{"id":22381,"date":"2023-01-03T17:10:09","date_gmt":"2023-01-03T22:10:09","guid":{"rendered":"http:\/\/gregcookland.com\/wonderland\/?p=22381"},"modified":"2023-01-04T13:09:51","modified_gmt":"2023-01-04T18:09:51","slug":"winter-art","status":"publish","type":"post","link":"https:\/\/gregcookland.com\/wonderland\/2023\/01\/03\/winter-art\/","title":{"rendered":"What Art To See This Winter"},"content":{"rendered":"
\n

If this is the kind of coverage of arts, cultures and activisms you appreciate, please support Wonderland by contributing to Wonderland on Patreon<\/a>. And sign up for our free, occasional newsletter<\/a> so that you don’t miss any of our reporting. (All content \u00a9Greg Cook 2022 or the respective creators.)<\/em><\/p>\n

\n

\"\"<\/a><\/p>\n

Let Love Quiet Fear<\/a><\/strong>
\nPraise Shadows Art Gallery, Brookline
\nJan. 12 to Feb. 12, 2023
\nTo coincide with the debut of \u201cThe Embrace,\u201d the Martin Luther King Jr. monument on Boston Common, artists from Boston, New York, and Washington, D.C., present art inspired by King and \u201chis concept of agape \u2014 the highest form of love that can only be known when we allow ourselves to let go of fear and anger, and recognize our innate interconnectedness.\u201d Artists include Paul Briggs,\u00a0Erin Genia,\u00a0Eric Gottesman,\u00a0Ekua Holmes,\u00a0DA Mekonnen,\u00a0Helina Metaferia,\u00a0Jo Nanajian,\u00a0Kiyomi Quinn Taylor,\u00a0Hank Willis Thomas, and\u00a0Yu-Wen Wu.<\/p>\n

\n
\"Hank<\/a>
Hank Willis Thomas rendering for \u201cThe Embrace,” Boston Common.<\/figcaption><\/figure>\n

Unveiling of ‘The Embrace’<\/a><\/strong>
\nJan. 13, 2023, 1 p.m.
\nBoston Common
\nNew York artist Hank Willis Thomas\u2019s landmark public artwork \u201cThe Embrace\u201d debuts on Boston Common. \u201cThe memorial commemorates the legacies of Dr. Martin Luther King, Jr., and Coretta Scott King, who met and went to school in Boston, and the civil rights leaders who worked alongside them in Boston,\u201d according to Embrace Boston, which commissioned the artwork.<\/p>\n

\n
\"Mary<\/a>
Mary Blood Mellen, “Field Beach, Stage Fort Park,” 1850s.<\/figcaption><\/figure>\n

The Art of Mary Blood Mellen<\/a><\/strong>
\nCape Ann Museum, Gloucester
\nJan. 13 to May 21, 2023
\nA look at Massachusetts painter Mary Blood Mellen (1819-1886), who copied the crystalline seascapes of her mentor, Gloucester\u2019s Fitz Henry Lane. See how her renderings feature \u201ca more vivid color palette than Lane\u2019s and a tendency towards softer, less meticulous brushwork, a preference that often makes her work feel more painterly.\u201d<\/p>\n

\n
\"Christian<\/a>
Christian Robinson, illustration for \u201cJust in Case You Want to Fly\u201d by Julie Fogliano (Roaring Brook Press), 2019.<\/figcaption><\/figure>\n

What Might You Do? Christian Robinson<\/a><\/strong>
\nEric Carle Museum, of Picture Book Art Amherst
\nJan.14 to June 4, 2023
\nThe 2015 picture book \u201cLast Stop on Market Street,\u201d written by Matt de la Pe\u00f1a and illustrated by California artist Christian Robinson, won a Caldecott Honor, a Coretta Scott King Illustrator Honor,\u00a0and the Newbery Medal. Robinson\u2019s expressionist collage technique and diverse subjects have made him one of the standout illustrators of this generation. This exhibition surveys his artwork for 17 books.<\/p>\n

\n
\"Cy<\/a>
Cy Twombly, \u201cLeaving Paphos Ringed with Waves (III),\u201d 2009, acrylic on canvas.<\/figcaption><\/figure>\n

Making Past Present: Cy Twombly<\/a><\/strong>
\nJanuary 14\u2013May 7, 2023
\nMuseum of Fine Arts, Boston
\n\u201cModern Art isn\u2019t dislocated, but something with roots, tradition, and continuity. For myself,\u201d Cy Twombly (1928\u20132011) wrote, \u201cthe past is the source (for all art is vitally contemporary).\u201d Known for how he turned graffiti and scribbles into effervescent abstractions, this exhibition explores the inspirations he took from ancient Greece, Rome and Egypt.<\/p>\n

\n
\"Books<\/a>
Books by Joel Christian Gill<\/figcaption><\/figure>\n

Comics Is A Medium, Not A Genre<\/a><\/strong>
\nJan. 19 \u2013 March 24, 2023
\nBoston University\u2019s Stone Gallery, Boston
\nJoel Christian Gill, creator of Black history comics \u201cStrange Fruit\u201d and the autobiographical graphic novel \u201cFights,\u201d curates an exhibition that endeavors to demonstrate the potential of comics: \u201cComics are an expressive medium that artists use to tell stories, and those stories can be anything.\u201d<\/p>\n

\n
\"Allison<\/a>
Allison Maria Rodriguez, \u201cLegends Breathe: Fairy Tales,\u201d video still, multi-channel video installation.<\/figcaption><\/figure>\n

Allison Maria Rodriguez: Legends Breathe<\/a><\/strong>
\nMontserrat College of Art Gallery, Beverly
\nJan. 23 to March 4, 2023
\nAn immersive video installation by the first-generation Cuban-American artist who resides in the Boston area. \u201cBased on interviews with female-identified and non-binary artists about childhood fantasies, \u2018Legends Breathe\u2019 comprises a series of video portraits that bring these fantasies to life and as part of processes of healing and survival,\u201d according to organizers.<\/p>\n

\n
\"May<\/a>
May Stevens, \u201cForming the Fifth International,\u201d 1985, acrylic on canvas.<\/figcaption><\/figure>\n

May Stevens: My Mothers<\/a><\/strong>
\nMassArt Art Museum, Boston
\nJan. 26 to May 21, 2023
\nBoston native May Stevens (1924-2019) made politics the engine of her painting. A founding member of both the Guerrilla Girls and the collective feminist journal \u201cHeresies,\u201d exhibition organizers write, \u201cthrough figurative paintings, photocopied and collaged works, colorful political pop canvases, and somber efficient sketches, she criticized American patriarchy, championed the Civil Rights movement, and imbued Marxist ideals into everyday life.\u201d<\/p>\n

\n
\"Rachel<\/a>
Rachel Gloria Adams, \u201cMiami Dip,\u201d dyed cotton and linen with latex paint, 2022.<\/figcaption><\/figure>\n

2023 CMCA Biennial<\/a><\/strong>
\nCenter for Maine Contemporary Art, Rockland, Maine
\nJan. 28 to May 7, 2023
\nThis edition of the \u201clongest-running statewide juried exhibition in Maine\u201d highlights the latest developments from 35 Maine-based and connected artists.<\/p>\n

\n
\"Joe<\/a>
Joe Wood, “Loopy” Brooch in Brushed Silver, 2002, silver electroformed from 3D print with patina. (Photo by Dean Powell)<\/figcaption><\/figure>\n

Creative Alloys: The Boston Metals Scene<\/a><\/strong>
\nFuller Craft Museum, Brockton
\nJan. 28 to June 4, 2023
\nSpotlights Boston\u2019s vibrant metalsmithing and jewelry community over the past half century.<\/p>\n

\n
\"Daniel<\/a>
Daniel Steele, \u201cTunebook,\u201d 1821, watercolor and ink on paper, 5 x 8 1\/2 inches (closed). Collection American Folk Art Museum, New York. (Photo by Gavin Ashworth)<\/figcaption><\/figure>\n

American Perspectives<\/a><\/strong>
\nPortland Museum of Art, Maine
\nFeb. 3 to May 7, 2023
\nMore than 70 quilts, embroideries, assemblages, potteries, paintings and sculptures from the collection of the American Folk Art Museum in New York showcase folk and self-taught art in the United States from the 18th century to today.<\/p>\n

\n
\"Alma<\/a>
Alma Thomas, \u201cRuth Kainen\u2019s Amaryllis,\u201d 1976, acrylic on canvas.<\/figcaption><\/figure>\n

Women and Abstraction: 1741\u2013Now<\/a><\/strong>
\nAddison Gallery of American Art, Andover
\nJan 29 to July 31, 2023
\nDrawn almost entirely from the museum\u2019s permanent collection, this exhibition proposes a \u201cmore nuanced and expansive history of the development of abstraction in America\u201d by including artworks \u201ccreated hundreds of years before the advent of Abstract Expressionism as well as objects historically denied the status of fine art.\u201d<\/p>\n

\n
\"Tsherin<\/a>
Tsherin Sherpa, Skippers (Kneedeep), 2019\u201320. Gold leaf, acrylic, and ink on fiberglass.<\/figcaption><\/figure>\n

Spirits: Tsherin Sherpa with Robert Beer<\/a><\/strong>
\nPeabody Essex Museum, Salem
\nFeb. 4 to May 29, 2023
\nContemporary Himalayan artist Tsherin Sherpa\u2019s paintings and sculptures \u201care grounded in the traditional Buddhist art of his training but stretch, bend, reconfigure, and repurpose its forms to explore contemporary concerns.\u201d Plus line drawings by British artist Robert Beer, \u201clauded as the first Westerner to study thangka painting.\u201d<\/p>\n

\n
\"Daniel<\/a>
Daniel Giordano, \u201cMy Scorpio I,\u201d 2016\u201319, 1970s Husqvarna motocross bikes, aluminum, Canadian maple syrup, cattails, ceramic, deep-fried batter, epoxy, phosphorescent acrylic paint, plastic wrap, railroad spikes, steel, stockfish, urinal cake. (Photo: Ernesto Eisner)<\/figcaption><\/figure>\n

Daniel Giordano: Love from Vicki Island<\/strong><\/a>
\nMassachusetts Museum of Contemporary Art (MASS MoCA), North Adams
\nOpens Feb. 4, 2023
\nWorking in his family\u2019s defunct factory in Newburgh, New York, Daniel Giodano sculpts assemblages from \u201cindustrial artifacts, foodstuffs from prosciutto to Italian nougat, and organic matter including ticks and bald eagle excrement\u201d to create \u201ccomplex portraits of the artist and his [Italian-American] family, as well as a city\u2014and a nation\u2014struggling to reconcile the past with the present.\u201d<\/p>\n

\n
\"Lyle<\/a>
Lyle Ashton Harris, \u201cSuccession,\u201d 2020, Ghanain cloth, dye sublimination prints, and artist\u2019s ephemera.<\/figcaption><\/figure>\n

Lyle Ashton Harris: Our first and last love<\/a><\/strong>
\nRose Art Museum, Brandeis University, Waltham
\nFebruary 9, 2023 – July 2, 2023
\nThe New York artist\u2019s photographs and installations offer a \u201ccritical examination of identity and self-portraiture while tracing central themes and formal approaches in his work of the last 35 years.\u201d<\/p>\n

\n
\"Betye<\/a>
Betye Saar, \u201cKingdom of the Spirits\u201d (detail), 1991, mixed media assemblage. (Photo: Robert Wedemeyer)<\/figcaption><\/figure>\n

Betye Saar: Heart of a Wanderer<\/a><\/strong>
\nIsabella Stewart Gardener Museum, Boston
\nFeb. 16 to May 21, 2023
\nBetye Saar, a leading figure of the 1970s Black Arts Movement, is known for her magical assemblages\u2014including her iconic 1972 \u201cLiberation of Aunt Jemima.\u201d This exibition collects the Los Angeles artist\u2019s sketchbooks and finished artworks inspired by trips to Africa, Asia, Europe, and the Americas, reflecting on race, colonialism, forced migration, and spiritual systems.<\/p>\n

\n
\"Mar\u00eda<\/a>
Mar\u00eda Berr\u00edo, \u201cCavalry,\u201d 2022, collage with Japanese paper and watercolor paint on canvas.<\/figcaption><\/figure>\n

Mar\u00eda Berr\u00edo: The Children\u2019s Crusade<\/a><\/strong>
\nInstitute of Contemporary Art, Boston
\nFeb. 16 to Aug. 6, 2023
\nNew York-based, Colombian-born artist Mar\u00eda Berr\u00edo\u2019s paintings blend the history of Europe\u2019s Children\u2019s Crusade of 1212 with the contemporary mass movement of migrants, women and children across borders.<\/p>\n

\n
\"Nancy<\/a>
Nancy Elizabeth Prophet,\u00a0\u201cDiscontent,\u201d 1920s.<\/figcaption><\/figure>\n

Nancy Elizabeth Prophet: I will not bend an inch<\/a><\/strong>
\nRhode Island School of Design Museum, Providence
\nFeb. 17 to Aug. 4, 2024
\nNancy Elizabeth\u00a0Prophet\u00a0(1890-1960), the first women of color to\u00a0graduate from RISD, turned her academic training to a \u201cdistinctly Modernist sensibility\u201d as she was living as an expatriate in Paris between the world wars. The exhibition features sculptures in marble and wood, painted wood friezes, watercolors, and photographic presentations of archival documents and lost or destroyed sculptures.<\/p>\n

\n
\"Keith<\/a>
Keith Haring “TV Hydra” chalk on paper.<\/figcaption><\/figure>\n

Keith Haring: Subway Drawings<\/strong><\/a>
\nBrattleboro Museum & Art Center, Vermont
\nFeb.18 – April 16, 2023
\nWitness the birth of Keith Haring\u2019s signature cartoony style in original chalk drawings that he graffitied on advertising spaces in New York\u2019s subways in the early 1980s.<\/p>\n

\n
\"Alison<\/a>
Alison Elizabeth Taylor, \u201cThe Desert Inn,\u201d 2017, marquetry hybrid: wood veneer, acrylic, glitter, museum board, mica and shellac.<\/figcaption><\/figure>\n

Alison Elizabeth Taylor: The Sum of It<\/a><\/strong>
\nAddison Gallery of American Art, Andover
\nFeb. 18 to July 31, 2023
\nAlison Elizabeth Taylor deploys the centuries-old practice of marquetry (think mosaics made of pieced together wood) to depict \u201cgritty and provocative subject matter.\u201d<\/p>\n

\n
\"Jace<\/a>
Jace Clayton, \u201c40 Part Part,\u201d 2022. (Photo: Field Studio Photography)<\/figcaption><\/figure>\n

Jace Clayton: They Are Part<\/a><\/strong>
\nMassArt Art Museum, Boston
\nFeb. 23\u2013May 14, 2023
\nJace Clayton pens musical compositions, creates new audio instruments, and constructs participatory installations to create \u201cmultisensory experiences that explore the unexpected and conversational nature of music from around the world.\u201d<\/p>\n

\n
\"Alison<\/a>
Alison Nguyen, \u201cmy favorite software is being here\u201d (still), 2020-21, HD video, color, sound.<\/figcaption><\/figure>\n

List Projects 26: Alison Nguyen<\/a><\/strong>
\nMIT List Visual Arts Center, Cambridge
\nFeb. 23 to June 26, 2023
\nNew York artist Alison Nguyen premieres a moving image installation, \u201chistory as hypnosis\u201d (2023), in which three women \u201cwho are programmed by artificial intelligence and whose memories from their previous existence have been erased\u201d search for a man named X across California desert to gas stations, gritty strip malls, starchitect-designed buildings and underground enclaves.<\/p>\n

\n
\"Artist<\/a>
Artist active in the Viceroyalty of Peru, after Diego de Oca\u00f1a (1585\u20131608), \u201cOur Lady of Guadalupe at Extremadura,\u201d 1730\u201380, oil on canvas. (Photo by Jamie Stukenberg)<\/figcaption><\/figure>\n

From the Andes to the Caribbean: American Art from the Spanish Empire<\/a><\/strong>
\nHarvard Art Museums, Cambridge
\nMarch 3 to July 30, 2023
\nTwenty-six paintings from the Carl & Marilynn Thoma Foundation and the Harvard Art Museums illuminate \u201cthe political and spiritual work of Catholic icons, the ways in which empire begets hybrid cultural identities, and the relationship between labor, wealth, and luxury.\u201d<\/p>\n

\n
\"Nelson<\/a>
Nelson Stevens, \u201cPrimal Force,\u201d 2019, serigraph.<\/figcaption><\/figure>\n

Nelson Stevens: Color Rapping<\/a><\/strong>
\nSpringfield Museums: D\u2019Amour Museum of Fine Arts, Springfield
\nMarch 4 to July 9, 2023
\n\u201cI create from the rhythmic color-rappin-life-style of Black folk. I believe that art can breathe life, and life is what we are about,\u201d wrote Nelson Stevens (American, 1938-2022). An early member of AfriCOBRA (the African Commune of Bad Relevant Artists), the Black Power psychedelic activist art collective from Chicago, he landed in Springfield, Massachusetts, as he taught at he University of Massachusetts Amherst from 1972 to 2003. And in the early 1970s, he initiated a public art project that produced more than 30 murals throughout Springfield.<\/p>\n

\n
\"Dave<\/a>
Dave (or David Drake), storage jar, 1857, stoneware with alkaline glaze.<\/figcaption><\/figure>\n

Hear Me Now: The Black Potters of Old Edgefield, South Carolina<\/a><\/strong>
\nMuseum of Fine Arts, Boston
\nMarch 4 to July 9, 2023
\nArt and enslavement are themes in this landmark exhibition surveying monumental storage jars by the enslaved and literate potter and poet Dave or David Drake (about 1800\u2013about 1870) plus rare examples of utilitarian wares and face vessels by unrecorded makers who worked in the Old Edgefield District of South Carolina, a center of stoneware production in the decades before the U.S. Civil War. The historical show is augmented by contemporary responses by Theaster Gates, Simone Leigh, Adebunmi Gbadebo, Woody De Othello, and Robert Pruitt.<\/p>\n

\n
\"Paul<\/a>
Paul Goesch, \u201cVisionary Design for an Arch,\u201d c. 1921, graphite and gouache.<\/figcaption><\/figure>\n

Portals: The Visionary Architecture of Paul Goesch<\/a><\/strong>
\nClark Art Institute, Williamstown
\nMarch 18 to June 11, 2023
\nVisionary paintings by Paul Goesch (1885\u20131940), an artist and architect in Weimar Germany. He was a \u201cspiritualist steeped in diverse religious and esoteric belief systems, as well as his altered psychological states,\u201d and struggled with schizophrenia, for which he was institutionalized, and ultimately murdered by the Nazis.<\/p>\n

\n
\"Jeff<\/a>
Jeff Weaver, “Tally’s Corner,” 2003.<\/figcaption><\/figure>\n

This Unique Place: Painting and Drawings by Jeff Weaver<\/a><\/strong>
\nCape Ann Museum, Gloucester
\nMarch 18 to June 4, 2023
\nGloucester artist Jeff Weaver\u2019s oil paintings, pastels and charcoals evoke the legend of the commercial fishing city, with echoes of Edward Hopper.<\/p>\n

\n
\"Nora<\/a>
Nora Krug, \u201cA Little Souvenir,\u201d 2018, from \u201cBelonging.\u201d<\/figcaption><\/figure>\n

Nora Krug: Belonging and On Tyranny<\/a><\/strong>
\nNorman Rockwell Museum, Stockbridge
\nMarch 18 through June 19, 2023
\n\u201cImages have political power, and they can change the way we think. Illustrating is also an act of witnessing: images compel us to notice and investigate, and at their best, they shed light on and at the same time critically confront the subjects they engage with,\u201d writes the German-American author and illustrator Nora Krug. This exhibition features illustrations from her graphic memoir, \u201cBelonging: A German Reckons With History and Home,\u201d and her illustrated version of Yale historian Timothy Snyder\u2019s\u00a0\u201cOn Tyranny: Twenty\u00a0Lessons from the Twentieth Century.\u201d<\/p>\n

\n
\"Katsushika<\/a>
Katsushika Hokusai, \u201cUnder the Wave off Kanagawa (Kanagawa-oki nami-ura),\u201d also known as \u201cThe Great Wave,\u201d from the series \u201cThirty-six Views of Mount Fuji (Fugaku sanj\u016brokkei),\u201d Japanese, Edo period, about 1830\u201331 (Tenp\u014d 1\u20132). Woodblock print (nishiki-e); ink and color on paper.<\/figcaption><\/figure>\n

Hokusai: Inspiration and Influence<\/a><\/strong>
\nMuseum of Fine Arts, Boston
\nMarch 26 to July 16, 2023
\n\u201cUntil the age of 70, nothing that I drew was worthy of notice,\u201d Katsushika Hokusai (1760\u20131849) wrote. It was at that wise age that the Japanese artist created his \u201cThirty-Six Views of Mount Fuji\u201d woodcut series, including \u201cUnder the Wave off Kanagawa (Kanagawa-oki nami-ura)\u201d also known as \u201cThe Great Wave,\u201d which has become one of the most famous artworks in the world. This exhibition demonstrate Hokusai\u2019s influence by bringing together more than 90 woodblock prints, paintings, and illustrated books by Hokusai with more than 200 works by his teachers, students, rivals, and admirers, including his daughter Katsushika \u014ci, his contemporaries Utagawa Hiroshige and Utagawa Kuniyoshi, the 19th-century French Japonistes, and modern and contemporary artists including Lo\u00efs Mailou Jones, John Cederquist, and Yoshitomo Nara.<\/p>\n

\n

\"\"<\/a><\/p>\n

Solidarity! Transnational Feminisms Then and Now<\/a><\/strong>
\nPoorvu Gallery, Schlesinger Library, Harvard University\u2019s Radcliffe Institute, Cambridge
\nMarch 27 to Oct.16, 2023
\nFeminist posters, newspapers, photographs and memorabilia from the 1970s to the present reveal \u201cthe complex, vexed history of international women\u2019s rights, sisterhood, and alliance\u201d through the lens of the United Nations International Women\u2019s conferences held in Mexico City in 1975, Copenhagen in 1980, Nairobi in 1985, and Beijing in 1995. \u201cThese conferences shaped a new global agenda for women\u2019s causes on the international stage. Women from around the world debated the possibilities of an international feminist alliance and reimagined civil rights for women through conference themes of equality, peace, and development,\u201d exhibition organizers write.<\/p>\n

\n

If this is the kind of coverage of arts, cultures and activisms you appreciate, please support Wonderland by contributing to Wonderland on Patreon<\/a>. And sign up for our free, occasional newsletter<\/a> so that you don’t miss any of our reporting. (All content \u00a9Greg Cook 2022 or the respective creators.)<\/em><\/p>\n

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If this is the kind of coverage of arts, cultures and activisms you appreciate, please support Wonderland by contributing to Wonderland on Patreon. And sign up for our free, occasional newsletter so that you don’t miss any of our reporting. (All content \u00a9Greg Cook 2022 or the respective creators.) Let Love Quiet Fear Praise Shadows […]<\/p>\n","protected":false},"author":1,"featured_media":22422,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[],"_links":{"self":[{"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/posts\/22381"}],"collection":[{"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/comments?post=22381"}],"version-history":[{"count":22,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/posts\/22381\/revisions"}],"predecessor-version":[{"id":22460,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/posts\/22381\/revisions\/22460"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/media\/22422"}],"wp:attachment":[{"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/media?parent=22381"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/categories?post=22381"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gregcookland.com\/wonderland\/wp-json\/wp\/v2\/tags?post=22381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}