Art Journal Open presents Medias Res by Los Angeles–based artist Nick Herman, with an introduction by Art Journal Open’s Former Web Editor, Gloria Sutton.
Medias Res is the second of two projects that Herman has created for Art Journal Open, and features Herman’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: Comm 1 (2017), which takes the shape of a unique and experimental pop-up GIF experience, and MERROR ERROR TERRIOR (2017), a downloadable image.
“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.” Herman writes, “To me, the GIF does something similar, capturing the unpredictable rhythms and constituent raster of their source.”
posted by CAA — November 30, 2017
The CAA Board of Directors comprises professionals in the visual arts who are elected annually by the membership to serve four-year terms. Please read the CAA By-laws on Nominations, Elections, and Appointments for more information on the process.
As of January 3, 2018, voting is open! Scroll down to meet the candidates and cast your vote.
The deadline for voting is 6:00 p.m. (Pacific Time) on Thursday, February 22, 2018.
Meet the Candidates
The 2017–18 Nominating Committee has selected a slate of six candidates for election to the CAA Board of Directors for the 2018–22 term. Click the names of the candidates below to read their statements and resumes before casting your vote. The candidates are:
- Laura Anderson Barbata
- Audrey G. Bennett
- Dahlia Elsayed
- Alice Ming Wai Jim
- Richard Lubben
- Walter Meyer
About the Board
The Board of Directors is charged with CAA’s long-term financial stability and strategic direction; it is also the Association’s governing body. The board sets policy regarding all aspects of CAA’s activities, including publishing, the Annual Conference, awards and fellowships, advocacy, and committee procedures.
HOW TO VOTE
CAA members may vote for up to four (4) candidates, including one write-in candidate (who must be a CAA member). The four candidates receiving the most votes will be elected to the board. CAA members may cast their votes and submit their proxies online beginning in early January 2018; no paper ballots will be mailed. Please have your CAA user/member ID# and password handy when you are ready to vote.
Please fill out the form below to cast your vote. (Use the scroll bar on the right side of the form to scroll down, make your choices, and submit.)
The results of the 2018 Board of Directors election will be announced at CAA’s Annual Business Meeting from 2:00 – 3:00 p.m. on Friday, February 23, at the 2018 Annual Conference in Los Angeles.
Questions? Contact Vanessa Jalet, executive liaison, at (212) 392-4434 or email@example.com
I believe the current and future direction of CAA should focus, in part, on how to remain relevant and supportive to our membership. This includes strengthening our online presence, and developing innovative programs to better support the participation and recruitment of international institutions and members. This direction also aligns with CAA’s commitment to diversity, and broadens the discussion and perspective on scholarship, pedagogy, curriculum and creative practice.
With a background in studio arts, and administrative experience as a community college Arts Dean, I would also advocate for more dialogue around some of the issues and challenges that might be specific to studio artists, community college faculty, and 2-year college administration. The CAA Board does not currently include a member representing community colleges; however, there are thousands of 2-year college individual members, and many more potential members associated with the nearly 1500 community colleges across the United States.
As a CAA Board member I would also offer my experience and passion for advocacy. One current challenge many colleges and universities are experiencing is how to effectively communicate and defend the value of art programs and curriculum in times of budget shortages, and changes in some state-level general education requirements. These types of challenges are especially relevant to many of our community college members, as well as colleges and universities struggling with declining enrollment.
As a full-time art historian at a 2 year community college, much of my time and talents have been about increasing enrollments in art history and our transfer population to the University of California and Cal State system. At SMC, we are 3 full time faculty and 20+ adjuncts with over 40 sections of art history taught each semester. While college-wide enrollments are flat or declining, Art History continues to grow and has doubled in size in just the last four years.
Leading art history at Santa Monica College has put my efforts directly in line with one of the missions of the California Community College System: to close equity and achievement gaps with under-represented higher-ed populations. Closing these gaps is not a challenge unique to California Community Colleges and as the College Art Association moves into the 21st century it can play a vital role in making art and art history programs at the forefront of meeting this important task. I believe that having a representative from a community college is an important step for CAA to take and I am honored to be nominated to serve our disciplines and the membership.
My other interests reside in pedagogy and technology. At Santa Monica College, I am currently: the co-chair of the Technology Planning Committee; incoming chair of the Distance Education Committee and have previously chaired or served on the Sabbaticals Committee, the Information Services Committee, and the Curriculum Committee. My service to the community includes being the President of the Art Historians of Southern California, an Arts Commissioner and the former chair of the Public Art Committee for the city of Santa Monica and former board member for the Craft and Folk Art Museum of Los Angeles and the Santa Monica Arts Foundation.
Just in the state of California there are 2.1 million community college students across 113 colleges (there are over 1200 across the country serving over 7 million students). I believe in the mission of the community college system and in the ability of community colleges to help art and art history programs close the equity gap with under-represented populations on college campuses and I would like to be an effective advocate as a CAA board member for them and their students.
I am currently Associate Professor in Contemporary Art and Concordia University Research Chair in Ethnocultural Art Histories at Concordia University in Montreal, Quebec, Canada. I am a founding co-editor, with Alexandra Chang, of the international scholarly journal, Asian Diasporic Visual Cultures and the Americas (ADVA). Informed by a hemispheric transnational approach, ADVA is the first academic journal to focus on the scholarship of intersections between visual culture studies and the study of Asian diaspora in the Americas and the myriad ways in which these topics and communities connect with Asia writ large. The journal’s coverage spans the continent (North North America, Canada, US, Latin America, and Mexico) as well as the Pacific Islands and the Caribbean.
As an art historian, curator and cultural organizer in the fields of diasporic and global art histories, media arts, and curatorial studies, I bring to College Art Association over twenty years of academic and professional experience working in multiple sectors in education, the arts, and culture. Focusing primarily on Asian Canadian and African Canadian artists, I have curated exhibitions of over fifty artists of color and Indigenous artists and organized major
scholarly events within academic settings and for the broader arts community in Canada and internationally. I have also been involved in a leadership capacity in several formal partnerships involving international networking and community building initiatives, with a strong commitment to research and social justice.
As the only art historian at Concordia University and in Canada who specializes in contemporary Asian and Asian Canadian art, I am acutely aware of the profound value of the annual CAA conference as a vital means to connect international scholars and practitioners, at all stages of careers and from culturally-diverse communities, on a regular
basis. I have been a member of CAA since 1999; a representative member of the CAA Affiliated Society, the Diasporic Asian Art Network, since 2009; and a research member of the NYU Global Asia/Pacific Art Exchange (GAX) since 2014.
As a board member, I would contribute to conversations on how CAA could work towards increasing the visibility of members from diverse cultural communities and provide support and incentives for new returning members. I would also participate in discussions on how CAA could strengthen international connections and exchanges and expand
critical capacities for art historical scholarship and critical visual culture studies on and by ethnic minority, mixed race, and Indigenous peoples across the Americas and internationally. Finally, I am also interested in ways to foster interdisciplinary, cross-cultural knowledge inquiry and co-production through innovative tools and techniques of digital art history.
Montreal, November 21, 2017
I greatly value the College Art Association’s steadfast advocacy for visual arts professionals. I am eager to contribute to its work as an essential resource for a diverse body of practitioners to intellectually engage in the field.
As a working artist, academic, and member since 2010, I regularly interact with CAA content and programming in a variety of ways and am excited about the organization’s strategic plan to diversify communication channels and connect with under-represented visual arts professionals and communities.
An area of particular interest to me is welcoming community college faculty and students to participate as an important aspect of a vibrant future for CAA. As an Associate Professor at CUNY-LaGuardia Community College in Queens, NY, I meet non-traditional students as they enter a transitional space of learning, as the first step into a study field that leads to various modes of continued education and engagement with the arts. Being an artist and professor who started her own educational path at a community college, I recognize the powerful impact that envisioning a professional future in the arts has on students. At LaGuardia, I have worked to develop curricula that expands learning beyond the studio, through experiential learning opportunities and exposure to learning outside of the classroom.
As enrollment in community colleges has grown significantly, these faculty are a vital constituency as they design programs and mentor students in pursuing continued education and careers in the arts. I believe that CAA-affiliated regional events around core issues could provide opportunities to interact with colleagues from senior colleges, graduate programs and institutions to strengthen best practices. I would also advocate for more mentoring opportunities for people at different points in their careers.
As a working artist, I exhibit regularly and widely, and have received awards from the Joan Mitchell Foundation, MacDowell Colony, New Jersey State Council on The Arts, amongst others. Another area of interest is growing the platforms for CAA members to share resources and research, through both events and digitally, with those outside of academia, including unaffiliated artists. Expanding CAA’s support for artists through micro-conferences, exhibition support and an active online community are potential ways to connect beyond the annual conference, fortify networks between ongoing research and practice, and to invigorate and inspire future members.
I am dedicated to expanding the diversity of voices in the creation, teaching and analysis of visual art. If elected, I would take on the role of CAA board member with an active, serious commitment to serve all members as well as further the organization’s mission and vision.
I am a practicing, trans-disciplinary artist living and working in Brooklyn and Mexico City. My work is intended to connect various cultures through the platform of contemporary art by engaging creative practices that promote dignity, shared values, diversity, and collaboration through reciprocal exchange of knowledge. I have initiated projects with the Yanomami of the Venezuela Amazon to document their oral history (ongoing); continue developing collaborative projects with traditional stilt dancing groups from Trinidad and Tobago, Brooklyn and Oaxaca and master artisans from Mexico that combine dance, music, costuming, procession and protest; as well as directed a 10-year effort to repatriate the remains of Julia Pastrana (1834-1860) Mexican Opera Singer whose body was kept at the Schreiner Collection in Oslo and was successfully repatriated to Mexico for her burial in 2013.
My work seeks to further the expectations of socially-engaged art by moving across disciplines by involving collaborators across various fields such as archivists, scientists, activists, rock stars, burlesque performers, street dancers, traditional artisans, traditional stilt dancers, theater companies, storytellers, writers, international institutions and government officials.
I have worked for over 30 years as an artist, educator and researcher. As a CAA Board Member I offer a perspective that is uniquely informed by my bi-cultural background and my extensive collaborative artistic experiences in Mexico, Venezuela, Trinidad and Tobago, Norway and the United States. All of which I believe have prepared me to serve and further CAA´s international leadership and its mission to promote visual arts and their understanding through advocacy, intellectual engagement and a commitment to the diversity of practices and practitioners.
The College Art Association strategically invests in its future with Professional Development Fellowships. I received a College Art Association Professional Development Fellowship when I was a graduate student and immigrant in the United States with permanent resident status. This award provided critical resources that contributed to my securing a tenure-track position at a research institution. Twenty-years later, I am a naturalized and tenured African-American design scholar with distinction. This achievement is one that I do not take for granted. I give back to the College Art Association through service.
The College Art Association’s mission includes culturally diversifying its membership and intellectual capital. I have experience dealing with the challenges associated with this critical task: as a Black youth from a low-income community who fell in love with art; as a minority, junior professor with a Master of Fine Arts pursuing tenure at a research institution; and now as a scholar and administrator confronted by ‘wicked’ barriers to inclusion that include the perennial, melee between socio-economic factors and institutional bureaucracy.
One way that the College Art Association confronts barriers to inclusion is by collaborating with its Affiliated Societies to pave a path through a massive, digital, network of texts and images from different cultures. With this approach, the critical and creative undergirding of the organization’s intellectual capital has the potential to diversify slowly but steadily. I aim to propel diversification efforts forward with strategies that broaden the organization’s intellectual reservoir with new knowledge about culture gleaned from interdisciplinary, positivist, and empirical methods.
A second way that the College Art Association confronts barriers to inclusion is by using technology to transcend socio-economic challenges with professional-development webinars. A decade ago, I competitively secured funding from the AIGA to deliver a virtual design conference titled Global Interaction in Design Education that disseminated new knowledge generated by graphic design scholars from around the world including Taiwan, Hong Kong, Italy, United Kingdom, Australia, and the United States. The question I have now is: Can we secure funding to develop a robust technological infrastructure within the College Art Association that supports the scholarly dissemination of creative work and research findings?
A third way that the College Art Association confronts barriers to inclusion is by cultivating the involvement of designers—an intellectually underrepresented community in the organization’s membership. I can recall early in my academic career gravitating away from the annual College Art Association conferences due to a perceived exiguous representation of designers. Today, I am a member of the College Art Association’s Inaugural Committee on Design where I help to develop design content for its annual conference and publications and integrate design language and issues into the organizations’ internal and external communication processes.
I am eager to continue service to the College Art Association through leadership on its Board of Directors. If elected, I plan to further cultivate and sustain cultural and intellectual diversity within the organization’s membership and operating activities to increase individual and institutional memberships and conference participation.
Each week CAA News summarizes articles, published around the web, that CAA members may find interesting and useful in their professional and creative lives.
Histories of 16th-Century French Art Have Overlooked Manuscript Illumination—Until Now
A new book is fruit of a lifetime’s research by the late Getty curator Myra Orth. (The Art Newspaper)
This New Algorithm Writes Perfect “Artspeak”
Istanbul-based artist Selçuk Artut has developed a tool to explore a familiar art world phenomenon. (Artsy)
Needed: A New Graduate Adviser-Advisee Relationship
How can graduate advisers think strategically about their advisees’ career preparation within the flawed system for PhDs? (Inside Higher Ed)
The Long Ethical Arc of Displaying Human Remains
A look at why museums exhibit Egyptian mummies, but not Native American bones. (Atlas Obscura)
At Colby College, an Honor for a Former Slave
Colby, like many colleges, is grappling with its complicated historical ties to slavery. (The Boston Globe)
Malick Sidibé’s Paris Survey Is an Electrifying Portrait of Mali in the Swinging Sixties
Mali Twist is the largest exhibition of the photographer’s work to date. (Artnet News)
As we celebrate the spirit of generosity on #GivingTuesday, we’re highlighting LA-based organizations to consider giving to alongside CAA.
We thank you for your support!
COLLEGE ART ASSOCIATION
This past year, we fought for the causes of our members and those in the arts and culture field at large. Your contribution helps to ensure that CAA continues our mission in promoting the visual arts and their understanding through advocacy, intellectual engagement, and a commitment to the diversity of practices and practitioners. The larger our voice, the larger the impact we will have.
18TH STREET ARTS CENTER
One of our recommended 2018 conference stops, the 18th Street Arts Center is one of the top twenty artist residency programs in the US. They value art-making as an essential component of a vibrant, just, and healthy society where the creative process is just as important as the outcome.
MUSEUM OF LATIN AMERICAN ART (MOLAA)
Another one of our 2018 conference stops, the Museum of Latin American Art (MOLAA) is the only museum in the United States dedicated to modern and contemporary Latin American art, and serves the greater Los Angeles area.
PROMESA BOYLE HEIGHTS
Promesa Boyle Heights is a collective of residents, youth, schools, and community organizations united in lifting community voices and working together to transform conditions and improve opportunities for students and families in Los Angeles.