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

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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

A Brief List of Premises from a Maker Stuck with Paper, Politics, and Performance

Yasi Alipour

Last summer, the New York–based magazine Triple Canopy held its annual Publication Intensive between two sites: New York and Providence. Twelve participants—a diverse group of artists, writers, graphic designers, coders, performers, and educators—took part in seminars, discussions, site visits, and workshops to mine the history of print and analyze “today’s networked forms of production and circulation.” June Yoon (MFA GD 19) and Maia Chao (MFA GL 17) gathered the writings of fellow participants into a booklet of “reflections on a collective experience.” v.1 chose this piece—developed following the author’s participation in Triple Canopy’s Publication Intensive 2018—to share. Thanks to the author and Triple Canopy for their permission to reprint.

There are days one has to walk and read. It is neither smart or safe, but sometimes the streets must fade into thoughts. Today, Etel Adnan’s Premonition went on, without a single pause.

“Quite often, deepest meaning of thoughts or words escape me, even while I’m using them. This is how the narrative of history is built, from little error to little error […] In the meantime, countries are being torn down, sinking into insanity. […] History. History is made of dreams that either come true or are thrown into the garbage. We are shadows over shadows. (We may think we are rooted.) […] Science must not replace pain, because when that kind of catastrophe happens, it has no mercy. […] When love is missing, there’s always madness to the rescue. When you run out of wine, there’s beer. That’s all. I do not think with words, but with small stones. And they stick to my throat. […] Just said over the radio: overpopulation is threatening humanity’s survival. We may then wish perpetual warfare in order to control the growth and reach what, the zero degree of security? Life and death are indifferent in their essence to our calculations. […] Always similar to itself is our life.”

The list is as follows:

1. Modernity and Imperialism came to us, simultaneously and all tangled up. Let’s date it early 19th century. Take it as a contradiction muddying all that preceded it and echoing in every moment that followed.

2. Human beings desperately think through binary logic—on the notion of truth and falsehood—and this has failed us. (Is this just who we are, rational beings, or are we educated to do so?)

3. Based on such languages of logic, our world is filled with paradoxes. If you allow a paradox, then everything can be concluded from it. It can’t all just be true. Russel should have found a better answer than demanding we further limit our language.

4. There is an infinity between 0 and 1. There is an unending universe of grays laughing at black and white. We continuously fail at thinking in spectrums. Anxiety is real.

5. My region has no name. Call it “Middle East,” “Middle East and North Africa,” “Middle East, South Asia, and North Africa.” Let it grow, it’s all attempts to define it in negative anyway. Consider “Us” as Iran, as Tehran, as north-Tehran, as Pasdaran Street, Kaveh Valley, or that staircase behind the mural of University of Tehran’s Art Department, where we learned to waste hours burning cigarettes that were legally banned for our gender.

6. Nation-State is the problem and it loves teaching history. I keep listening to our neighbors’ music. Lost in all the accents, languages, and rhythms, I make up fictions in my head where there is a place for cafes where we can chat about this unhinged region we inherited and now share.

7. A failed revolution doesn’t count. My “Green Revolution” loses meaning gradually as the Google Image search result becomes increasingly irrelevant. I no longer know what to call my memories of resistance.

8. It’s 2018: What is at stake is democracy itself. If democracy fails; if caught between Neo-liberalism and Populism, it’s failure was in fact long coming; if our story is no longer to be the tale of a civil society in defiance, then what is the point of anything?

I simply do not know who I am and what I am doing, if I am not a citizen within legal rights. Did that/Could that ever exist globally?

9. Each time I utter “Islamic Abstract Geometric Art,” I laugh inside. I have and do use the term often. In Farsi, I would just point at a ceiling. Or I just believe I could.

10. Self-exoticizing needs to become an official word in English because as your international student, I need to consider and discuss it.

11. There was once a mother and her daughters walking from home to school. While crossing “Palestine” street to enter “Revolution” street, the mother asks the children which path they should take. She is testing to see if they understand the “Hemar” Theory: the shortest path between any two points is the line connecting them. The answer is always to go straight. “Hemar” is the Arabic word for “Donkey,” supposedly even the animal understands this by instinct. The theory always makes the younger child laugh. “Hemar” is such an official way to say the naughty word, “Donkey.”

12. The mother is wearing a long black robe and a black scarf. Mandatory Hijab came randomly one day in the midst of the Revolution’s yelling matches. It was enforced by pure violence, a bitter lesson of dominance. This was before the kids were born. There would come a summer, when, so very slowly, all the women rebelled and dared to wear colors again. Tehran was suddenly bursting with colors and no one could stop it. You’re not getting it. You will never understand.

13. The Donkey Theory according to Google.

14. Fuck Uniforms.

15. Revolutions sometimes win; they become States, and then call everything in their way—from your unhappiness to the favorite rock band of your teen years—Counter-Revolutionary. Then one day, you find yourself in a conference room—the very same room where they give away the Pulitzer Prize—and listen with pride as Spivak and Balibar compete over Marx to debate on “Counter-Revolution.”

It takes you an hour, but you finally translate it to your mother tongue and burst into untimely laughter.

16. You repeat these stories on long tangents, hoping to find space to explain it all. Or you find a piece of paper to hold all the thoughts. Then you give it to the closest friend at hand.

17. I long for a dedicated Museum of Art for my nameless region, or maybe it’s just for me. I know all the ways these institutions are inherently problematic, but I can’t help it. I wish there would be a place where people gathered and wrote histories and books that I could send to you, expect you to read—get mad at you for ignoring—and then you would get it all. Or at least, you could then see our contemporary life as something other than odd.

18. The English language has lost all meaning and urgency.

19. Draw me the line where decades of the frustration of being silenced resulted to our deep fear of permitting silence.

20. I may be wrong.

21. May 12th was the deadline “by which President Trump is to decide whether to pull out of the Iran nuclear deal.” He announced it two days early. I stared at half of my computer screen as if my political future was a game of soccer, and on the other half, I gazed over my face, waiting politely for a Skype interview. These days, I hear in passing that the economy is crashing, Internet is blocked, life is on halt, and a nation holds its breath. I guess I’m in New York to ask you, Isn’t my life random?

Yasi Alipour is an artist, writer, educator, curator, and a politically concerned folder. Officially institutionalized by Columbia University (MFA 2018), based in Brooklyn, and simply Iranian, she currently marvels on “counter-history” as an oxymoron and the power of forgotten letters.