{"id":104975,"date":"2023-08-14T22:18:00","date_gmt":"2023-08-15T03:18:00","guid":{"rendered":"http:\/\/id-andrea.cms-devl.bu.edu\/cfa\/?post_type=bu-article&#038;p=104975"},"modified":"2023-11-16T17:48:31","modified_gmt":"2023-11-16T22:48:31","slug":"our-fragmented-selves-hoda-kashiha","status":"publish","type":"bu-article","link":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/magazine\/articles\/2023\/our-fragmented-selves-hoda-kashiha\/","title":{"rendered":"Our Fragmented Selves"},"content":{"rendered":"\t<div class=\"wp-block-editorial-leadin magazine-block-editorial-leadin is-style-emphasis-on-text has-media has-box has-media-focus-center-middle has-quaternary-theme\">\n\t\t<div class=\"container-lockup\">\n\n\t\t\t<div class=\"wp-block-leadin-media\">\n\t\t\t\t\n\t\t\t\t<img width=\"2560\" height=\"1706\" src=\"\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--scaled.jpg\" class=\"\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--scaled.jpg 2560w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--636x424.jpg 636w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--1024x683.jpg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--768x512.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--1536x1024.jpg 1536w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--2048x1365.jpg 2048w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--1500x1000.jpg 1500w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--900x600.jpg 900w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--450x300.jpg 450w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/in-appreciation-of-blinking--600x400.jpg 600w\" sizes=\"(max-width: 2560px) 100vw, 2560px\" \/>\n\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\n\n\t\t\t\n\t\t\t\t<div class=\"container-words-outer\">\n\n\t\t\t\t\t\t\t\t\t\t\t<p class=\"wp-block-editorial-leadin-caption wp-prepress-component-caption\"><em>In Appreciation of Blinking <\/em>(2021) Acrylic, silkscreen print, and wood glue on canvas (set of eight works); each canvas 83 x 69 in. <em>All images courtesy of Kashiha<\/em><\/p>\n\t\t\t\t\t\n\t\t\t\t\t<div class=\"container-words-inner\">\n\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<span class=\"wp-prepress-tag\">CFA Alumni<\/span>\n\t\t\t\t\t\t\t\t<h1 class=\"head\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tOur Fragmented Selves\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/h1>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t<h4 class=\"deck\">Hoda Kashiha\u2019s paintings depict gender politics with cartoonish flair, tongue-in-cheek humor, and a relentless urge to experiment<\/h4>\n\t\t\t\t\t\t\n\t\t\t\t\t<\/div>\n\n\t\t\t\t<\/div>\n\n\t\t\t\n\t\t<\/div>\n\n\t\t\n\t<\/div>\n\n\t\n<div class=\"wp-prepress-component-metabar magazine-prepress-layout-metabar\">\n\t<div class=\"wp-prepress-component-metabar-wrapper\">\n\t\t\t\t\t<div class=\"wp-prepress-component-metabar-date\">August 14, 2023<\/div>\n\t\t\n\t\t\t\t<div class=\"wp-prepress-component-metabar-credits\">\n\t\t\t\t\t\t\t\t<ul data-credit-type=\"By\">\n\t\t\t\t\t\t<li><a href=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/bu-author\/sophie-yarin\/\">Sophie Yarin<\/a><\/li>\n\t\t\t\t\t<\/ul>\n\t\t\t\t\t\t\t<\/div>\n\t\t<div class=\"wp-prepress-component-metabar-share js-bu-prepress-share-tools\">\n\t\t\t<span class=\"icon-twitter\"><span>Twitter<\/span><\/span>\n\t\t\t<span class=\"icon-facebook\"><span>Facebook<\/span><\/span>\n\t\t\t<span class=\"icon-action\"><\/span>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\t\n\n\n<div class=\"wp-block-editorial-introparagraph magazine-block-editorial-introparagraph is-style-dropcap-boxed has-dropcap has-dropcap-color-quaternary\"><div class=\"wp-block-editorial-introparagraph-content\"><p>How does artist Hoda Kashiha find humor in her work? The Iranian national lives and paints in a suburb just outside of Tehran, the capital of a country that has grappled with decades of gender inequality. Since 1983, women in Iran have been mandated to cover their hair with hijabs or face jail time, and a morality police force was established in 2005 to enforce modest dress, among other strictures.<br>An Iranian woman\u2019s body is a highly politicized landscape, and attempts to flout convention can incur serious penalties.<\/p><\/div><\/div>\n\n\n\n<p>Yet women\u2019s bodies are front and center in Kashiha\u2019s works\u2014breasts, legs, buttocks, genitalia, and all. They are sometimes rendered in jagged, cartoonish strokes, often accompanied by a leering or condemnatory male presence\u2014a garish reminder of the spaces&nbsp; where women\u2019s rights are restricted.<\/p>\n\n\n\n<p>Much of the flamboyance in her work is an overture to something a little darker. <em>Spotlight<\/em> shows a black-and-white nightmare scene where a woman, trapped in a harsh white stagelight, attempts to shield her nakedness from a man whose shrieking face takes up most of the foreground. She\u2019s rendered like a notebook doodle; he, with his upturned nose and bulging eyes, looks a bit like a Looney Tunes character. She\u2019s vulnerable; he\u2019s outraged.&nbsp;<\/p>\n\n\n\n<p>The deconstructive tangle of body parts, the gawking eyes, the boldness of depicting this in the first place\u2014is there any levity to be found in this message, at a time like this?&nbsp;<\/p>\n\n\n\n<p>\u201cLots of tragic things have happened in our culture, but we always joke about them because it chills the situation and relaxes you,\u201d says <a href=\"https:\/\/www.nathalieobadia.com\/artists\/69-hoda-kashiha\/overview\/\">Kashiha<\/a> (\u201914), a graduate of <a href=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/academics\/degrees-programs\/painting\/mfa\/\">CFA\u2019s MFA program in painting<\/a>. \u201cAt least you can laugh.\u201d<\/p>\n\n\n\n<div class=\"wp-block-editorial-photoessay magazine-block-editorial-photoessay alignwide wp-block-photoessay js-block-editorial-photoessay\"><div class=\"photo-row-thirds-2-1\">\n<div class=\"photo-2\"><div class=\"wp-block-photoessay-media\"><figure><img loading=\"lazy\" width=\"1024\" height=\"683\" src=\"\/cfa\/files\/2023\/10\/image00011-1024x683.jpeg\" alt=\"\" class=\"wp-image-104978\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-1024x683.jpeg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-636x424.jpeg 636w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-768x512.jpeg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-1536x1024.jpeg 1536w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-2048x1365.jpeg 2048w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-1500x1000.jpeg 1500w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-900x600.jpeg 900w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-450x300.jpeg 450w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/image00011-600x400.jpeg 600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div><\/div>\n\n\n\n<div class=\"photo-1\"><div class=\"wp-block-photoessay-media\"><figure><img loading=\"lazy\" width=\"721\" height=\"1024\" src=\"\/cfa\/files\/2023\/10\/Spotlight-Acrylic-on-canvas-100x70-cm-2020-721x1024.jpg\" alt=\"\" class=\"wp-image-104979\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Spotlight-Acrylic-on-canvas-100x70-cm-2020-721x1024.jpg 721w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Spotlight-Acrylic-on-canvas-100x70-cm-2020-448x636.jpg 448w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Spotlight-Acrylic-on-canvas-100x70-cm-2020-768x1091.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Spotlight-Acrylic-on-canvas-100x70-cm-2020-1081x1536.jpg 1081w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Spotlight-Acrylic-on-canvas-100x70-cm-2020-1441x2048.jpg 1441w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Spotlight-Acrylic-on-canvas-100x70-cm-2020-704x1000.jpg 704w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Spotlight-Acrylic-on-canvas-100x70-cm-2020-scaled.jpg 1801w\" sizes=\"(max-width: 721px) 100vw, 721px\" \/><\/figure><\/div><\/div>\n<\/div><\/div>\n\n\n\n<div style=\"height:350px\" aria-hidden=\"true\" class=\"wp-block-spacer alignfull has-quaternary-background-color overlap-top-250\"><\/div>\n\n\n\n<div style=\"height:37px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-text-color has-normal-font-size has-black-color\">Left: <em>Water Like Mirror Hugged My Profile Face in the Red Hot Sky and Now My Full Portrait is Unveiled in the Soaked Chilled Sky <\/em>(2023) Acrylic on canvas and steel structure; 39 \u00d7 47 in. Right: <em>Spotlight <\/em>(2020) Acrylic on canvas; 39 x 27 in.<\/p>\n\n\n\n<h3>From Tehran to Comm Ave and Back Again<\/h3>\n\n\n\n<p>Kashiha\u2019s last show in Iran was in 2021, at the <a href=\"https:\/\/dastan.gallery\/\">Dastan Gallery<\/a> in Tehran.<\/p>\n\n\n\n<p>\u201cI didn\u2019t really have a big problem with censorship, but there were some pieces that I knew that I could not show,\u201d she says.<\/p>\n\n\n\n<p>The fight for women\u2019s rights in Iran reached a watershed moment in 2022, as the world reeled from the death of Mahsa Amini, a 22-year-old woman arrested for allegedly violating the hijab law and who was, according to witnesses, beaten to death while in custody. Scores of Iranian women responded in protest, many by refusing to wear hijabs and others through mass demonstration, bringing new attention to a decades-old plight.&nbsp;<\/p>\n\n\n\n<p>\u201cPower can delete a body, but cannot cut it from its root,\u201d Kashiha told writer Hanno Hauenstein in a conversation for Art Basel. \u201cPhysically, that body no longer exists, but the idea and the soul remain and continue in other bodies. The Iranian protest movement has led me to articulate much better why I work with bodies and also to feel a stronger sense of connection to my homeland.\u201d<\/p>\n\n\n\n<p>Kashiha developed a love of visual arts while attending a government-led afterschool arts academy in Tehran. In 2010, a year after completing her undergraduate painting degree at the University of Tehran, she began her graduate studies at BU. Until her time at CFA, she was concerned with technical precision, with perfection.<\/p>\n\n\n\n<p>\u201cThis is not my concern now,\u201d she says. \u201cWhen I was in Iran, some of my teachers told me, \u2018You cannot bring these cartoonish things into your work.\u2019 But when I came to the US, I learned a lot of things that changed my work.\u201d<\/p>\n\n\n\n<div class=\"wp-block-bu-pullquote magazine-block-bu-pullquote alignwide is-style-pop has-quaternary-theme\"><div class=\"wp-block-bu-pullquote-inner\"><blockquote><div class=\"container-lockup\"><div class=\"container-icon-outer\"><div class=\"container-icon-inner\"><\/div><\/div><div class=\"container-text\"><hr\/><div class=\"quote-sizing\">\u201cI like to bring the idea to my work of being a fragmented person\u2014which is so feminine. It\u2019s that you cannot define yourself as one person in the way I think a masculine view of the world pushes you to do.<\/div><footer class=\"caption\"><br\/>Hoda Kashiha<\/footer><hr\/><\/div><\/div><\/blockquote><\/div><\/div>\n\n\n\n<p>The tension between Kashiha\u2019s old and new styles is distinct in her paintings. Cheeky, caricature-esque squiggles mingle with glossy shapes that look like they\u2019ve been rendered with a computer program. Kashiha honed her technique at several artistic residences, including the MacDowell community in New Hampshire. She headed back to Tehran in 2016.<\/p>\n\n\n\n<p>Kashiha, who has exhibited work on three continents and in seven countries, asserts that the scope of her subject matter is global.<\/p>\n\n\n\n<p>\u201cWithin the art history of each country, women are ignored a lot,\u201d she says. \u201cI think there is a fight between feminine and masculine views of the world.\u201d<\/p>\n\n\n\n<p>In her work, Kashiha rearranges and skews women\u2019s bodies with a Cubism-inflected sensibility. The human forms are typically the most representative elements on the canvas; most nonhuman objects are condensed into avant-garde shapes and swashes of color. The effect is that of a collage, a jumbled-up world that can exist in no physical location.&nbsp;<\/p>\n\n\n\n<p>\u201cOne reason that I like to bring bright and sharp colors into my work is that they are so beautiful, but they can really bother you,\u201d she says. \u201cI am always working with dual meanings: beautiful and ugly, love and hate.\u201d<\/p>\n\n\n\n<p>Kashiha likes to play with established gender tropes\u2014some sitcom-y and some literary, some abstract and some figurative, some concerning the male gaze and some the female\u2014that take on a more somber context when considering the country in which she\u2019s painting them. Women are shown regarding themselves, as with her <em>Look at the Mirror<\/em>, or are regarded via a lampooned male gaze, as with <em>The Eye, The Eyehole, The Hole<\/em>. Much like her personal and artistic refusal to commit to a single geopolitical characterization, Kashiha won\u2019t adhere to a single point of view or dominant narrative. In fact, there\u2019s meaning to be found in the disparity.<\/p>\n\n\n\n<p>\u201cI like to bring the idea to my work of being a fragmented person\u2014which is so feminine,\u201d she says. \u201cIt\u2019s that you cannot define yourself as one person in the way I think a masculine view of the world pushes you to do.\u201d<\/p>\n\n\n\n<div class=\"wp-block-editorial-photoessay magazine-block-editorial-photoessay alignwide wp-block-photoessay js-block-editorial-photoessay\"><div class=\"photo-row-square-s-1\">\n<div class=\"photo-s\"><div class=\"wp-block-photoessay-media\"><figure><img loading=\"lazy\" width=\"939\" height=\"1024\" src=\"\/cfa\/files\/2023\/10\/Looking-at-the-miror-Acrylic-on-canvas-150.130-cm-2021-939x1024.jpg\" alt=\"\" class=\"wp-image-104980\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Looking-at-the-miror-Acrylic-on-canvas-150.130-cm-2021-939x1024.jpg 939w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Looking-at-the-miror-Acrylic-on-canvas-150.130-cm-2021-583x636.jpg 583w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Looking-at-the-miror-Acrylic-on-canvas-150.130-cm-2021-768x838.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Looking-at-the-miror-Acrylic-on-canvas-150.130-cm-2021-1408x1536.jpg 1408w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Looking-at-the-miror-Acrylic-on-canvas-150.130-cm-2021-1878x2048.jpg 1878w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/Looking-at-the-miror-Acrylic-on-canvas-150.130-cm-2021-917x1000.jpg 917w\" sizes=\"(max-width: 939px) 100vw, 939px\" \/><\/figure><\/div><\/div>\n\n\n\n<div class=\"photo-1\"><div class=\"wp-block-photoessay-media\"><figure><img loading=\"lazy\" width=\"1024\" height=\"683\" src=\"\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-1024x683.jpg\" alt=\"\" class=\"wp-image-104982\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-1024x683.jpg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-636x424.jpg 636w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-768x512.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-1536x1024.jpg 1536w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-2048x1365.jpg 2048w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-1500x1000.jpg 1500w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-900x600.jpg 900w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-450x300.jpg 450w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/10\/The-eye-the-eyehole-the-hole-Acrylic-on-canvas-120X100-cm-2020.-600x400.jpg 600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/figure><\/div><\/div>\n<\/div><\/div>\n\n\n\n<div style=\"height:350px\" aria-hidden=\"true\" class=\"wp-block-spacer alignfull has-quaternary-background-color overlap-top-250\"><\/div>\n\n\n\n<div style=\"height:33px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-text-color has-normal-font-size has-black-color\">Left: <em>Look at the Mirror <\/em>(2021) Acrylic on canvas; 59 x 51 in. Right: <em>The Eye, The Eyehole, The Hole<\/em> (2021) Acrylic and wood glue on canvas; 47 x 39 x 1 in.<\/p>\n\n\n\n<h3>Bodies of Work<\/h3>\n\n\n\n<p>While Kashiha has made a strong impression on the art world with her bold colors and wry representations of gender conflict, assigning her a signature style or subject matter would be doing her a disservice.<\/p>\n\n\n\n<p>\u201cI usually try to create different bodies of work and each has its own statement,\u201d she says.&nbsp;<\/p>\n\n\n\n<p>Not every Kashiha painting is cartoonish or highly colorful, or features a human body. Brush techniques vary widely\u2014from Expressionism to eerie perfectionism\u2014oftentimes within a single canvas. What Kashiha wants her audience to take away from her eclectic catalog are musings \u201cabout power, about narcissism, about bodies that are fragmented, and that are joining together.\u201d&nbsp;<\/p>\n\n\n\n<p>Another theme that unites her works is the practice of seeing. Although she\u2019s often depicted gendered ways of viewing a woman\u2019s body, her most recent narrative series tackles the notion of vision in general.<\/p>\n\n\n\n<p>\u201cI made a body of work that was all about blackness, and I named it <em>In Appreciation of Blinking<\/em>,\u201d she says. \u201cI made eight canvases; in the first canvas, the eye is open, and then it becomes more and more closed, so that at the eighth canvas the eye is completely closed, and [the canvas] is totally black.\u201d<\/p>\n\n\n\n<p><em>In Appreciation of Blinking<\/em> is about a woman who is born in the first canvas\u2014eyes open to a vivid collage of motion, figuration, and color\u2014and dies in the last, where the subject\u2019s eyes finally close for good. Each canvas in between gets a progressively larger wash of black paint to mimic a closing eye. It\u2019s Kashiha\u2019s favorite series, she says. It was also a major change of form for Kashiha, who doesn\u2019t typically gravitate toward multi-canvas series, the concept of life and death, or painting an entire canvas black. But if there\u2019s one thing to remember about Kashiha, it\u2019s that she is constantly coming to new understandings about the world and herself. Deep down\u2014beneath the humor, frustration, and joy\u2014is an enduring question that keeps her returning to the easel.<\/p>\n\n\n\n<p class=\"is-style-end-of-article\">\u201cI am always asking myself if I am one person or if I am fragmented,\u201d she says. \u201cAre we single bodies that are separated from each other or are all of us in a kind of continuity with each other?\u201d&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Yet women\u2019s bodies are front and center in Kashiha\u2019s works\u2014breasts, legs, buttocks, genitalia, and all. They are sometimes rendered in jagged, cartoonish strokes, often accompanied by a leering or condemnatory male presence\u2014a garish reminder of the spaces&nbsp; where women\u2019s rights are restricted. Much of the flamboyance in her work is an overture to something a [&hellip;]<\/p>\n","protected":false},"author":6310,"featured_media":104978,"comment_status":"closed","ping_status":"closed","template":"","meta":{"bu_prepress_billboard":"","_bu_prepress_primary_term":"","_bu_prepress_primary_term_manual":""},"tags":[],"bu-publication":[191],"magazine-article-category":[372,379],"magazine-topic":[],"news-article-category":[],"news-topic":[],"bu_edition":[397],"media_type":[],"_links":{"self":[{"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/104975"}],"collection":[{"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article"}],"about":[{"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/types\/bu-article"}],"author":[{"embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/users\/6310"}],"replies":[{"embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/comments?post=104975"}],"version-history":[{"count":16,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/104975\/revisions"}],"predecessor-version":[{"id":105751,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/104975\/revisions\/105751"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media\/104978"}],"wp:attachment":[{"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media?parent=104975"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/tags?post=104975"},{"taxonomy":"bu-publication","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-publication?post=104975"},{"taxonomy":"magazine-article-category","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/magazine-article-category?post=104975"},{"taxonomy":"magazine-topic","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/magazine-topic?post=104975"},{"taxonomy":"news-article-category","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/news-article-category?post=104975"},{"taxonomy":"news-topic","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/news-topic?post=104975"},{"taxonomy":"bu_edition","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu_edition?post=104975"},{"taxonomy":"media_type","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media_type?post=104975"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}