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


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

La Bolita

Elaine Lopez, (MFA GD 2019)

La Bolita (Spanish for “little ball”), was a type of lottery popular in the late 19th and early 20th centuries in Cuba and among Florida’s working-class Hispanic, Italian, and black population.



As in Chinese numerology, Cubans assign a meaning to each number to help translate their dreams and daily events into the numbers to play in the lottery. For example, 1 = horse. If you see a horse today, you should play the number 1 in the lottery.



This is my grandmother’s notebook. She used to sit by the TV every night and write down the lottery numbers.



What if you could become rich by acquiring not lottery winnings but knowledge about Cuba? Introducing Bolita! An interactive publishing game where the numbers you pick determine which page you get in a booklet of Cuban history. Pick a number, grab the corresponding signature, and read the research about the topic I have curated for you.



Each page tells a fragment of Cuban history, representing how we learn about cultures—through random bits and pieces of information.



Learn about Ernest Hemingway’s cats!



Or how the CIA tried assassinating Fidel Castro with an exploding seashell.



My research also led me to discover Cuban artist Ana Mendieta. She too was using her art to connect to her ancestors and the world around her.




Elaine Lopez explores in her work her Cuban heritage, social equity and inclusion, and how to make graphic design more humane.