{"id":16933,"date":"2024-01-29T16:13:12","date_gmt":"2024-01-29T23:13:12","guid":{"rendered":"https:\/\/art-for-a-change.com\/blog\/?p=16933"},"modified":"2024-01-29T16:13:12","modified_gmt":"2024-01-29T23:13:12","slug":"oprah-winfrey-portrait-at-the-national-portrait-gallery","status":"publish","type":"post","link":"https:\/\/art-for-a-change.com\/blog\/2024\/01\/oprah-winfrey-portrait-at-the-national-portrait-gallery.html","title":{"rendered":"Oprah Winfrey Portrait at the National Portrait Gallery"},"content":{"rendered":"

On Dec. 13, 2023, during a ceremony attended by throngs of media reporters, the National Portrait Gallery (NPG) in Washington, D.C. unveiled a nearly life-size oil painting of Oprah Winfrey<\/a>. The painting was created by a 37-year-old Black artist from Chicago named Shawn Michael Warren.<\/span><\/p>\n

The newest painting to grace the National Portrait Gallery was commissioned by the Smithsonian Institution<\/span>, the NPG being a division of the Smithsonian.<\/span> The choice of the personage portrayed in the artwork may surprise you, though my opinion of the painting most likely will not.<\/span><\/p>\n

Reuters published a video report on the unveiling titled Oprah\u2019s Smithsonian portrait to go alongside all the greats<\/i><\/a>. Their headline was confusing, did \u201cthe greats\u201d refer to those who sat for their portraits, or the artists who portrayed them? Either way the caption doesn\u2019t apply to Winfrey or Warren… at least not in my opinion.<\/span><\/p>\n

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“Oprah Winfrey.” Shawn Michael Warren. Oil on canvas. 2023. Photo courtesy of NPG.<\/figcaption><\/figure>\n

The director of the National Portrait Gallery, Kim Sajet (pronounced Say-et), issued a statement that Winfrey\u2019s \u201ccontributions to popular culture and her philanthropy earned her a place at the museum.\u201d She went on to say; \u201cThrough her rise to fame as host and producer of The Oprah Winfrey Show<\/i>, Oprah demonstrated an unparalleled ability to connect with people and inspire them to become the best versions of themselves.\u201d<\/span><\/p>\n

Before the unveiling Lonnie G. Bunch, founding director of the National Museum of African American History and Culture, and the current Secretary of the Smithsonian, said to those gathered; \u201cWe the country are in your debt, Oprah.\u201d How so Mr. Bunch? For starring in the 1985 Spielberg film The Color Purple<\/i>? For endorsing Obama for president in 2006? For urging Mitt Romney to run against Orange Man Bad?<\/span><\/p>\n

To a limited extent I can understand being a fan of Oprah Winfrey<\/span>\u2014<\/span>but how does one come to the conclusion that America is in her debt?<\/span><\/p>\n

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Deleted “Talking About Race” graphic from the National Museum of African American History and Culture.<\/figcaption><\/figure>\n

It should be remembered that in June of 2020, the National Museum of African American History and Culture launched Talking About Race<\/i><\/a>, its \u201conline teaching tool.\u201d Bunch was Smithsonian Secretary at the time. The teaching tool\u2019s webpage featured graphics that defined \u201chard work,\u201d \u201cself-reliance,\u201d \u201crespect for authority,\u201d \u201cobjectivity,\u201d the \u201cnuclear family,\u201d and more… to be attributes of \u201cwhiteness.\u201d After considerable public backlash the Smithsonian removed the graphics.<\/span><\/p>\n

The unveiling of Shawn Michael Warren\u2019s Oprah is reminiscent of the hoopla over the portraits of President Obama and First Lady Michelle Obama that were unveiled at the Smithsonian\u2019s National Portrait Gallery in 2018. Back then, director Kim Sajet said the swarms visiting that exhibit were \u201ca form of secular pilgrimage.\u201d The paintings of Barack and Michelle were painted by Kehinde Wiley and Amy Sherald, respectively. <\/span><\/p>\n

In my Oct. 2, 2022 essay titled Picturing the Obamas and Kehinde Wiley<\/i><\/a>, I exposed Wiley for using the Adobe Photoshop graphic art program to create the background of his Barack Obama portrait. Wiley used the Photoshop \u201cClone Stamp Tool<\/a>\u201d to digitally replicate the green foliage seen behind Obama; essentially rubber stamping the shrubbery… no drawing skills required. For this he\u2019s rewarded by the National Portrait Gallery.<\/span><\/p>\n

My essay also focused on Wiley running a studio in Beijing, China, where he uses low-wage Chinese \u201chelpers\u201d to paint his artworks. His popularity notwithstanding, I can\u2019t help but see Kehinde Wiley as an absolute fraud. <\/span><\/p>\n

In 2020 Shawn Michael Warren co-painted a Chicago mural with artists Jane Barth\u00e8s, Anna Murphy, Kalan Strauss, and Janson Rapisarda (aka CERA). Titled Until We Meet Again<\/a>,<\/i> the street art mural featured a portrait of Oprah Winfrey painted by Warren. It inspired the Smithsonian to commission Warren to create an Oprah painting for the collection of the NPG. Barth\u00e8s, Murphy, Strauss, and CERA were not included in the<\/i> commission.<\/span><\/p>\n

What do I think of Warren\u2019s oil on linen portrait of Oprah now hanging at the NPG? It\u2019s the best painting I\u2019ve seen from him, which isn\u2019t saying much considering so few of his paintings have been seen. However, my first impression was that it\u2019s excessively dependent on photography; why not just display the photo he based the painting on? <\/span><\/p>\n

I know it\u2019s finicky of me but, the detail of an old fashioned street light in the upper left of the painting is so incongruous it drives me mad. It\u2019s there for no reason, but once you see it the damn thing keeps demanding attention.<\/span><\/p>\n

In fact, the Oprah painting somewhat reminds me of the works that came out of the American Photorealist Movement that began in the late 1960s and early 1970s.<\/span><\/p>\n

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“61 Pontiac.” Robert Bechtle (1932-2020). Oil on canvas created between the years 1968-69.<\/figcaption><\/figure>\n

I once greatly admired the photorealists… when I was 18 in 1972. That\u2019s when I discovered the works of Chuck Close<\/a>, Richard Estes<\/a>, Ralph Goings<\/a>, Robert Bechtle<\/a>, and others who worked obsessively to replicate photographs as oil or acrylic paintings. <\/span><\/p>\n

As an aspiring young artist devoted to realism in art, I was intrigued with the works of the photorealists, but soon grew tired of their cold, precise style and moved on. At any rate, having evolved out of the American Pop Art Movement<\/a>, the photorealists possessed a dry irony, while Warren only has title to a disproportional business sense.<\/span><\/p>\n

Aside from rigidly copying photos, it appears to me Warren leans heavily on Adobe Photoshop, especially in creating his group portrait paintings. I suspect his group canvases<\/a> like Abbot\u2019s Waterway<\/i>, In a Promised Land<\/i>, and Troubled Waters<\/i>, were composed in Photoshop as photomontages using unrelated photographs. That\u2019s why symmetry and perspective in Warren\u2019s multiple figure works is oddly skewed<\/span>… the pieces don\u2019t fit. <\/span><\/p>\n

This is especially so with Warren\u2019s inept and amateurish The Siege of Granada: January 2, 1492<\/i>, which I\u2019ll get to later in this essay.<\/span><\/p>\n

Nowadays Adobe Photoshop<\/span> includes a component of Artificial Intelligence (AI), which leads to a much bigger question. Will contemporary artists stop using a centuries old visual language based on human skill, emotion, and observation<\/span>\u2014and<\/span> exchange it for the machine language of computers? <\/span><\/p>\n

This has already occurred in many spheres; think of how the human hand has been replaced by software in animation and movie special effects. Will this be the fate of high culture as well?<\/span><\/p>\n

Don\u2019t misunderstand. I\u2019m all for innovation and new tools, but not at the expense of trashing time-honored, and traditional methods of creating art.<\/span><\/p>\n

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“Th\u00e9\u00e2tre d’Op\u00e9ra Spatial.” Midjourney. Artificial intelligence art. 2022.<\/figcaption><\/figure>\n

Currently, many people are unable to tell the difference between art made by hand or synthesized by Artificial Intelligence. In a Sept. 2022 fine arts competition in Colorado, a \u201cpainting\u201d titled Th\u00e9\u00e2tre d’Op\u00e9ra Spatial<\/em> (Space Opera Theater) was awarded a prize by judges who were unaware the image was created by the MidJourney AI art generator<\/a>. This is a hazardous and self-destructive path for artists to take.<\/span><\/p>\n

How does Artificial Intelligence impact the art of Shawn Michael Warren?<\/span><\/p>\n

The IT services and consulting company FlexTech.ai, describes its work on its website as generating the \u201cdevelopment of new tech, go-to-market brand building\u201d and facilitating \u201cnon-profit creation.\u201d The firm touts itself<\/a> for using \u201cartificial intelligence with human intelligence\u201d to allow clients to \u201coptimize processes.\u201d The company also boasts helping clients \u201cextend their brand presence, offering, and creativity.\u201d <\/span><\/p>\n

Incidentally, FlexTech.ai refers to Shawn Michael Warren as “our client<\/em><\/a>,” and states it is \u201calso thrilled\u201d with having created his personal website. What exactly is going on here?<\/span><\/p>\n

In 2023 FlexTech.ai commissioned a painting from Warren, he titled it La Reina Calafia<\/i> (The Queen Calafia). It was loaned to the US Embassy in Madrid then placed on the Biden State Department\u2019s Art in Embassies<\/i><\/a> website. That\u2019s quite an example of \u201cgo-to-market brand building,\u201d but in my understanding of the painter\u2019s craft this is troubling. <\/span>I recall a line from the Mel Brooks Spaceballs<\/i> parody… \u201cMerchandising! Merchandising!<\/em><\/a>\u201d <\/span>The US Department of State Art in the Embassies<\/i> website describes Shawn Michael Warren in this way: <\/span><\/p>\n

\n

\u201cHis emphasis on narrative, historical subjects is a central feature of his larger viewpoint, which looks at the History of the United States, and the world, via the experiences of BIPOC [Black, Indigenous, and People of Color] to communicated essential human truths, and initiate uncomfortable conversations surrounding race, sociopolitical subjects, and culture.\u201d<\/span><\/p>\n<\/blockquote>\n

As for Warren\u2019s Reina Calafia<\/i>, allow me to initiate an uncomfortable conversation<\/em>. She actually was a character in Las sergas de Esplandi\u00e1n<\/i> (The Adventures of Esplandi\u00e1n) a chivalric romance novel written by Spanish author Garci Rodr\u00edguez de Montalvo sometime around 1510. Calafia<\/i> was Queen to a race of pagan Black Amazons that lived on an island they called \u201cCalifornia.\u201d The author modeled the name \u201cCalafia\u201d from \u201cCalifa,\u201d Spanish for khalifa (an Islamic state leader).<\/span><\/p>\n

In Montalvo\u2019s novel, an army of women led by Calafia, went to help Muslims overthrow the Christian kingdom established in the city of Constantinople. Instead Queen Calafia met defeat, surrendered, and converted to Christianity. She married a Christian Knight and returned to California to rule over men and women in a Christian monarchy.<\/span><\/p>\n

Warren no doubt painted Reina Calafia<\/i> as a strong BIPOC leader, but he had to utterly ignore the novel by Garci Rodr\u00edguez de Montalvo to do so. Montalvo had just seen Spain freed from Islamic rule when he wrote his book, and he meant his tale of Reina Calafia<\/i> as an indictment against paganists and those who would undermine Christendom. <\/span><\/p>\n

Hern\u00e1n Cort\u00e9s had read Montalvo\u2019s fable of Reina Calafia<\/i>, and there\u2019s little doubt that Cort\u00e9s and his Conquistadors were thinking of the story when they subjugated the mighty Aztec Empire. So much for Shawn Michael Warren communicating \u201cessential human truths.\u201d<\/span><\/p>\n

While Warren\u2019s portrait of Oprah is suddenly found all over the internet, other examples of his art are not so easy to find, especially older works. His personal website displays only 15 paintings and drawings, and all are fairly recent. When conducting a thorough online search for Warren\u2019s art, I found his aforementioned painting, The Siege of Granada: January 2, 1492<\/i>.<\/span><\/p>\n

The title of Warren\u2019s painting refers to the monumental 1492 battle European Christians waged against the Islamic occupying armies that had conquered and colonized Spain. You could also say it was a heroic war waged by Muslims to protect the Umayyad Caliphate<\/a> they had established in Spain; it all depends on where your sympathies lie. But what are Warren\u2019s allegiances?<\/span><\/p>\n

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Shawn Michael Warren painting “The Siege of Granada: January 2, 1492.”<\/figcaption><\/figure>\n

The Islamic invasion and conquest of Spain occurred between 632 and 732, leading to 780 years of Islamic rule. The Muslims referred to Portugal and Spain as \u201cal-Andalus,\u201d and annexed the land into their Caliphate. <\/span><\/p>\n

The Emirate of Granada was established in 1238, and eventually Christian armies from all over Europe gathered to expel the Muslim colonists in a movement known as the Reconquista (Reconquest). <\/span><\/p>\n

In 1492 the armies of King Ferdinand and Queen Isabella (the Royals who sent Christopher Columbus on his fateful mission that same year), put the Islamic armies under siege at the city of Granada. The Islamists surrendered to the Christians on Jan. 2, 1492, forever ending Muslim rule over Spain.<\/span><\/p>\n

The question is, what does Shawn Michael Warren actually think about the\u00a0 <\/span>Muslims conquering Spain, and the Europeans liberating their lands from the Islamic Caliphate. Why did Warren create a painting on the subject? You will not find the answer anywhere online, not even on the artist\u2019s official website, where the painting isn\u2019t even mentioned. <\/span><\/p>\n

Online info regarding Warren\u2019s The Siege of Granada: January 2, 1492<\/i> is scant. T<\/span>he Detroit Hometown Life<\/i> website published a photo essay on the city\u2019s ArtPrize contest of 2016\u2014a competition for wishful artists. Warren\u2019s <\/span>The Siege of Granada: January 2, 1492<\/i> was the 24th entry on the page<\/a>. Only the title and artist\u2019s name was given. The article\u2019s publication date<\/span> gave the likely year of the painting\u2019s creation, 2016.<\/span><\/p>\n

Then I found my one and only clue concerning Warren\u2019s reason for painting The Siege of Granada: January 2, 1492.<\/i><\/span><\/p>\n

I discovered it on the <\/span>SDVoyager website, which published a 2019 interview with Warren<\/a> where he said he had \u201ccompleted a 10-painting series for the Abrahamic Center for Cultural Education in Chicago.\u201d Noting that the narratives for his artworks were \u201cfrom the Quran,\u201d he added that \u201cthe paintings are permanently installed in the Center\u2019s gallery.\u201d<\/span><\/p>\n

If you visit the website of the Abrahamic Center for Cultural Education (ACCE), you will find Warren\u2019s series of Qur’anic paintings<\/a> in the center\u2019s Virtual Tours section. Trust me… they\u2019re nothing to write home about.<\/span><\/p>\n

While Warren\u2019s <\/span>The Siege of Granada: January 2, 1492<\/i><\/span> is not displayed on the Abrahamic Center for Cultural Education website, his collaboration with the Center in illustrating Qur’anic verses gives some insight into what he feels about the actual Siege of Granada and why he painted the theme. <\/span><\/p>\n

It\u2019s interesting that Warren did not include <\/span>The Siege of Granada: January 2, 1492<\/i> on his personal website, which also does not mention his creating paintings for the <\/span>Abrahamic Center<\/span>. One might think Warren would be proud of these artworks, and would want to share them with the public.<\/span><\/p>\n

It\u2019s almost as if Warren, or his benefactors, scrubbed The Siege of Granada: January 2, 1492<\/i> <\/span>from the internet, along with making an attempt to conceal his partnership with the Abrahamic Center. Was this done in order <\/span>to tidy-up his art \u201ccredentials\u201d and extend his \u201cbrand presence\u201d? Excuse me while I <\/span>adjust my tinfoil hat.<\/span><\/p>\n

On Oct. 19, 2023 <\/span>the Abrahamic Center for Cultural Education published an official statement<\/a> regarding their position on the war between Gaza and Israel. In the document the ACCE said they opposed; \u201cthe war crimes and the unlawful occupation endured by the Palestinian people, inflicted upon them by the State of Israel.\u201d The ACCE avowed; \u201cWe acknowledge that this genocide is a byproduct of a colonial settler state, and this cycle of violence will persist as long as people remain under occupation.\u201d<\/span><\/p>\n

The Abrahamic Center for Cultural Education forgot to mention that on <\/span>Oct. 7, 2023, 3000 Hamas gunmen crossed into Israel from Gaza and murdered 1,139 people<\/span>, most of them civilians. <\/span><\/p>\n

Hamas terrorists dragged 248 innocent hostages back into Gaza\u2014women, grandparents, the disabled; among them were 33 children and a 9-month old baby. Some of the Israelis killed or kidnapped that day were peace activists who worked with Palestinians. During the bloodbath, <\/span>from inside Gaza,<\/span> Hamas launched <\/span>1000s of missiles at Israeli civilian targets. <\/span><\/p>\n

Freedom fighters don\u2019t kidnap children and massacre seniors, but bloodthirsty gangsters do.<\/span><\/p>\n

I wonder what <\/span>Oprah Winfrey, <\/span>the Smithsonian, and the <\/span>National Portrait Gallery think of the atrocities committed by Hamas. <\/span>Does <\/span>Shawn Michael Warren still get that warm fuzzy feeling for having cooperated with the <\/span>ACCE, or does he hope people never discover the partnership? <\/span><\/p>\n

But lets get back to <\/span>The Siege of Granada: January 2, 1492<\/i>. Considering <\/span>Warren\u2019s<\/span> well-disposed interactions with the <\/span>Abrahamic Center, and the disdain Muslims generally have for the Christian Crusaders of old, does Warren\u2019s painting celebrate <\/span>the white Europeans who fought to liberate their land, or does it extol the Muslims who battled to keep them enslaved to the Islamic caliphate. Go ahead, take a wild guess.<\/span><\/p>\n

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“The Siege of Granada: January 2, 1492.” Shawn Michael Warren. Oil on canvas. Circa 2016.<\/figcaption><\/figure>\n

Honestly speaking, as a painting The Siege of Granada: January 2, 1492<\/i> reveals the poverty of Warren\u2019s artistic vision. The figures pictured in combat are contrived and awkward. It\u2019s a lifeless, hackneyed painting that is dreadful on every level. By hiding the amateurish thing Warren\u2019s body of work is instantly improved. For goodness sake, I\u2019ve seen better artwork used in the Chivalry II Medieval Warfare<\/a> video game.\u00a0<\/span><\/p>\n

To further make my point, compare <\/span>Warren\u2019s <\/span>The Siege of Granada: January 2, 1492<\/i>, to the illustrious oil painting titled La rendici\u00f3n de Granada<\/i> (The Surrender of Granada), created in 1882 by the Spanish painter Francisco Pradilla Ortiz (1848-1921). It shares the same theme Warren attempted to explore<\/span>… but the comparison stops there.<\/span><\/p>\n

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“La rendici\u00f3n de Granada.” (The Surrender of Granada). Francisco Pradilla Ortiz. Oil on canvas. 1882.<\/figcaption><\/figure>\n

Ortiz captured the moment when the last Muslim ruler of al-Andalus, Abu Abdallah Muhammad XII, surrendered to the King and Queen of Spain. <\/span><\/p>\n

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“The Surrender of Granada.” Francisco Pradilla Ortiz. Detail. A portrayal of King Ferdinand and Queen Isabella.<\/figcaption><\/figure>\n

The realism of the painting is breathtaking, the composition and technique are beyond reproach. The painting draws the viewer in to examine the entire tableau, from the mud in the foreground to the splendid city perched on the hills delineated in the background. <\/span><\/p>\n

Ready to capitulate to the Spanish King and Queen, Muhammad XII is depicted by Ortiz as sitting astride a black warhorse, but it\u2019s the pious looking turbaned warrior holding the stead\u2019s reins that draws my attention.<\/span><\/p>\n

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“The Surrender of Granada.” Francisco Pradilla Ortiz. Detail. A portrayal of Abu Abdallah Muhammad XII.<\/figcaption><\/figure>\n

For me he\u2019s a pivotal detail in the painting. With a few adroit brushstrokes, Ortiz painted the profile of a young man standing barefoot in the mud. He epitomizes all those who fought the bloody conflict. A large sheathed knife is tucked in his belt, from which his shield dangles. The war is over and he accepts defeat. His hand rests on his heart and he bows slightly towards the Spanish King and Queen, suggesting acquiescence. <\/span><\/p>\n

Staring incredulously at King Ferdinand and Queen Isabella, the shocked look on the face of Muhammad XII reveals his disbelief that he\u2019s giving up to infidels. The black horse he rides is wide-eyed and froths at the mouth.<\/span><\/p>\n

With nuanced portraits, multitudinous textures, lavish garments and weapons of war, all detailed with skill and precision, the Ortiz canvas mesmerizes. As a Spaniard, Ortiz likely felt the defeated Muslims in his painting were despotic overlords, yet he painted them sympathetically as stoic men who lost a war and<\/i> their empire.<\/span><\/p>\n

It\u2019s a shame that artists like Francisco Pradilla Ortiz are today nearly impossible to find; contemporary art schools certainly don\u2019t produce them. The moderns have replaced them with the likes of Shawn Michael Warren and Kehinde Wiley, twiddlers who are endlessly praised and given a place of honor in the National Portrait Gallery.<\/span><\/p>\n

Once upon a time the National Portrait Gallery collected and displayed portrait oil paintings and photographs that represented a Pantheon of extraordinary Americans. I once walked through the galleries of the NPG. I discovered in its hallowed halls images produced by superlative artists that depicted high-minded heroic figures like George Washington<\/a>, Thomas Jefferson<\/a>, Alexander Hamilton<\/a>, Sequoyah<\/a>, Abraham Lincoln<\/a>, Harriet Tubman<\/a>, and Frederick Douglass<\/a>.<\/span><\/p>\n

Just imagine, the immortals Abraham Lincoln and Frederick Douglass sharing their place in history with talk show host and billionaire media mogul Oprah Winfrey. What a mockery. Instead, Winfrey\u2019s portrait by Shawn Michael Warren would be better placed on the cover of People Magazine.<\/span><\/p>\n

I once assumed that inclusion in the National Portrait Gallery was based purely on an artist\u2019s merit. If an artist possessed praiseworthy talent, distinctive skills, superlative artistic vision, and their works gave value to our nation\u2019s history and culture… their works would be admitted into the constellation of greats. I no longer believe that.<\/span><\/p>\n

Not long ago Americans visited museums to find beauty, ecstasy, and profundity in art. Sadly, based on the recent history of the National Portrait Gallery, it appears that is no longer the case.<\/span><\/p>\n

It can be argued that today the three Muses, those inspirational goddesses of science, literature, and art, have abandoned us. Our worship of what\u2019s tasteless, pretentious, and kitsch<\/span>, especially our <\/span>fetishization<\/span> of celebrity… has driven them away<\/em>.<\/span><\/p>\n

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\u201cThe Muses.\u201d Eustache Le Sueur. Oil on wood. 1652. In 1648 Le Sueur was a founding member of the French Acad\u00e9mie Royale.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

On Dec. 13, 2023, during a ceremony attended by throngs of media reporters, the National Portrait Gallery (NPG) in Washington, D.C. unveiled a nearly life-size oil painting of Oprah Winfrey. The painting was created by a 37-year-old Black artist from Chicago named Shawn Michael Warren. The newest painting to grace the National Portrait Gallery was commissioned by the Smithsonian Institution,…<\/p>\n","protected":false},"author":3,"featured_media":16935,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kadence_starter_templates_imported_post":false,"_kad_post_transparent":"default","_kad_post_title":"default","_kad_post_layout":"default","_kad_post_sidebar_id":"","_kad_post_content_style":"default","_kad_post_vertical_padding":"default","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","wds_primary_category":0,"footnotes":""},"categories":[37,50,24],"tags":[],"class_list":["post-16933","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-african-american","category-american-art","category-museums"],"acf":[],"_links":{"self":[{"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/posts\/16933","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/comments?post=16933"}],"version-history":[{"count":0,"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/posts\/16933\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/media\/16935"}],"wp:attachment":[{"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/media?parent=16933"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/categories?post=16933"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/art-for-a-change.com\/blog\/wp-json\/wp\/v2\/tags?post=16933"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}