{"id":154947,"date":"2021-10-06T13:57:51","date_gmt":"2021-10-06T17:57:51","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=154947"},"modified":"2021-10-07T16:44:17","modified_gmt":"2021-10-07T20:44:17","slug":"committed-to-memory-josephine-halvorson-and-georgia-okeeffe","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/","title":{"rendered":"Committed to Memory: Josephine Halvorson and Georgia O’Keeffe"},"content":{"rendered":"
\"\"<\/a>

Ghost Ranch, 2019. Fuji Instax photographs taken by Josephine Halvorson in and around Georgia O\u2019Keeffe\u2019s houses, New Mexico, 2019\u20132020.<\/p><\/div>\n

There\u2019s a certain weather-beaten tree stump at Ghost Ranch\u2014the U-shaped, adobelike home once occupied by the famed American Modernist painter Georgia O\u2019Keeffe\u2014where Josephine Halvorson, the first artist-in-residence at Santa Fe\u2019s Georgia O\u2019Keeffe Museum, often took breaks from her own work. It offered her a clear view of Cerro Pedernal, the narrow New Mexican mesa that appears in many of O\u2019Keeffe\u2019s desert paintings, and where the artist\u2019s ashes are scattered. From here Halvorson could observe weather patterns forming around the mesa\u2019s caprock, circling the top and then sweeping theatrically down its cliff face, racing across the plain toward her. <\/span><\/p>\n

Halvorson makes paintings on-site, in proximity to the objects she hopes to commemorate, and the museum offered her access to a rich archive of letters, clothing, books, as well as O\u2019Keeffe\u2019s two homes, Ghost Ranch and nearby Abiqui\u00fa. Halvorson spent two months there: one in the summer of 2019 and another a year later, during the pandemic.\u00a0<\/span><\/p>\n

\u201cIt was through the sense of quiet and closeness that I connected with her things,\u201d Halvorson recalls. \u201cThe museum registrar would open a cabinet or put the group of keys out on the table for me. No one who visited me was permitted to come into the house, so it was really just me there alone, working every day from dawn till dusk.\u201d In Abiqui\u00fa, Halvorson made intimate acrylic gouache paintings of the tree stump, a curious grouping of tagged keys, and the interior of <\/span>a kitchen cupboard stacked with O\u2019Keeffe\u2019s dishes. Wishing to manifest a sense of place, she used the same close crops to capture a National Forest sign complete with target practice holes, as well as an abandoned pile of kindling that she conceived as a memorial to her father, whose loss she was grieving\u2014he had passed from coronavirus that year. Her still lifes are all framed by wide, chalky-colored \u201csurrounds\u201d that draw on the dusty hues of the area. Halvorson regards these as visual \u201cbuffer zones\u201d between the object in situ and the white gallery wall. Each has a surface made rough by small rocks, which Halvorson collected on the property and then ground up to be preserved in paint as a geological account of the place and time. \u201cThe rocks represent a much deeper past than what I\u2019m able to paint in real time,\u201d she explains. The result is a series of paintings, eleven in all, that read like tightly framed long-exposure snapshots. <\/span>The greatest challenge, Halvorson said, was \u201cto make art that isn\u2019t about O\u2019Keeffe, but is instead in relation to her.\u201d<\/span><\/p>\n

 <\/p>\n

\"\"<\/a>

Painting O\u2019Keeffe\u2019s Stump<\/em>, Ghost Ranch, 2019.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Painting O\u2019Keeffe\u2019s Rocks<\/em>, Ghost Ranch, 2019.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Painting O\u2019Keeffe\u2019s Dishes<\/em>, Ghost Ranch, 2019.<\/p><\/div>\n

 <\/p>\n

\"\"

Painting O\u2019Keeffe\u2019s Keys<\/em>, Ghost Ranch, 2019.<\/p><\/div>\n

 <\/p>\n

\"\"

Painting National Forest Boundary Sign<\/em>, near Abiqui\u00fa, New Mexico, 2020.<\/p><\/div>\n

 <\/p>\n

\"\"

Painting Sacred Site<\/em>, near Abiqui\u00fa, New Mexico, 2020.<\/p><\/div>\n

 <\/p>\n

Contemporary Voices: Josephine Halvorson<\/span><\/i><\/a> opens to the public on October 1 and runs through March 28, 2022.<\/span><\/p>\n

Charlotte Strick is a principal at the award-winning, multidisciplinary, Brooklyn-based design firm, Strick&Williams<\/a>. Her writings on art and design have appeared in <\/em>The Atlantic,<\/em> HuffPost, and <\/em>The Paris Review, where she was the magazine\u2019s art editor and designer from 2010\u20132021.<\/em>\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u201cIt was through the sense of quiet and closeness that I connected with her things.\u201d<\/p>\n","protected":false},"author":384,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[32024],"tags":[35,5770,68296,2325,67,100],"class_list":["post-154947","post","type-post","status-publish","format-standard","hentry","category-on-art","tag-art","tag-georgia-okeefe","tag-josephine-halvorson","tag-new-mexico","tag-painting","tag-photography"],"acf":[],"yoast_head":"\nCommitted to Memory: Josephine Halvorson and Georgia O'Keeffe by Charlotte Strick<\/title>\n<meta name=\"description\" content=\"October 6, 2021 \u2013 \u201cIt was through the sense of quiet and closeness that I connected with her things.\u201d\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Committed to Memory: Josephine Halvorson and Georgia O'Keeffe by Charlotte Strick\" \/>\n<meta property=\"og:description\" content=\"October 6, 2021 \u2013 \u201cIt was through the sense of quiet and closeness that I connected with her things.\u201d\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/\" \/>\n<meta property=\"og:site_name\" content=\"The Paris Review\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/parisreview\/\" \/>\n<meta property=\"article:published_time\" content=\"2021-10-06T17:57:51+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-10-07T20:44:17+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1172\" \/>\n\t<meta property=\"og:image:height\" content=\"1545\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Charlotte Strick\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@parisreview\" \/>\n<meta name=\"twitter:site\" content=\"@parisreview\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Charlotte Strick\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/\"},\"author\":{\"name\":\"Charlotte Strick\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/e3283d444b3b3db46b710ac25fcd29a7\"},\"headline\":\"Committed to Memory: Josephine Halvorson and Georgia O’Keeffe\",\"datePublished\":\"2021-10-06T17:57:51+00:00\",\"dateModified\":\"2021-10-07T20:44:17+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/\"},\"wordCount\":623,\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1-777x1024.jpg\",\"keywords\":[\"art\",\"Georgia O'Keefe\",\"Josephine halvorson\",\"New Mexico\",\"painting\",\"photography\"],\"articleSection\":[\"On Art\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/\",\"name\":\"Committed to Memory: Josephine Halvorson and Georgia O'Keeffe by Charlotte Strick\",\"isPartOf\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1-777x1024.jpg\",\"datePublished\":\"2021-10-06T17:57:51+00:00\",\"dateModified\":\"2021-10-07T20:44:17+00:00\",\"description\":\"October 6, 2021 \u2013 \u201cIt was through the sense of quiet and closeness that I connected with her things.\u201d\",\"breadcrumb\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#primaryimage\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1.jpg\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1.jpg\",\"width\":1172,\"height\":1545},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/www.theparisreview.org\/blog\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Committed to Memory: Josephine Halvorson and Georgia O’Keeffe\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#website\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"name\":\"The Paris Review\",\"description\":\"The best prose, interviews, poetry, and art. Since 1953.\",\"publisher\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#organization\",\"name\":\"The Paris Review\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"contentUrl\":\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png\",\"width\":696,\"height\":696,\"caption\":\"The Paris Review\"},\"image\":{\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/\"},\"sameAs\":[\"https:\/\/www.facebook.com\/parisreview\/\",\"https:\/\/x.com\/parisreview\",\"https:\/\/www.instagram.com\/parisreview\"]},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/e3283d444b3b3db46b710ac25fcd29a7\",\"name\":\"Charlotte Strick\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/4d89e8ccc9fa973d4472a3869fef89c9066e7e4ada7033505d666bd4076d9f02?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/4d89e8ccc9fa973d4472a3869fef89c9066e7e4ada7033505d666bd4076d9f02?s=96&d=mm&r=g\",\"caption\":\"Charlotte Strick\"},\"url\":\"https:\/\/www.theparisreview.org\/blog\/author\/cstrick\/\"}]}<\/script>\n<!-- \/ Yoast SEO Premium plugin. -->","yoast_head_json":{"title":"Committed to Memory: Josephine Halvorson and Georgia O'Keeffe by Charlotte Strick","description":"October 6, 2021 \u2013 \u201cIt was through the sense of quiet and closeness that I connected with her things.\u201d","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/","og_locale":"en_US","og_type":"article","og_title":"Committed to Memory: Josephine Halvorson and Georgia O'Keeffe by Charlotte Strick","og_description":"October 6, 2021 \u2013 \u201cIt was through the sense of quiet and closeness that I connected with her things.\u201d","og_url":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/","og_site_name":"The Paris Review","article_publisher":"https:\/\/www.facebook.com\/parisreview\/","article_published_time":"2021-10-06T17:57:51+00:00","article_modified_time":"2021-10-07T20:44:17+00:00","og_image":[{"width":1172,"height":1545,"url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1.jpg","type":"image\/jpeg"}],"author":"Charlotte Strick","twitter_card":"summary_large_image","twitter_creator":"@parisreview","twitter_site":"@parisreview","twitter_misc":{"Written by":"Charlotte Strick","Est. reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#article","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/"},"author":{"name":"Charlotte Strick","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/e3283d444b3b3db46b710ac25fcd29a7"},"headline":"Committed to Memory: Josephine Halvorson and Georgia O’Keeffe","datePublished":"2021-10-06T17:57:51+00:00","dateModified":"2021-10-07T20:44:17+00:00","mainEntityOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/"},"wordCount":623,"publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1-777x1024.jpg","keywords":["art","Georgia O'Keefe","Josephine halvorson","New Mexico","painting","photography"],"articleSection":["On Art"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/","url":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/","name":"Committed to Memory: Josephine Halvorson and Georgia O'Keeffe by Charlotte Strick","isPartOf":{"@id":"https:\/\/www.theparisreview.org\/blog\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#primaryimage"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#primaryimage"},"thumbnailUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1-777x1024.jpg","datePublished":"2021-10-06T17:57:51+00:00","dateModified":"2021-10-07T20:44:17+00:00","description":"October 6, 2021 \u2013 \u201cIt was through the sense of quiet and closeness that I connected with her things.\u201d","breadcrumb":{"@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#primaryimage","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1.jpg","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/09\/ghost-ranch-house-1-1.jpg","width":1172,"height":1545},{"@type":"BreadcrumbList","@id":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/06\/committed-to-memory-josephine-halvorson-and-georgia-okeeffe\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/www.theparisreview.org\/blog\/"},{"@type":"ListItem","position":2,"name":"Committed to Memory: Josephine Halvorson and Georgia O’Keeffe"}]},{"@type":"WebSite","@id":"https:\/\/www.theparisreview.org\/blog\/#website","url":"https:\/\/www.theparisreview.org\/blog\/","name":"The Paris Review","description":"The best prose, interviews, poetry, and art. Since 1953.","publisher":{"@id":"https:\/\/www.theparisreview.org\/blog\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.theparisreview.org\/blog\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/www.theparisreview.org\/blog\/#organization","name":"The Paris Review","url":"https:\/\/www.theparisreview.org\/blog\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/","url":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","contentUrl":"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2025\/04\/tpr-hadada-roundell-logo-square.png","width":696,"height":696,"caption":"The Paris Review"},"image":{"@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/parisreview\/","https:\/\/x.com\/parisreview","https:\/\/www.instagram.com\/parisreview"]},{"@type":"Person","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/e3283d444b3b3db46b710ac25fcd29a7","name":"Charlotte Strick","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/www.theparisreview.org\/blog\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/4d89e8ccc9fa973d4472a3869fef89c9066e7e4ada7033505d666bd4076d9f02?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/4d89e8ccc9fa973d4472a3869fef89c9066e7e4ada7033505d666bd4076d9f02?s=96&d=mm&r=g","caption":"Charlotte Strick"},"url":"https:\/\/www.theparisreview.org\/blog\/author\/cstrick\/"}]}},"_links":{"self":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/154947","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/users\/384"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/comments?post=154947"}],"version-history":[{"count":30,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/154947\/revisions"}],"predecessor-version":[{"id":155200,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/posts\/154947\/revisions\/155200"}],"wp:attachment":[{"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/media?parent=154947"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/categories?post=154947"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theparisreview.org\/blog\/wp-json\/wp\/v2\/tags?post=154947"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}