{"id":94964,"date":"2020-11-04T14:58:00","date_gmt":"2020-11-04T18:58:00","guid":{"rendered":"http:\/\/id-andrea.cms-devl.bu.edu\/cfa\/?post_type=bu-article&#038;p=94964"},"modified":"2023-02-01T14:40:34","modified_gmt":"2023-02-01T19:40:34","slug":"mining-the-past-mirroring-the-present","status":"publish","type":"bu-article","link":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/magazine\/articles\/2020\/mining-the-past-mirroring-the-present\/","title":{"rendered":"Mining the Past, Mirroring the Present"},"content":{"rendered":"\t<div class=\"wp-block-editorial-leadin magazine-block-editorial-leadin is-style-emphasis-on-text has-media 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=\"1708\" src=\"\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-scaled.jpg\" class=\"\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-scaled.jpg 2560w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-636x424.jpg 636w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-1024x683.jpg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-768x512.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-1536x1025.jpg 1536w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-2048x1367.jpg 2048w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-1499x1000.jpg 1499w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-900x600.jpg 900w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-450x300.jpg 450w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-004-600x400.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\">Photos by Stephanie Eley<\/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\">Visual Arts<\/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\tMining the Past, Mirroring the Present\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\">Adrienne Elise Tarver\u2019s art explores perceptions of Black women<\/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\">November 4, 2020<\/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\/magazine\/authors\/taylor-mendoza\/\">Taylor Mendoza<\/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>In Adrienne Elise Tarver\u2019s&nbsp;<em>Three Graces<\/em>, a trio of women stand together in naked repose. Surrounded by sugarcane and banana and pineapple trees, they lean into each other: hands gripping hands, arms and heads resting on shoulders. It\u2019s a seemingly peaceful scene\u2014but the inspiration for the painting is mired in racism.&nbsp;<em>Three Graces<\/em>&nbsp;is based on a photo&nbsp;<a href=\"http:\/\/www.adriennetarver.com\/\">Tarver (\u201907)<\/a>&nbsp;found online showing Black women who were exhibited in Europe in the 19th or early 20th century. In Tarver\u2019s painting, the women\u2019s expressions are solemn and shadows of palm fronds slash across their shoulders and faces, reminiscent of the bars of a cage; the foliage covers turquoise boxy forms, suggesting a constructed background.<\/p><\/div><\/div>\n\n\n\n<p>\u201cThere were human zoos all around Europe and America throughout the 19th and early 20th centuries,\u201d says Tarver, an interdisciplinary artist whose work has been shown across the world and lauded by publications like the&nbsp;<em>New York Times<\/em>&nbsp;and&nbsp;<em>Brooklyn Magazine<\/em>. \u201cWe understand how wrong that situation is and how exploitative it is, and yet the way the women were posed, it reminded me of so many images I had seen through my entire education, which had been sculpted and painted by mostly European men.\u201d<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignleft size-large\"><img loading=\"lazy\" width=\"884\" height=\"1024\" src=\"\/cfa\/files\/2022\/11\/Tarver-Three-Graces-884x1024.jpg\" alt=\"\" class=\"wp-image-94970\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Three-Graces-884x1024.jpg 884w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Three-Graces-549x636.jpg 549w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Three-Graces-768x890.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Three-Graces-1325x1536.jpg 1325w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Three-Graces-863x1000.jpg 863w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Three-Graces.jpg 1378w\" sizes=\"(max-width: 884px) 100vw, 884px\" \/><figcaption><em>Three Graces<\/em>&nbsp;(2019) Oil on canvas 84 x 72 in. The painting is based on a photo Tarver found online showing Black women who were exhibited in Europe in the 19th or early 20th century. Adrienne Tarver<\/figcaption><\/figure><\/div>\n\n\n\n<p>Tarver was particularly reminded of postimpressionist Paul Gauguin\u2019s exoticized and idealized depictions of French Polynesia and the women who lived there. She says the trope of the sexualized tropical seductress is one that has influenced the perception of modern Black women and that she has explored in much of her art.<\/p>\n\n\n\n<p>\u201cMy work for the past five years has really been about Black female identity within the Western landscape,\u201d she says. For Tarver, Black femininity of the past and present are inseparable. \u201cI was thinking about the dualities of how we have been made to exist within this context, from this domestic, silenced figure who\u2019s supposed to fade into the background to this oversexualized tropical seductress on display, and figuring out the narrative to give women in these spaces more agency.\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-3\">\n<div class=\"photo-3\"><div class=\"wp-block-photoessay-media\"><figure><img loading=\"lazy\" width=\"1024\" height=\"485\" src=\"\/cfa\/files\/2022\/11\/Tarver-Escape-the-Crowds-1024x485.jpg\" alt=\"\" class=\"wp-image-94968\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Escape-the-Crowds-1024x485.jpg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Escape-the-Crowds-636x301.jpg 636w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Escape-the-Crowds-768x364.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Escape-the-Crowds-1536x728.jpg 1536w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Escape-the-Crowds-2048x970.jpg 2048w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Escape-the-Crowds-1628x771.jpg 1628w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption><p class=\"wp-block-photoessay-media-caption wp-prepress-component-caption\"><em>Escape the Crowds<\/em>\u00a0(2019) Cut paper collage. In collages like this one, Tarver subverts imagery from the tourism industry, calling attention to its roots in slavery and colonialism. Adrienne Tarver<\/p><\/figcaption><\/figure><\/div><\/div>\n<\/div><\/div>\n\n\n\n<h2 class=\"has-black-color has-text-color has-text-align-center\">Escape<\/h2>\n\n\n\n<p><em>Three Graces<\/em>&nbsp;debuted in January 2020 in&nbsp;<a href=\"http:\/\/www.adriennetarver.com\/work-avenue#\/escape\/\"><em>Escape<\/em><\/a>, an exhibition of Tarver\u2019s work at Victori + Mo, a contemporary art gallery in New York City. The exhibit showed how the history of colonialism continues to impact Black women, showing lush tropical landscapes, vacation photos, and cruise ads, as well as images of human suffering and exploitation.<\/p>\n\n\n\n<p>\u201cI was thinking about the duality of the word \u2018escape,\u2019\u201d says Tarver, who centered the exhibition on the tourism industry and its roots in slavery and colonialism. \u201cSandals resorts and all of these vacation places, they all use \u2018escape\u2019 in their ads. The idea that you\u2019re escaping your normal life, you get to go visit this place for a moment and forget everything. It just felt so ironic, because, ultimately, these places were built upon slave labor. The people who were creating these seductive landscapes that everyone is trying to escape to would have loved to escape to freedom.\u201d<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignright size-large\"><img loading=\"lazy\" width=\"934\" height=\"1024\" src=\"\/cfa\/files\/2022\/11\/Tarver-Head-Above-Water-934x1024.jpg\" alt=\"\" class=\"wp-image-94969\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Head-Above-Water-934x1024.jpg 934w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Head-Above-Water-580x636.jpg 580w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Head-Above-Water-768x842.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Head-Above-Water-912x1000.jpg 912w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/Tarver-Head-Above-Water.jpg 1231w\" sizes=\"(max-width: 934px) 100vw, 934px\" \/><figcaption><em>Head Above Water<\/em>&nbsp;(2018) Oil on canvas 84 x 72 in.&nbsp;<em>New York Times<\/em>&nbsp;art critic Jillian Steinhauer wrote that the painting first connoted \u201cglamorous freedom,\u201d but after seeing works like&nbsp;<em>Three Graces<\/em>, \u201cinstead of seeing a scene of luxury, I imagined one of the women swimming to freedom.\u201d Adrienne Tarver<\/figcaption><\/figure><\/div>\n\n\n\n<p><em>Escape<\/em>&nbsp;also included a projected installation of tropical vacation photographs from the \u201960s and \u201970s. Tarver says she wanted to play with the feelings of nostalgia the photos provoked.<\/p>\n\n\n\n<p>\u201cIt\u2019s easy to fall into the warm, fuzzy feeling of memory with that, and as you walk down this narrow hallway, there are these collages juxtaposing ads for cruise ships and resorts with historical imagery of plantation workers, domestic help, and slave ships, so it\u2019s clear that this more lighthearted thing is not as it seems.\u201d<\/p>\n\n\n\n<p>The first painting viewers saw as they entered&nbsp;<em>Escape<\/em>&nbsp;was&nbsp;<em>Head Above Water<\/em>, which shows a woman\u2019s legs dangling as she floats in sunlit water. Her crisp white bathing suit bottom contrasts with her brown legs. In her review of the show,&nbsp;<em>New York Times<\/em>&nbsp;art critic Jillian Steinhauer said when she first saw the painting, it suggested \u201cglamorous freedom,\u201d but after seeing the slideshow and works like&nbsp;<em>Three Graces<\/em>, \u201cinstead of seeing a scene of luxury, I imagined one of the women swimming to freedom.\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\">It&#8217;s not possible to separate my experience as a Black woman from my art, because so much of my art is about my experience.<\/div><footer class=\"caption\"><br\/>Adrienne Elise Tarver<\/footer><hr\/><\/div><\/div><\/blockquote><\/div><\/div>\n\n\n\n<h2 class=\"has-text-align-center\">Art and Identity<\/h2>\n\n\n\n<p>Photography has long been an important part of Tarver\u2019s art. While&nbsp;<em>Three Graces<\/em>&nbsp;was influenced by a photograph she found online, much of her earlier work was inspired by family photos\u2014in particular those of her older brother. He died when she was 16.<\/p>\n\n\n\n<p>\u201cI painted a lot of photos of him, of him and me, of my family,\u201d she says. \u201cI went to a summer program at the Art Institute of Chicago and made this series of 16 small paintings all arranged together of different parts of my brother\u2019s life.\u201d<\/p>\n\n\n\n<p>Although Tarver had initially thought of architectural design as a potential outlet for her creativity, her brother\u2019s death prompted a fresh look at her plans. \u201cI was really understanding how short life is,\u201d she says. \u201cI really don\u2019t know if I would have pursued art if that hadn\u2019t have happened.\u201d<\/p>\n\n\n\n<div class=\"wp-block-editorial-photoessay magazine-block-editorial-photoessay wp-block-photoessay js-block-editorial-photoessay\"><div class=\"photo-row-full-f\">\n<div class=\"photo-f\"><div class=\"wp-block-photoessay-media\"><figure><img loading=\"lazy\" width=\"1024\" height=\"683\" src=\"\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-1024x683.jpg\" alt=\"\" class=\"wp-image-94966\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-1024x683.jpg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-636x424.jpg 636w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-768x512.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-1536x1025.jpg 1536w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-2048x1367.jpg 2048w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-1499x1000.jpg 1499w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-900x600.jpg 900w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-450x300.jpg 450w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2022\/11\/20-1312-CFATARVER-006-600x400.jpg 600w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption><p class=\"wp-block-photoessay-media-caption wp-prepress-component-caption\">Tarver teaches at the Savannah College of Art and Design\u2019s Atlanta campus, where she is the associate chair of fine arts.<\/p><\/figcaption><\/figure><\/div><\/div>\n<\/div><\/div>\n\n\n\n<p>At CFA, Tarver shifted away from portraits of her family\u2014\u201cI couldn\u2019t separate how people talked about the art from what I felt about my family\u201d\u2014and began to use her art to explore what it meant to be Black and female in America.<\/p>\n\n\n\n<p>\u201cI got a bunch of old silver platters and silver serving things and I started doing a lot of self-portraits. I balanced the tray on my head with the objects, taking on this character of a house servant. I was diving into this history of who I was to America\u2014the domestic woman.\u201d<\/p>\n\n\n\n<p>Now an associate chair of fine arts at Savannah College of Art and Design in Atlanta, Ga., Tarver says her identity as a Black woman continues to be essential to her work. \u201cIt\u2019s not possible to separate my experience as a Black woman from my art,\u201d she says, \u201cbecause so much of my art is about my experience.\u201d<\/p>\n\n\n\n<h2 class=\"has-text-align-center\">Projecting Futures<\/h2>\n\n\n\n<p><em>Escape<\/em>&nbsp;closed on March 14, 2020, around when New York placed coronavirus-related restrictions on its residents. While Tarver had some downtime in the wake of her exhibit closing, the uncertainty of coronavirus and the resurgence of the Black Lives Matter protests have inspired her to explore the ideas present in the exhibition, as well as what the future means to Black people.<\/p>\n\n\n\n<p>\u201cThe longer we were in this situation, the more unknown it became, I thought a lot about fortune-telling and tarot,\u201d says Tarver, who began studying the stories of\u2014and attitudes toward\u2014Black women like famed New Orleans Voodoo priestess Marie Laveau and TV psychic Miss Cleo. \u201cThere\u2019s this idea of the Black woman holding some sort of deep wisdom or mythology, so there\u2019s always a separation between this world and their world. In a moment where there\u2019s so much uncertainty, I think people fall back to religion or astrology, just because nobody else can tell them real answers.\u201d<\/p>\n\n\n\n<p>This summer, Tarver started making her own tarot cards. Using ink, oil pastel, and colored pencil, she created a series of vibrantly colored images inspired by Afrofuturist ideas and imagery of the tropics. The titles of the works share the names of cards typically found in a tarot deck, such as&nbsp;<em>High Priestess<\/em>&nbsp;and&nbsp;<em>Chariot<\/em>. In&nbsp;<em>Strength<\/em>, a woman sits perched on an elephant\u2019s trunk. Both woman and elephant are painted in washy ink, starkly contrasting with the bold yellow sky behind them and the bright blue ground beneath them, which is thickly built up with pastel. Tarver will eventually make these images into a printed deck of cards.<\/p>\n\n\n\n<p class=\"is-style-end-of-article\">\u201cIt was this understanding that saying that we exist in the future\u2014that there\u2019s a future for Black people\u2014is actually a radical statement,\u201d says Tarver. \u201cThis idea of projecting futures, of telling fortunes, is a radical idea in and of itself, and telling somebody that you will exist tomorrow is a really heavy statement when you are consumed with how unpredictable life can be.\u201d<\/p>\n\n\n\t<aside class=\"wp-block-editorial-relatedstories is-style-card has-two magazine-block-editorial-relatedstories\">\n\t\t<h3 class=\"wp-block-editorial-relatedstories-title\">Related<\/h3>\n\t\t<ul class=\"wp-block-editorial-relatedstories-list\">\n\t\t\t\t\t\t\t<li class=\"wp-block-editorial-relatedstories-list-item\">\n\t\t\t\t\t<article class=\"wp-block-editorial-relatedstories-article\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<figure class=\"wp-block-editorial-relatedstories-article-image\">\n\t\t\t\t\t\t\t\t\t<img width=\"300\" height=\"200\" src=\"\/cfa\/files\/2016\/12\/Reid-Kelley_thumb.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt=\"video still by Mary Reid Kelley and Patrick Kelley\" loading=\"lazy\" \/>\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"wp-block-editorial-relatedstories-article-content\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<p class=\"wp-block-editorial-relatedstories-article-category\"><span>Visual Arts<\/span><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<h4 class=\"wp-block-editorial-relatedstories-article-title\"><a href=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/news\/articles\/2017\/mary-reid-kelley-patrick-kelley\/\" class=\"wp-block-editorial-relatedstories-article-title-link\">Visiting Artists: Mary Reid Kelley &#038; Patrick Kelley<\/a><\/h4>\n\t\t\t\t\t\t\t<p class=\"wp-block-editorial-relatedstories-article-date\">January 5, 2017<\/p>\n\t\t\t\t\t\t<div class=\"wp-prepress-component-article-share wp-prepress-component-article-share-sharedby-news\"><span class=\"wp-prepress-component-article-share-label\">Shared from<\/span> <span class=\"wp-prepress-component-article-share-source\"><div class=\"editorial-branding editorial-branding-news bu-prepress-branding-type-text\"><div class=\"editorial-branding-wrap\">News<\/div><\/div><\/span><\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t<\/li>\n\t\t\t\t\t\t\t\t<li class=\"wp-block-editorial-relatedstories-list-item\">\n\t\t\t\t\t<article class=\"wp-block-editorial-relatedstories-article\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<figure class=\"wp-block-editorial-relatedstories-article-image\">\n\t\t\t\t\t\t\t\t\t<img width=\"1200\" height=\"1800\" src=\"\/cfa\/files\/2016\/12\/083016_Cerjan_Margaret_1735.jpg\" class=\"attachment-post-thumbnail size-post-thumbnail wp-post-image\" alt=\"083016_Cerjan_Margaret_1735.JPG\" loading=\"lazy\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2016\/12\/083016_Cerjan_Margaret_1735.jpg 1200w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2016\/12\/083016_Cerjan_Margaret_1735-424x636.jpg 424w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2016\/12\/083016_Cerjan_Margaret_1735-683x1024.jpg 683w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2016\/12\/083016_Cerjan_Margaret_1735-768x1152.jpg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2016\/12\/083016_Cerjan_Margaret_1735-1024x1536.jpg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2016\/12\/083016_Cerjan_Margaret_1735-667x1000.jpg 667w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/>\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<div class=\"wp-block-editorial-relatedstories-article-content\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<p class=\"wp-block-editorial-relatedstories-article-category\"><span>BU Tanglewood Institute<\/span><\/p>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<h4 class=\"wp-block-editorial-relatedstories-article-title\"><a href=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/news\/articles\/2017\/bu-tanglewood-institute-launches-junior-strings-intensive\/\" class=\"wp-block-editorial-relatedstories-article-title-link\">BU Tanglewood Institute Launches Junior Strings Intensive<\/a><\/h4>\n\t\t\t\t\t\t\t<p class=\"wp-block-editorial-relatedstories-article-date\">January 12, 2017<\/p>\n\t\t\t\t\t\t<div class=\"wp-prepress-component-article-share wp-prepress-component-article-share-sharedby-news\"><span class=\"wp-prepress-component-article-share-label\">Shared from<\/span> <span class=\"wp-prepress-component-article-share-source\"><div class=\"editorial-branding editorial-branding-news bu-prepress-branding-type-text\"><div class=\"editorial-branding-wrap\">News<\/div><\/div><\/span><\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/article>\n\t\t\t\t<\/li>\n\t\t\t\t\t\t<\/ul>\n\t<\/aside>\n\t","protected":false},"excerpt":{"rendered":"<p>\u201cThere were human zoos all around Europe and America throughout the 19th and early 20th centuries,\u201d says Tarver, an interdisciplinary artist whose work has been shown across the world and lauded by publications like the&nbsp;New York Times&nbsp;and&nbsp;Brooklyn Magazine. \u201cWe understand how wrong that situation is and how exploitative it is, and yet the way the [&hellip;]<\/p>\n","protected":false},"author":6310,"featured_media":94965,"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":[384],"media_type":[],"_links":{"self":[{"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/94964"}],"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=94964"}],"version-history":[{"count":8,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/94964\/revisions"}],"predecessor-version":[{"id":97686,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/94964\/revisions\/97686"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media\/94965"}],"wp:attachment":[{"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media?parent=94964"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/tags?post=94964"},{"taxonomy":"bu-publication","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-publication?post=94964"},{"taxonomy":"magazine-article-category","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/magazine-article-category?post=94964"},{"taxonomy":"magazine-topic","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/magazine-topic?post=94964"},{"taxonomy":"news-article-category","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/news-article-category?post=94964"},{"taxonomy":"news-topic","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/news-topic?post=94964"},{"taxonomy":"bu_edition","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu_edition?post=94964"},{"taxonomy":"media_type","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media_type?post=94964"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}