{"id":9559,"date":"2017-11-28T16:20:20","date_gmt":"2017-11-28T16:20:20","guid":{"rendered":"http:\/\/artjournalstg.wpenginepowered.com\/?p=9559"},"modified":"2020-07-28T20:43:24","modified_gmt":"2020-07-28T20:43:24","slug":"medias-res","status":"publish","type":"post","link":"http:\/\/artjournal.collegeart.org\/?p=9559","title":{"rendered":"<em>Medias Res<\/em>"},"content":{"rendered":"<p><script><br \/>\n            var showLightbox = function() {<br \/>\n                var e = document.getElementById('lightbox');<br \/>\n                e.style.display = 'block';<br \/>\n            }<br \/>\n            var hideLightbox = function() {<br \/>\n                var e = document.getElementById('lightbox');<br \/>\n                e.style.display = 'none';<br \/>\n            }<br \/>\n        <\/script><\/p>\n<style>\n<p>          .wrapper {<br \/>\n                 display: block;<br \/>\n                margin: auto 0;<br \/>\n                clear: both;<br \/>\n                width: 100%;<br \/>\n                height: 100%;<br \/>\n            }<\/p>\n<p>            .main {<br \/>\n                display: block;<br \/>\n                margin: auto 0;<br \/>\n                clear: both;<br \/>\n            }<br \/>\n           .small {<br \/>\n                   display: block;<br \/>\n                   margin: auto 0;<br \/>\n                   \/*position: relative;<br \/>\n                   left: 10px;*\/<br \/>\n                   cursor: pointer;<br \/>\n                    }<br \/>\n            .lightbox {<br \/>\n                display: none;<br \/>\n                width: 100%;<br \/>\n                height: 100%;<br \/>\n                position: fixed;<br \/>\n                left: 0px;<br \/>\n                top: 0px;<br \/>\n                bottom: 0px;<br \/>\n                right: 0px;<br \/>\n               \/*background: #000000;<br \/>\n               background: #CCD1D1;<br \/>\n               opacity: 0.5;*\/<br \/>\n                z-index: 10000;<\/p>\n<p>            }<\/p>\n<p>               img.bg <\/p>\n<p>@media screen and (max-width: 1500px) {<br \/>\n  img.bg {<br \/>\n    position: fixed;<br \/>\n  }<br \/>\n}<\/p>\n<\/style>\n<div class=\"wrapper\">In Karl Popper\u2019s influential book on the philosophy of science, <em>The Logic of Scientific Discovery<\/em>, translated from the German in 1959, Popper introduced the controversial idea that a theory in the empirical sciences can never actually be proven, but only falsified or contradicted by another theory. Thus what what he termed \u201cfalsifiability\u201d would become the overarching characteristic of the empirical sciences. Moreover, Popper outlined how the sciences themselves \u201care systems of theories\u201d poignantly suggesting that these \u201ctheories are nets cast to catch what we call \u2018the world\u2019: to rationalize, to explain, and to master it. We endeavor to make the mesh ever finer and finer.\u201d<sup class='footnote'><a href='#fn-9559-1' id='fnref-9559-1' onclick='return fdfootnote_show(9559)'>1<\/a><\/sup> In many ways, Los Angeles\u2013based artist Nick Herman\u2019s contributions to Art Journal Open reflect Popper\u2019s systems logic. Rather than presenting the truth of an image, or the essence of a medium, Herman\u2019s ongoing systemic investigations using photography, writing, publishing, printing, and other methods of knowledge transfer can be thought of as falsifying certain conventions often used to frame the understanding and reception of images. In his earlier contribution, for example, a video entitled <a href=\"http:\/\/artjournal.collegeart.org\/?p=8028\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Edges of Action<\/em><\/a> (2016), Herman narrated and illustrated a series of experiments conducted in his studio to test how various wet processes such as chemical photography relate to disparate reproductive methods ranging from traditional lacquer to xerography and how these seemingly unrelated and outmoded formats intersect with the history of televisual broadcasting more generally to shed light on the structure of <a href=\"http:\/\/artjournal.collegeart.org\/?p=8054\" target=\"_blank\" rel=\"noopener noreferrer\">communication and mediation.<\/a><\/p>\n<p>Herman\u2019s talent for intertwining seemingly incongruous forms and his longstanding investigations into what he calls the \u201clanguage of reproduction\u201d is on full display in his artist book, <a href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/WESTERN-STYLE.FINAL_.AJO-spreads.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Western Style<\/em><\/a> which draws from methods in art, science, advertising, philosophy, and gender studies to argue in text and image for the role of color in the ascent of both Judeo-Christian theology and capitalism. In particular, Herman uses the fetish of color\u2014 continually redefined through printing technologies\u2014to connect the history of CYMK color separation processes and later RGB to what he identifies as a \u201cspectral lust for cosmic origin.\u201d \u201cAnd this lust, far from receding in our increasingly secular and virtual world,\u201d writes Herman \u201chas morphed to become the central focus of our lives, a new hyper cult that worships the shifting gradients as readily as our ancestors pondered the moon and stars.\u201d <sup class='footnote'><a href='#fn-9559-2' id='fnref-9559-2' onclick='return fdfootnote_show(9559)'>2<\/a><\/sup><\/p>\n<figure id=\"attachment_9568\" aria-describedby=\"caption-attachment-9568\" style=\"width: 460px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/11\/NH_replacement-image.jpg\" rel=\"attachment wp-att-9568\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-9568\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/11\/NH_replacement-image-460x500.jpg\" alt=\"Nick Herman, Ecstasies (Bird Dance), 2013, Inkjet prints mounted on fabric, 50 x 57 x 5 in. (127 x 144 x 12.7 cm) (artwork \u00a9 Nick Herman) The images in this series have been appropriated from blogs documenting indigenous\/tribal dances and other rituals performed for international tourists; printed and erased multiple times and tiled to create larger composite image.\" width=\"460\" height=\"500\" srcset=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/11\/NH_replacement-image-460x500.jpg 460w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/11\/NH_replacement-image-184x200.jpg 184w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/11\/NH_replacement-image-210x228.jpg 210w, http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/11\/NH_replacement-image.jpg 800w\" sizes=\"auto, (max-width: 460px) 100vw, 460px\" \/><\/a><figcaption id=\"caption-attachment-9568\" class=\"wp-caption-text\"><strong>Nick Herman, <em>Ecstasies (Bird Dance)<\/em>, 2013,<\/strong> Inkjet prints mounted on fabric, 50 x 57 x 5 in. (127 x 144 x 12.7 cm) (artwork \u00a9 Nick Herman) The images in this series have been appropriated from blogs documenting indigenous\/tribal dances and other rituals performed for international tourists; printed and erased multiple times and tiled to create larger composite image.<\/figcaption><\/figure>\n<p>Herman\u2019s second series of works presented on Art Journal Open expands on his interest in the structure and science of visual narrative by again collapsing methods of reproduction, editing, and layering to underscore questions of legibility and the medium\u2019s role in mirroring the viewer. These ideas, explored in series such as <a href=\"http:\/\/nickherman.net\/index.php?\/on-paper\/phantasms\/\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Phantasms<\/em><\/a> (2008\u20132012) and <a href=\"http:\/\/nickherman.net\/index.php?\/on-paper\/ecstacies\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Ecstasies<\/em><\/a> (2010\u20132015) (above) highlight the material frailty and subjective qualities of seemingly standardized machines and processes such as ink jet printers and laser printing. This interest in the technical method of framing an idea can be compared to organizational markers endemic to books such as chapter headings or titles. In Herman\u2019s estimation printing then becomes inherently linked to notions of circulation and ultimately with the broader theme of frame rate as a narrative tool. In Herman\u2019s artworks, these modes or methods of conveying information are directly connected to the body and perceptual experience. Both the technical and perceptual effects of GIFs (graphics interchange format) so familiar to contemporary audiences, for example, become the focus of attention within Herman\u2019s most recent project for Art Journal Open, which points to the ways that GIFs are constructed using multiple layers, similar to early frame animation. For Herman, the GIF has become a ubiquitous and highly charged digital mirror reflecting a seemingly endless reedit or restaging of the viewer vis-a-vis its cultural subjects. Herman\u2019s project is to suggest that what connects the hypnotic staccato of a GIF to earlier photography and even lacquer is its underlying structure consisting of layers, and the way these myriad parts remains forever unstable and \u201cin development.\u201d Herman has used Art Journal Open to exploit the basic encoded hyperlink of the blog format function to allow one project to slip into another. In this way, the original promise of publishing and distribution as constituting a network is seen repeated in the logic of the internet as visualized in photo-collage and bookmaking. Herman seems to enjoy the play intrinsic to this open process, as suggested by the promise of a shared \u201cdownload\u201d consisting of a hidden frame from the preceding GIF\u2014itself easily downloadable as separate images. In this way, the instability of both the image and its proper order in a digital narrative is brought to the forefront, made plain by Herman\u2019s sly use of the CCTV flickering intermittently in the background, as if to confirm the closed circuit of production and reception.<\/p>\n<p>Ultimately, rather than using ink jet printers to make ersatz paintings or isolate technical glitches as abstractions, Herman\u2019s contribution to Art Journal Open can be read as a conceptual net subjecting forms of digital culture to closer and closer inspection, and in the process revealing new insights into conventions of authorship, mastery, and stability.<\/p>\n<p>\u2013Gloria Sutton, Former Web Editor<\/p>\n<hr>\n<p><center><strong><span style=\"font-size: 20px;\"><em>Medias Res<\/em><\/span><\/strong><\/center><\/p>\n<figure id=\"attachment_9433\" aria-describedby=\"caption-attachment-9433\" style=\"width: 1800px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/final-comm-full-screen.gif\" rel=\"attachment wp-att-9433\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-9433\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/final-comm-full-screen.gif\" alt=\"Nick Herman, Comm 1, 2017, GIF file (artwork \u00a9 Nick Herman)  \" width=\"1800\" height=\"988\"><\/a><figcaption id=\"caption-attachment-9433\" class=\"wp-caption-text\"><strong>Nick Herman, <em>Comm 1<\/em>, 2017,<\/strong> GIF file (artwork \u00a9 Nick Herman)<\/figcaption><\/figure>\n<p>My interest in television and radio static, and what is often understood as \u201cnoise,\u201d has inspired at least half a dozen unique but related publishing projects. I am particularly interested in rastering, a process by which images are scanned into discrete sections for purposes of transmission or storage. I talk about this at length in my video contribution to Art Journal Open from earlier this year, <a href=\"http:\/\/artjournal.collegeart.org\/?p=8028\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Edges of Action<\/em><\/a>. The term \u201craster\u201d comes from the Latin word for rake, which makes sense when you see the way I use cut and folded strips of paper and tiling to construct my images. What underlies my interest is the way the mechanisms and materials of transmission impact the communication itself. In this way, image making is akin to a scientific method, charting its manufacture. I am also deeply interested in process as a way of highlighting the innate meaning of a thing: for example how frame animation, like in the above GIF, reveals its constituent parts down to the most basic array of bits.<\/p>\n<p><center><strong><span style=\"font-size: 20px;\"><em>LOST ANGELES<\/em><\/span><\/strong><\/center><\/p>\n<figure id=\"attachment_9439\" aria-describedby=\"caption-attachment-9439\" style=\"width: 600px\" class=\"wp-caption aligncenter\"><a href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/Los-Angeles-GIF_AJO_FINAL_loop.gif\" rel=\"attachment wp-att-9439\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-9439\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/Los-Angeles-GIF_AJO_FINAL_loop.gif\" alt=\"Nick Herman, Lost Angeles, 2015,  artist book, silkscreen on paper and silkscreen tip-in prints folded and mounted on paper, coptic binding, 64 pages, 7.25  x 11 x 3 inches, ed. 2 (artwork \u00a9 Nick Herman)\" width=\"600\" height=\"400\"><\/a><figcaption id=\"caption-attachment-9439\" class=\"wp-caption-text\"><strong>Nick Herman, <em>Lost Angeles<\/em>, 2015, <\/strong> artist book, silkscreen on paper and silkscreen tip-in prints folded and mounted on paper, coptic binding, 64 pages, 7.25 x 11 x 3 inches, ed. 2 (artwork \u00a9 Nick Herman)<\/figcaption><\/figure>\n<p>This interest in the structure\/medium of communication is something I explored in my publication, <em>Lost Angeles<\/em> (2017). It consists of a simple narrative: the first image in the book depicts me with a small, portable TV walking around Los Angeles. I recorded the bad reception as I walked and then reprinted one second of that recording. The book ends with another image of me, this time close up, my face illuminated by the glow. The thirty individual images represent one second of television broadcast (one second is thirty frames), an organizing principle that I used previously in another book project <a href=\"http:\/\/www.nickherman.net\/index.php?\/files\/marfa-static\/\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Marfa Static<\/em> <\/a>(2013). In <em>Lost Angeles<\/em> each frame has been folded in what is known as a \u201cTurkish fold\u201d a pop-up fold often used for pocket maps. Using the portable TV as a recorder frames my thesis that the ubiquity of static represents a kind of collective body, surrounding us and linking people, but also vulnerable to interference. This metaphysic speaks directly to my idea that the body functions as an antenna.<\/p>\n<p><center><strong><span style=\"font-size: 20px;\"><em>Exstatica<\/em><\/span><\/strong><\/center><\/p>\n<p>My interest in antennas inspired another publishing project, <a href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/11\/Nick-Herman_Exstatica.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Exstatica<\/em> (2015)<\/a>, part of an ongoing series exploring the way technology and location frames connectivity. The essay <em>Exstatica<\/em> looks at how static, electromagnetic noise, signal interruption, and cosmic background radiation can all be seen as a social mirror reflecting class as well as the tension inherent in collective consciousness verses cultural homogenization. This raises analogous questions concerning the role and medium of contemporary ritual and the role of technology in the visualization and distribution of identity. While television antennas are found all over the world, today they are mostly outdated vestigial objects that do nothing but allude to a past era of broadcasting. In their mute sculptural remainder, I see something poetic and idealistic, but for those on the margins, an antenna still remains a lifeline. The images in <em>Exstatica<\/em> depict antennas in Mexico City, a place that has already switched to digital broadcasting.<\/p>\n<p><center><strong><span style=\"font-size: 20px;\"><em>Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)<\/em><\/span><\/strong><\/center><\/p>\n<div id=\"grid-gallery-12-31749\" data-gg-id=\"12\" data-title=\"Listening \/ Escuchando \" data-grid-type=\"0\" data-offset=\"10.3\" data-area-position=\"center\" data-icons=\"false\" data-preloader=\"true\" data-width=\"350\" data-height=\"234.5\" data-padding=\"0\" data-quicksand=\"disabled\" data-quicksand-duration=\"none\" data-popup-theme=\"theme_6\" data-popup-type=\"pretty-photo\" data-popup-image-text=\"data-description\" data-popup-widthsize=\"auto\" data-popup-heightsize=\"auto\" data-popup-i18n-words=\"{&quot;close&quot;:&quot;close&quot;,&quot;next&quot;:&quot;next&quot;,&quot;previous&quot;:&quot;previous&quot;,&quot;start_slideshow&quot;:&quot;start slideshow&quot;,&quot;stop_slideshow&quot;:&quot;stop slideshow&quot;,&quot;image&quot;:&quot;image&quot;,&quot;of&quot;:&quot;of&quot;,&quot;prev&quot;:&quot;prev&quot;,&quot;cExpand&quot;:&quot;Expand&quot;,&quot;cPrevious&quot;:&quot;Previous&quot;,&quot;cNext&quot;:&quot;Next&quot;,&quot;cExpandStr&quot;:&quot;Expand the image&quot;,&quot;cRotate&quot;:&quot;Rotate&quot;,&quot;cDetails&quot;:&quot;Details&quot;}\" data-popup-slideshow=\"false\" data-popup-slideshow-speed=\"2500\" data-popup-hoverstop=\"false\" data-popup-slideshow-auto=\"false\" data-popup-background=\"\" data-popup-transparency=\"30\" data-popup-disable-history=\"\" data-popup-disable-changed-url=\"\" data-popup-border-type=\"\" data-popup-border-color=\"\" data-popup-border-width=\"\" data-popup-border-enable=\"\" data-fullscreen=\"false\" data-hide-tooltip=\"false\" data-caption-font-family=\"Default\" data-caption-text-size=\"14px\" data-is-mobile=\"0\" data-caption-mobile=\"false\" data-hide-long-tltp-title=\"0\" data-caption-disabled-on-mobile=\"false\" data-popup-placement-type=\"0\" data-social-sharing=\"{&quot;enabled&quot;:&quot;&quot;,&quot;gallerySharing&quot;:{&quot;enabled&quot;:null,&quot;position&quot;:null},&quot;imageSharing&quot;:{&quot;enabled&quot;:null,&quot;wrapperClass&quot;:&quot; vertical &quot;},&quot;popupSharing&quot;:{&quot;enabled&quot;:null,&quot;wrapperClass&quot;:&quot; vertical &quot;}}\" class=\"grid-gallery grid-gallery-fixed \" style=\" width:100%; height:auto; margin-left:auto; margin-right:auto;position:relative;\"> <div class=\"gallery-loading\"> <div class=\"blocks\"> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <\/div> <\/div> <div class=\"gallery-sharing-top\"><\/div> <div id=\"photos-12\" class=\"grid-gallery-photos\"><a id=\"gg-12-86\" class=\"gg-link \" data-attachment-id=\"9303\" href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/listening-1.jpg?gid=12\" target=\"_self\" title=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"quarter-slide-up\" data-index=\"0\" style=\"display:none;border-radius:0px;; margin:10.3px; width:350px;\" ><div class=\"crop\" style=\" width:350px; height:234.5px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/listening-1-350x234.jpg\" class=\"ggImg\" alt=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" title=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" data-description=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" data-caption=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" data-title=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" style=\" width:350px; height:234.5px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#6f0000; font-size:14px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><\/div><\/FIGCAPTION><\/FIGURE><\/a><a id=\"gg-12-87\" class=\"gg-link \" data-attachment-id=\"9304\" href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/listening-2.jpg?gid=12\" target=\"_self\" title=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"quarter-slide-up\" data-index=\"1\" style=\"display:none;border-radius:0px;; margin:10.3px; width:350px;\" ><div class=\"crop\" style=\" width:350px; height:234.5px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/listening-2-350x234.jpg\" class=\"ggImg\" alt=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" title=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" data-description=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" data-caption=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" data-title=\"Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)\" style=\" width:350px; height:234.5px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#6f0000; font-size:14px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><\/div><\/FIGCAPTION><\/FIGURE><\/a> <div class=\"grid-gallery-clearfix\"><\/div> <\/div> <div class=\"gallery-sharing-bottom\"><\/div> <div class=\"grid-gallery-clearfix\"><\/div> <\/div> <!-- Gallery by Supsystic plugin1.14.10 -->\n<p>Nick Herman, <em>Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)<\/em>, 2017, Cyanotype print, from a series of ten photographs documenting the artist walking around Los Angeles carrying a modified Yagi antenna, 4.5 x 6.5 inches (artwork \u00a9 Nick Herman)There is a fascinating history of radio transmission being used to circumvent borders, ranging from Voice of America to so-called <a href=\"https:\/\/en.wikipedia.org\/wiki\/Border_blaster\" target=\"_blank\" rel=\"noopener noreferrer\">Border Blasters<\/a>, which were powerful transmission towers erected in Mexico just south of the border to circumvent American laws. These renegade broadcasts functioned as a palimpsest of mid-century America promoting evangelicalism, dubious and illegal medical claims, and social insurrection. The idea of a transmission tower being used to evangelize or expose some \u201ctruth\u201d illustrates a tension between science and religion (and populism) that lies at the heart of American identity to this day. Using classic cyanotype photo-chemistry, I created a series illustrating this embodiment of the searcher\/scientist as metaphoric antenna in <a href=\"http:\/\/nickherman.net\/index.php?\/on-paper\/listening--escuchando-\/\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Listening \/ Escuchando (Or I\u2019m Just Looking for the Wolf)<\/em><\/a> (2017).<\/p>\n<p><center><strong><span style=\"font-size: 20px;\"><em>Mirror Mirror Mirror<\/em><\/span><\/strong><\/center><\/p>\n<div id=\"grid-gallery-13-66156\" data-gg-id=\"13\" data-title=\"Mirror Mirror Mirror\" data-grid-type=\"0\" data-offset=\"10.3\" data-area-position=\"center\" data-icons=\"false\" data-preloader=\"true\" data-width=\"350\" data-height=\"269.5\" data-padding=\"0\" data-quicksand=\"disabled\" data-quicksand-duration=\"none\" data-popup-theme=\"theme_6\" data-popup-type=\"pretty-photo\" data-popup-image-text=\"data-description\" data-popup-widthsize=\"auto\" data-popup-heightsize=\"auto\" data-popup-i18n-words=\"{&quot;close&quot;:&quot;close&quot;,&quot;next&quot;:&quot;next&quot;,&quot;previous&quot;:&quot;previous&quot;,&quot;start_slideshow&quot;:&quot;start slideshow&quot;,&quot;stop_slideshow&quot;:&quot;stop slideshow&quot;,&quot;image&quot;:&quot;image&quot;,&quot;of&quot;:&quot;of&quot;,&quot;prev&quot;:&quot;prev&quot;,&quot;cExpand&quot;:&quot;Expand&quot;,&quot;cPrevious&quot;:&quot;Previous&quot;,&quot;cNext&quot;:&quot;Next&quot;,&quot;cExpandStr&quot;:&quot;Expand the image&quot;,&quot;cRotate&quot;:&quot;Rotate&quot;,&quot;cDetails&quot;:&quot;Details&quot;}\" data-popup-slideshow=\"false\" data-popup-slideshow-speed=\"2500\" data-popup-hoverstop=\"false\" data-popup-slideshow-auto=\"false\" data-popup-background=\"\" data-popup-transparency=\"30\" data-popup-disable-history=\"\" data-popup-disable-changed-url=\"\" data-popup-border-type=\"\" data-popup-border-color=\"\" data-popup-border-width=\"\" data-popup-border-enable=\"\" data-fullscreen=\"false\" data-hide-tooltip=\"false\" data-caption-font-family=\"Default\" data-caption-text-size=\"14px\" data-is-mobile=\"0\" data-caption-mobile=\"false\" data-hide-long-tltp-title=\"0\" data-caption-disabled-on-mobile=\"false\" data-popup-placement-type=\"0\" data-social-sharing=\"{&quot;enabled&quot;:&quot;&quot;,&quot;gallerySharing&quot;:{&quot;enabled&quot;:null,&quot;position&quot;:null},&quot;imageSharing&quot;:{&quot;enabled&quot;:null,&quot;wrapperClass&quot;:&quot; vertical &quot;},&quot;popupSharing&quot;:{&quot;enabled&quot;:null,&quot;wrapperClass&quot;:&quot; vertical &quot;}}\" class=\"grid-gallery grid-gallery-fixed \" style=\" width:100%; height:auto; margin-left:auto; margin-right:auto;position:relative;\"> <div class=\"gallery-loading\"> <div class=\"blocks\"> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <div class=\"block\"><\/div> <\/div> <\/div> <div class=\"gallery-sharing-top\"><\/div> <div id=\"photos-13\" class=\"grid-gallery-photos\"><a id=\"gg-13-88\" class=\"gg-link \" data-attachment-id=\"9305\" href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/mirror-1.jpg?gid=13\" target=\"_self\" title=\"Mirror Mirror Mirror\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"quarter-slide-up\" data-index=\"0\" style=\"display:none;border-radius:0px;; margin:10.3px; width:350px;\" ><div class=\"crop\" style=\" width:350px; height:269.5px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/mirror-1-350x269.jpg\" class=\"ggImg\" alt=\"Mirror Mirror Mirror\" title=\"Mirror Mirror Mirror\" data-description=\"Mirror Mirror Mirror\" data-caption=\"Mirror Mirror Mirror\" data-title=\"Mirror Mirror Mirror\" style=\" width:350px; height:269.5px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#6f0000; font-size:14px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><\/div><\/FIGCAPTION><\/FIGURE><\/a><a id=\"gg-13-89\" class=\"gg-link \" data-attachment-id=\"9306\" href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/mirror-10.jpg?gid=13\" target=\"_self\" title=\"Mirror Mirror Mirror\" data-rel=\"prettyPhoto[pp_gal]\" style=\"border-radius:0px;\" ><FIGURE class=\"grid-gallery-caption\" data-grid-gallery-type=\"quarter-slide-up\" data-index=\"1\" style=\"display:none;border-radius:0px;; margin:10.3px; width:350px;\" ><div class=\"crop\" style=\" width:350px; height:269.5px; overflow:hidden;\"><img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/mirror-10-350x269.jpg\" class=\"ggImg\" alt=\"Mirror Mirror Mirror\" title=\"Mirror Mirror Mirror\" data-description=\"Mirror Mirror Mirror\" data-caption=\"Mirror Mirror Mirror\" data-title=\"Mirror Mirror Mirror\" style=\" width:350px; height:269.5px;\" \/><\/div><FIGCAPTION class=\"\" data-alpha=\"5\" style=\"color:#ffffff; background-color:#6f0000; font-size:14px; text-align:left; font-family:Default;\" ><div class=\"grid-gallery-figcaption-wrap\" style=\" vertical-align:top;\"><\/div><\/FIGCAPTION><\/FIGURE><\/a> <div class=\"grid-gallery-clearfix\"><\/div> <\/div> <div class=\"gallery-sharing-bottom\"><\/div> <div class=\"grid-gallery-clearfix\"><\/div> <\/div> <!-- Gallery by Supsystic plugin1.14.10 -->\n<p>Nick Herman, <em>Mirror Mirror Mirror<\/em>, 2017, inkjet prints with hand painted chapter titles taken from <em>The Nightwatches of Bonaventura<\/em>, series consists of 16 images, 8 x 10 inches, ed. 3 (artwork \u00a9 Nick Herman)Another example of my using print technology and distribution models to tell a story is the extended project <em>Mirror Mirror Mirror<\/em> (2014\u20132017). Originally inspired by <a href=\"http:\/\/press.uchicago.edu\/ucp\/books\/book\/chicago\/N\/bo18044577.html\" target=\"_blank\" rel=\"noopener noreferrer\"><em>The Nightwatches of Bonaventura<\/em>,<\/a> a satirical novel anonymously published in 1804, this multi-part project involved numerous interpretations of the sixteen chapters that make up the book. What was so compelling about <em>The Nightwatches<\/em> story is the way it uses framing devices (in this case doorways and windows) as a kind of animation tool\u2014in effect analogizing the aperture of a camera with the syncopated steps and roving eye of the night watchman. The protagonist, seeking truth in a time of intense chaos, wanders the streets, voyeuristically peering into different people\u2019s lives. What I found important was how architecture and photography became explicit metaphors for demarcating space and identifying how the body functions as a technology for orientation, i.e., as an antenna.<\/p>\n<p>Over the course of three years I used the sixteen chapters of <em>The Nightwatches<\/em> as a structure around which to invent an experimental, studio-based image-making process that combined inkjet and toner transfer techniques with collage and lacquering. I was seeking an activated image that in its material instability recorded and transmitted its subject like a live feed. As discussed in <a href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/11\/Nick-Herman_Edges-of-Action_script.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Edges of Action<\/em><\/a>, this led to a deeper interest in photographic technologies that, because of their chemistry or processing, remain in perpetual development. The end result was a series of fragile and extremely dark composite pictures that, under certain lighting conditions, revealed an image of a window.<\/p>\n<p>My process of making these images was dominated by my conviction that they should be unstable, prone to fading, and environmentally activated. This priority was (and is) at odds with making an archival object and the inevitable result was a series that was temporary. Accepting this characteristic of the work, I decided to finish the project where it began, with the images as cinematic analogy. I took the photo-collages into the street in an architectural (re)staging of the original narrative structure, mounting them on buildings around Hollywood, California, where I live. Documenting these site interventions produced a series of more traditional documentary images that were then presented as both a group of individually framed photographs and as a book (shown below). The chapter titles from the original <em>The Nightwatches of Bonaventura<\/em> story were used to annotate the images\u2014an oblique reference to early scientific field notes and the failed poet at the center of the satire.<\/p>\n<p>My interest in static, at the heart of <em>Mirror Mirror Mirror<\/em>, remains a core part of my practice. Static or noise as a record of transmission becomes its own reward, reflecting its innate complexity and, in the process, some greater truth about its origin. To me, the GIF (graphic interchange format) does something similar, capturing the unpredictable rhythms and constituent raster of their source. For Art Journal Open, I have made a GIF titled <em>Comm 1<\/em> (2017) <strong>(click on image below to view)<\/strong>. Despite it being exactly the same file as at the lede, it appears here differently: when clicked the new frame displays a GIF that is totally blown out and seemingly corrupted, a manipulation that echoes the way noise can alter a transmission. This fungibility of data and the conversion of all information into hypermedia succeeds in creating a type of perpetual development that speaks to the original spirit of the experimental processes I pursued in the studio.<\/p>\n<div id=\"main\" class=\"main\">\n<div><img decoding=\"async\" class=\"small\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/mirror3-final.gif\"><\/div>\n<\/div>\n<div id=\"lightbox\" class=\"lightbox\">\n<p><img decoding=\"async\" class=\"bg\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/final-comm-full-screen.gif\" height=\"10000\"><\/p>\n<\/div>\n<p><center><strong><span style=\"font-size: 20px;\"><em>Nightwatches<\/em><\/span><\/strong><\/center><\/p>\n\n\t\t<!-- MasterSlider -->\n\t\t<div id=\"P_MS6ae38a9b11da2\" class=\"master-slider-parent msl ms-parent-id-17\" style=\"max-width:600px;\"  >\n\n\t\t\t\n\t\t\t<!-- MasterSlider Main -->\n\t\t\t<div id=\"MS6ae38a9b11da2\" class=\"master-slider ms-skin-default\" >\n\t\t\t\t \t\t\t\t \n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/ch-1_NIGHTWATCHES_cropped_new.jpg\" \/>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/CH-3_NIGHTWATCHES_cropped_new.jpg\" \/>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/ch-4_NIGHTWATCHES_cropped_new.jpg\" \/>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/ch-5_NIGHTWATCHES_cropped_new.jpg\" \/>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div  class=\"ms-slide\" data-delay=\"3\" data-fill-mode=\"fit\"  >\n\t\t\t\t\t<img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/plugins\/master-slider\/public\/assets\/css\/blank.gif\" alt=\"\" title=\"\" data-src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/10\/ch-6_NIGHTWATCHES_cropped_new.jpg\" \/>\n\n\n\t<div class=\"ms-thumb\" ><div class=\"ms-tab-context\"><div class=&quot;ms-tab-context&quot;><\/div><\/div>\n<\/div>\n\t\t\t\t<\/div>\n\n\t\t\t<\/div>\n\t\t\t<!-- END MasterSlider Main -->\n\n\t\t\t \n\t\t<\/div>\n\t\t<!-- END MasterSlider -->\n\n\t\t<script>\n\t\t(function ( $ ) {\n\t\t\t\"use strict\";\n\n\t\t\t$(function () {\n\t\t\t\tvar masterslider_1da2 = new MasterSlider();\n\n\t\t\t\t\/\/ slider controls\n\t\t\t\tmasterslider_1da2.control('arrows'     ,{ autohide:false, overVideo:true  });\n\t\t\t\t\/\/ slider setup\n\t\t\t\tmasterslider_1da2.setup(\"MS6ae38a9b11da2\", {\n\t\t\t\t\t\twidth           : 600,\n\t\t\t\t\t\theight          : 600,\n\t\t\t\t\t\tminHeight       : 0,\n\t\t\t\t\t\tspace           : 0,\n\t\t\t\t\t\tstart           : 1,\n\t\t\t\t\t\tgrabCursor      : true,\n\t\t\t\t\t\tswipe           : true,\n\t\t\t\t\t\tmouse           : true,\n\t\t\t\t\t\tlayout          : \"boxed\",\n\t\t\t\t\t\twheel           : false,\n\t\t\t\t\t\tautoplay        : false,\n\t\t\t\t\t\tinstantStartLayers:false,\n\t\t\t\t\t\tloop            : true,\n\t\t\t\t\t\tshuffle         : false,\n\t\t\t\t\t\tpreload         : 0,\n\t\t\t\t\t\theightLimit     : true,\n\t\t\t\t\t\tautoHeight      : false,\n\t\t\t\t\t\tsmoothHeight    : true,\n\t\t\t\t\t\tendPause        : false,\n\t\t\t\t\t\toverPause       : true,\n\t\t\t\t\t\tfillMode        : \"fill\",\n\t\t\t\t\t\tcenterControls  : true,\n\t\t\t\t\t\tstartOnAppear   : false,\n\t\t\t\t\t\tlayersMode      : \"center\",\n\t\t\t\t\t\thideLayers      : false,\n\t\t\t\t\t\tfullscreenMargin: 0,\n\t\t\t\t\t\tspeed           : 20,\n\t\t\t\t\t\tdir             : \"h\",\n\t\t\t\t\t\tparallaxMode    : 'swipe',\n\t\t\t\t\t\tview            : \"basic\"\n\t\t\t\t});\n\n\t\t\t\t\n\t\t\t\twindow.masterslider_instances = window.masterslider_instances || [];\n\t\t\t\twindow.masterslider_instances.push( masterslider_1da2 );\n\t\t\t });\n\n\t\t})(jQuery);\n\t\t<\/script>\n\n\n<p>Nick Herman, (l to r) <em>Ch. 1, 3, 4, 5, 6 (Nightwatches)<\/em>, 2016\u20132017, laser toner print on archival bond collaged and mounted on aluminum plate, 57 x 39 x 1 inches (artwork \u00a9 Nick Herman)My ongoing interest in static and the logic of rastering inspired a second series of large photo-collages based on the sixteen chapters of <em>The Nightwatches of Bonaventura<\/em>. In <em>Nightwatches<\/em> (2016\u20132017), I used a single solid black image, which was reproduced using a laser printer, tiling the tabloid-sized prints on an aluminum plate. The infinite variability of this basic black unit as it was reproduced using toner particles fused to the underlying bond paper allowed me to focus on the inherent noise in the mechanical reproduction of xerography as well as the way the edges of the composite images record an underlying cadence.<\/p>\n<p>I hope that this intersection of image development and my interest in tiling serve to create a broadcast, emphasizing the way seams record and amplify information. In this way, the vertical strips function something like a score. By reproducing the same scale as seen in the original experiments documented in my artist book <em>Mirror Mirror Mirror<\/em>, I again draw a connection between architecture, perception, and print technology.<\/p>\n<p><center><strong><span style=\"font-size: 20px;\"><em>MERROR ERROR TERRIOR<\/em><\/span><\/strong><\/center><\/p>\n<p>This leads us again back to the syncopation (or pacing) of a GIF, the ubiquitous baseline of today\u2019s media landscape and, for me, a kind of soundtrack for our times. The rhythm of the GIF and its implied loop\/life cycle evokes something biological, perhaps replacing the connectivity I first explored in <em>Exstatica<\/em> and then later in <em>Edges of Action<\/em>: the way edges define perception and delineate autonomous space. This connection led me to create <em>Comm 1<\/em>, as well as the single image below, which is a single modified layer or frame from that same file, blown out and illegible (who knows what it looks like to you?), but still defined by the logic of its manufacture. An image can always be downloaded, grabbed, highlighted, cut, and copied\u2014appropriated from almost any digital format. So what does it mean to include something online but designed for print? When the author has no control over its quality or distribution? For me it\u2019s not so much the image itself, but the underlying architecture of distribution that is important. It is its logic. Right click or drag and drop to download; suitable for (re)framing.<\/p>\n<p><a href=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/mirrormirrormirror_Herman_AJO.pdf\"> <img decoding=\"async\" src=\"http:\/\/artjournal.collegeart.org\/wp-content\/uploads\/2017\/09\/mirrormirrormirror_Herman_AJO_sample-image.jpg\"> <\/a><\/p>\n<p>Nick Herman, <em>MERROR ERROR TERRIOR<\/em>, 2017, modified image exported from GIF (artwork \u00a9 Nick Herman)<\/p>\n<hr>\n<p><strong>Nick Herman<\/strong> (b. 1973, Minneapolis, MN) has an MFA in sculpture from The Yale University School of Art, a Post-Baccalaureate in fibers and material studies from the School of the Art Institute of Chicago, and a BA in religious studies from Macalester College. Solo exhibitions include <a href=\"http:\/\/www.gricebench.com\/nick-herman-uranantenna\" target=\"_blank\" rel=\"noopener noreferrer\"><em>URANANTENNA<\/em><\/a> at Grice Bench Gallery (Los Angeles) in 2017; <em>Hide<\/em> at Artist Curated Projects (Los Angeles) in 2016, and <em>FATLAND<\/em> at LAXART (Los Angeles) in 2011, as well as many group shows. Recent performances include \u201cERES ANTENA\u201d at Fonoteca Nacional De Mexico in Mexico City. Herman published a novella, <em>Fatland<\/em>, in 2011 and has written for numerous art journals and catalogues. His artist publications and imprint ANTEPROJECTS are in major library and museum collections including The Grunwald Center at UCLA, Biblioth\u00e8que Kandinsky at Centre Pompidou, and the Museum of Modern Art. His collaborative project, The Modeling Agency, had a solo exhibition titled <em>Tektite (redux)<\/em> at The Armory Center for the Arts in Pasadena (2016). Herman was an artist-in-residence at The Chinati Foundation in 2011. In fall of 2017, he will be a Digital Resident at the University of Wisconsin Weaving Lab.<\/p>\n<\/div>\n<div class='footnotes' id='footnotes-9559'>\n<div class='footnotedivider'><\/div>\n<ol>\n<li id='fn-9559-1'> Karl Popper, <em>The Logic of Scientific Discovery<\/em> (New York and London: Routledge, 2002), 337\u201338. <span class='footnotereverse'><a href='#fnref-9559-1'>&#8617;<\/a><\/span><\/li>\n<li id='fn-9559-2'> Nick Herman, <em>Western Style<\/em> (Brooklyn, NY: Anteprojects, 2008), 4 <span class='footnotereverse'><a href='#fnref-9559-2'>&#8617;<\/a><\/span><\/li>\n<\/ol>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>By Nick Herman<\/p>\n<p>Art Journal Open presents <em>Medias Res<\/em> by artist Nick Herman, which features Herman&#8217;s exploration of his artworks and texts related to his interests in static,  rastering, layering, and other transmission processes. These interests have led Herman to create two new works to be viewed on Art Journal Open: <em>Comm 1<\/em> (2017), which takes the shape of a unique and experimental pop-up GIF experience, and <em>MERROR ERROR TERRIOR<\/em> (2017), a downloadable image.  &#8220;Static or noise as a record of transmission becomes its own reward, reflecting its innate complexity and, in the process, some greater truth about its origin.&#8221;  Herman writes, &#8220;To me, the GIF does something similar, capturing the unpredictable rhythms and constituent raster of their source&#8221; <\/p>\n","protected":false},"author":9,"featured_media":9609,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"kia_subtitle":"","footnotes":""},"categories":[16],"tags":[],"class_list":["post-9559","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-projects",""],"_links":{"self":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts\/9559","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/users\/9"}],"replies":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=9559"}],"version-history":[{"count":0,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/posts\/9559\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=\/wp\/v2\/media\/9609"}],"wp:attachment":[{"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9559"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9559"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/artjournal.collegeart.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9559"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}