcus Peabody
  20. Therapeutic Suggestion Maria Aliberti Lubertazzi
  21. Keep Your Heart Six Feet Away From Mine (and other moments) Arielle Eisen
  22. Twenty Instructions for COVID-19 Charlott Isobel Dazan
  23. Cuerno 1 y 2 Yan Diego Estrella Wilson
  24. A Monolith of Grief Regarding the Absence of Touches, or Letter to a Future Lover García Sinclair
  25. Coronavirus by the Thousands Drew Dodge
  26. Two Poems Kathryn Li
  27. Beds Are Burning Aleks Dawson
  28. Still Lifes Yidan Wang
  29. Fragments of Seva Jagdeep Raina
  30. Packing Up and Staying Woojin Kim
  31. Chronic Pain and Fermentation Ralph Davis
  32. Quarantine Letters Hannah Moore
  33. Sounds of Silence: An Isolation Soundscape Dara Benno
  34. 14 Day Detox for Designers Erica Silver


Winter 2020

  1. From the Editors
  2. The Phantom Audience, or How to “Really Do It” Asher White
  3. Some Dry Season(ing) / 5 Tales in an Embryo Room Yuqing Liu
  4. Throwing Salt, Constructing the Homeland Ariel Wills
  5. Infinity Balloon Man Jack Zhou
  6. Texas Triptych Ali Dipp
  7. Phenomenology of Bones Chris Shen
  8. Erlking Yiqun Zhou
  9. Trouble in Reality Elena Foraker
  10. Family Stories Gina Vestuti
  11. Treasure Reilly Blum



Fall 2019
     
  1. From the Editors
  2. Architecture and Its Ghosts Xuan Liu
  3. Fit/O!de Jeff Katz
  4. Desde La Chinaca y La China Poblana Ariel Wills
  5. Ballast Tiger Dingsun
  6. Love Letters Brenda Rodriguez
  7. The Anxieties of Plant-sitting Carol Demick
  8. Zadie & Teju Ariel Wills
  9. Smooth Stones Ali Dipp 
  10. Kantha’s Melodies Michelle Dixon
  11. Glory West Megan Solis
  12. The 50 Best Albums of the 2010s Asher White



Spring 2019

  1. From the Editors
  2. A Room without a View: Reflections on Studio Practice from a Privileged Poor Chantal Feitosa
  3. Between the Battlements Jeremy Wolin

  4. Accessing Color: Dissecting the Harvard Art Museum’s Forbes Pigment Collection Makoto Kumasaka
  5. British Club Tattoos Nasser Alzayani
  6. Making Space: Creativity and Resilience in War-Time Sri Lanka Elizabeth Dean Hermann
  7. How to Become Trans: A Proposal for the Modern-Day Gender-Agnostic Asher White
  8. Making It Up: A Conversation with Kent Kleinman Wen Zhuang
  9. “In Peace”: A Conversation with Matthew Shenoda Mays Albaik
  10. Suburbia_hours.mov Nora Mayer
  11. Negative Spaces Emily Wright
  12. Centerfold: Urgency Lab
  13. Rise Up: The Sunrise Movement Takes Root in Rhode Island Irina V. Wang
  14. After Strand Nafis White and García Sinclair
  15. Soldiers of Love? Karen Schiff
  16. Decoding Ghosts Molly Hastings
  17. An Annotated Bibliography Eli Backer
  18. Jesus, Marilyn, and Britney: Relationships between Religion and Celebrity Culture Nina Yuchi
  19. The Social (Antique) Network: Empathy in the Age of Digital Antiquing Zola Anderson
  20. My Little Episodes Michael Brandes
  21. Seeking Fair Game on Hidden Fields Reilly Blum
  22. The Should Be Here Is Not Here Joss Liao
  23. Index of Agency Sophie Chien
  24. Don’t Eat the Models Barbara Stehle
  25. Hypothetical Drink Personality Test: Who Said What, and When? Eliza Chen
  26. Dear Arabic Mohammed Nassem



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

Between the Battlements

Jeremy Wolin (BIA 2019)

William Simmons, Fortress. All photographs by the author, unless otherwise noted.

Stefan Sehringer, Failed Building (detail).

The sky is vividly blue, the air is crisp. High stone walls sink into the ground, capped by rows of scraggly bushes. Fort Adams, state park, monumental fortress, is eerily silent. At other times of the year, these fields fill with swelling crowds that encamp in front of a bandstand facing the bay, folk music drifting over the fortifications and seeping into the cracks in the stones. But today, in the dead of winter, a few staff members, artists, and I are alone with the imposing edifice.

Fort Adams is a former coastal fortification constructed first in 1799 and expanded between 1824 and 1857, as a young nation focused on its coastal defenses following the War of 1812. The structure is remarkably complex, with sharply angled outer walls that chop up the landscape into a maze of winding corridors, ensuring the confusion and defeat of any approaching force entangled in its web. Despite the strength of these defenses, Fort Adams has never seen combat. The fort weathered the Mexican-American War, Civil War, and both World Wars out of the line of fire, and was transferred from the Army to the Navy, then to the State of Rhode Island in the mid-20th century. In the first two decades of this new ownership, the fort fell into neglect, abused by both the elements and human forces.

The last few decades have seen renewed interest in the fort’s preservation, with the introduction of the Newport Jazz and Folk Festivals into its fields each summer and the establishment of the Fort Adams Trust, a non-profit dedicated to the preservation and promotion of the site.

It is at this point that the fort entered the frame of vision of twelve graduate and undergraduate students from RISD, participants in a studio led by Mary Anne Friel of Textiles and Chris Sancomb of Sculpture. Friel and Sancomb brought students to the fort first in fall 2016, and an Interior Architecture studio used the fort as a studio site in spring 2015. Each student in this past fall’s course faced the task of exploring a structure out of touch with the present moment, overly violent in a time of peace, and battered by decades of use and misuse, and each reinterpreted this landscape through pointed, contextual intervention. The summation of their work, Redefining Monuments, chips away at the edifice, exploring the beauty and terror in its cracks.

William Simmons (MFA CR 2019) and Stefan Sehringer (BFA TX 2019) took to the westernmost points of the fortifications with tower-like installations that bridge the upper reaches of the walls with the sky overhead. Simmons’s work, Fortress, reinterprets the fort’s solidity as an open structure formed out of terracotta elements which, when strung together, appear lacelike. Sehringer’s work, Failed Building, points to more recent events, when in the course of a period of unlawful inhabitation of the fort, fires consumed several structures. Stretching a trompe l’oeil textile printed to mimic charred wood over the remains of the watchtower, Sehringer celebrates this layering of uses, pointing to the fort as refuge and the remnants of this time as critical to its narrative.


Chia Chi Wu, Tension.


Joyce Kutty, Time Lost.

Others found critical fodder in the fort’s twisting bowels. Chia Chi Wu (MFA CR 2019) exposed the potential danger lurking in even the most sheltered spaces, stringing thin bullets from a window set in the side of a tunnel’s end to the opposite wall. Cut from reflective plexiglass, they illuminate the space with faint glints of light both stunning and sinister. Across the fort, Joyce Kutty (MDes IA 2019) takes a more contemplative approach, inserting into the cell-like back rooms of the Trust’s gallery a rumination on incarceration that mixes past and present references to draw larger connections between imprisonment in the fort and the contemporary prison-industrial complex.

Moderating between the fort’s hyper-local context and larger social themes reappeared in the structural installations of Jennifer Thorton (BFA TX 2019), Eunhyung Chung (MFA SC 2020), and Wesley Sanders (MDes IA 2019). Sanders’s installation, Rungs of Freedom, presented an exhaustive list of the history of U.S. military interventions overseas. Inscribed on a series of interconnected, charred wooden ladders, the list starts at ground level and seems to launch upward and out of the fort, inevitably falling short, unable to surpass the battlements. Meanwhile, Thorton and Chung’s textile installation, High Tide, spoke to the site’s greater weakness. Stretching a gauzy, billowing expanse of translucent blue fabric over one edge of the central grounds, Thorton and Chung contextualized this sea-level heritage site within the encroaching danger of rising tides.



Jennifer Thornton and Eunhyung Chung, High Tide.


Wesley Sanders, Rungs of Freedom.

Ida’s Dream, an installation by Smriti Kapoor (MA IA 2019), sought to recognize the life of Ida Lewis, the keeper of the nearby Lime Rock Lighthouse, in a time when a woman doing this work was highly notable. Kapoor monumentalized Lewis not through figuration or other traditional methods, but rather by placing a solid bed frame and dip-dyed textiles within one of the fort’s larger rooms. The furniture lends the piece an ambiguity critical to not only memorializing Lewis but allowing the viewer to project other women and misremembered actors onto the work.

A bit over one hundred miles down the East Coast, Robbins Reef Lighthouse keeper Katharine Walker was recently named one of the five women whom the city of New York will monumentalize in the coming years, one outcome of last summer’s She Built NYC initiative. Critics of the announcement, including several of the historians who guided She Built NYC, saw the decision as a misstep—a repetition of the historical mistake of erecting monuments in mythologizing the lone hero, a masculine historical trope.


Smriti Kapoor, Ida’s Dream. Photograph by William Simmons

Ida’s Dream, and the works in Redefining Monuments as a whole, sidestepped this pitfall of monuments and monumental critique. Starting at the level of localized research, close looking, and deep material understanding, these works, strung together, launched out from the fort to take on larger themes of history, violence, and the natural world. They took a markedly local approach to the question of the contemporary treatment of monuments through eleven highly specific takes on a single monumental structure. The works chose nuance over definitive statements, explored hidden crevices as much as the fort’s most prominent points, and opted for slow approaches to unpeeling the multiple layers of history built into the site. As a group, they were quiet, contemplative, and often surprising. And yet, even perhaps accidentally, they broached the larger cultural conversation.

Redefining Monuments came down at the end of last semester, a fleeting moment in the life of Fort Adams, but a vibrant layer of interpretation vital to rebuilding connections between the monuments of past generations and memory in the present day.


Jeremy Lee Wolin will miss his fellow artists the most.