{"id":96983,"date":"2019-11-18T13:33:00","date_gmt":"2019-11-18T18:33:00","guid":{"rendered":"http:\/\/id-andrea.cms-devl.bu.edu\/cfa\/?post_type=bu-article&#038;p=96983"},"modified":"2023-02-01T14:26:09","modified_gmt":"2023-02-01T19:26:09","slug":"painting-letitia","status":"publish","type":"bu-article","link":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/magazine\/articles\/2019\/painting-letitia\/","title":{"rendered":"Painting Letitia"},"content":{"rendered":"\t<div class=\"wp-block-editorial-leadin magazine-block-editorial-leadin is-style-side-by-side has-media has-flip has-box has-media-focus-center-middle\">\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=\"1100\" height=\"1650\" src=\"\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-013.jpeg\" class=\"\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-013.jpeg 1100w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-013-424x636.jpeg 424w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-013-683x1024.jpeg 683w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-013-768x1152.jpeg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-013-1024x1536.jpeg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-013-667x1000.jpeg 667w\" sizes=\"(max-width: 1100px) 100vw, 1100px\" \/>\n\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t\t<p class=\"wp-block-editorial-leadin-caption wp-prepress-component-caption\">Taking his interest in family a step further, Huckaby has converted his grandmother\u2019s house into a studio and art installation where he works on current projects. <em>Photos by Justin Clemons<\/em><\/p>\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\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\tPainting Letitia\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\">Painter Sedrick Huckaby (BUTI\u201995, CFA\u201997) treats everyday people like celebrities<\/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 18, 2019<\/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\/marc-chalufour\/\">Marc Chalufour<\/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-dimensional has-dropcap\"><div class=\"wp-block-editorial-introparagraph-content\"><p>In his earliest works, painter&nbsp;<a href=\"https:\/\/huckabystudios.com\/\">Sedrick Huckaby<\/a>&nbsp;found inspiration in a classic childhood genre: comic book superheroes. Now an established artist with works in the permanent collections of Boston\u2019s Museum of Fine Arts and New York\u2019s Whitney Museum of American Art, Huckaby (BUTI\u201995, CFA\u201997) finds inspiration in a different sort of hero: the members of his family and his African American community. \u201cOrdinary people matter,\u201d Huckaby told&nbsp;<a href=\"https:\/\/artandseek.org\/profiles\/sedrick-huckaby\/\"><em>art+seek<\/em><\/a>, and much of his work applies this statement on a monumental scale.<\/p><\/div><\/div>\n\n\n\n<p>For his first New York City show,&nbsp;<em>The 99%<\/em>, Huckaby covered a wall with 101 black-and-white portraits of people from his neighborhood, making each sitter look \u201ccasually but distinctly regal,\u201d according to the&nbsp;<a href=\"https:\/\/www.nytimes.com\/2017\/04\/27\/arts\/design\/10-galleries-to-visit-now-on-the-lower-east-side.html\"><em>New York Times<\/em><\/a>. By contrast, the canvas for his 80-foot-wide&nbsp;<em>A Love Supreme<\/em>&nbsp;is filled by a single painting of brightly colored quilts, a craft he associates with his family. \u201cHuckaby has managed to stay true to himself, his family, and to a rigorous practice of lovingly recording the world he knows with great sincerity,\u201d painter Bruce Herman (CFA\u201977,\u201979) wrote for&nbsp;<em>Image<\/em>. \u201c[He reveals] a depth of religious wisdom seldom found in contemporary art culture, laden as it often is with fashionable irony.\u201d<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignleft size-large is-resized\"><img loading=\"lazy\" src=\"\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-006-683x1024.jpeg\" alt=\"\" class=\"wp-image-96986\" width=\"345\" height=\"517\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-006-683x1024.jpeg 683w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-006-424x636.jpeg 424w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-006-768x1152.jpeg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-006-1024x1536.jpeg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-006-667x1000.jpeg 667w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-006.jpeg 1100w\" sizes=\"(max-width: 345px) 100vw, 345px\" \/><figcaption>When revisiting his family portrait series, Huckaby started one\u2014the portrait of his wife Letitia\u2014from scratch.<\/figcaption><\/figure><\/div>\n\n\n\n<p>After graduating from BU, Huckaby earned an MFA at Yale, then traveled throughout Europe for two years, studying the continent\u2019s old masters. He eventually returned to his hometown, Fort Worth, Tex., where he has established himself as a master in his own right. His critically acclaimed works are highly sought after by museums and collectors, with some selling for tens of thousands of dollars. He\u2019s even mentored another famous Texas painter, former president George W. Bush, whom he encouraged to paint the people who inspired him. Bush embraced the idea, creating&nbsp;<em>Portraits of Courage<\/em>, a series depicting US military veterans.<\/p>\n\n\n\n<p>Huckaby hasn\u2019t let success stunt his growth as an artist, though; he continues to experiment and to refine his work. His 2016 exhibit,&nbsp;<em>Three Forbidden F Words: Faith, Family, and Fathers,<\/em>&nbsp;at Valley House Gallery in Dallas, Tex., represented the first realization of an idea he had for a family portrait comprising massive individual paintings of himself, his wife, Letitia, and their children. The show also revealed a restless creative mind, as Huckaby immediately began imagining ways to improve upon the portraits. And in the case of one\u2014a portrait of Letitia\u2014he decided to start from scratch.<\/p>\n\n\n\n<h2>Back to the Drawing Board<\/h2>\n\n\n\n<p><em>Three Forbidden F Words&nbsp;<\/em>included five paintings:&nbsp;<em>Little B, Letitia, Sedrick, Halle Lujah, and Rising Sun<\/em>. \u201cWhen I decided to go large scale, that\u2019s a definite decision,\u201d he says. \u201cI\u2019m saying, \u2018I want to make, in essence, a larger statement.\u2019\u201d At the start, he\u2019d wanted to go even larger\u201416 feet in height for each portrait\u2014but needing to get everything done in time for the exhibit meant scaling them back to 8 feet. The result filled a gallery wall from floor to ceiling.<\/p>\n\n\n\n<p>The faces of Huckaby\u2019s family, rendered in his unique impasto style, stared out from the massive canvases. Rectangle and oval frames alternated across the wall. Subtle differences in attire hinted at the figures\u2019 identities: the son wears a hooded sweatshirt, the wife covers her hair with a headdress. It\u2019s the faces, though, that powered the exhibit. Though the features are defined by broad brushstrokes, they are delicate: the son\u2019s youthful cheeks, the daughter\u2019s lips. For the fifth painting,&nbsp;<em>Little B<\/em>, Huckaby used a strikingly different style: white and light purple streaks sweep across the silhouette of a small child, as though the observer is looking through fog. The figure represents the one member of the family for whom Huckaby had no sketches to work from, no reference material: a child lost in a miscarriage.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" width=\"1024\" height=\"682\" src=\"\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-011-1024x682.jpeg\" alt=\"\" class=\"wp-image-96987\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-011-1024x682.jpeg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-011-636x424.jpeg 636w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-011-768x512.jpeg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-011-900x600.jpeg 900w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-011-450x300.jpeg 450w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-011-600x400.jpeg 600w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-011.jpeg 1100w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><figcaption>Huckaby references and draws inspiration from past projects that hang throughout the home.<\/figcaption><\/figure>\n\n\n\n<p>Some of Huckaby\u2019s other creative decisions for the exhibit weren\u2019t as final as the scale. He often refines his work over time, meaning that an exhibit is less of a culmination than a new beginning. \u201cMany times I\u2019ve done something and I\u2019ve put it out prematurely only to think, \u2018Man, if I could get that back I would do X, Y, and Z,\u201d Huckaby says. As soon as he saw the portraits mounted side by side, he began reconsidering spacing, lighting, and other stylistic choices.<\/p>\n\n\n\n<p>So when the exhibit ended, Huckaby took the family back to his studio. He retouched each painting, adding detail, altering lighting. He also began planning a new exhibit, with the portraits clustered tightly, their edges overlapping, like a family huddled together for a group photo. \u201cThe bunch makes the paintings act more like people,\u201d Huckaby says. \u201cIt\u2019s more rhythmic and dynamic.\u201d<\/p>\n\n\n\n<p>Throughout the process, Huckaby used a variety of references he\u2019d created over the years. \u201cEach member of my family sat for oil pastels, then I used those to sketch from,\u201d he says. He pulled out these color studies and sketches as needed, each iteration of the portrait helping him understand an aspect of the finished work. Color, spacing, shape\u2014these are all details he experimented with before arriving at the finished portraits.<\/p>\n\n\n\n<p>\u201cPeople generally think of being able to render something lifelike as being a very hard thing to do,\u201d Huckaby says. \u201cBut being loose and allowing the paint to have a looseness to it, while at the same time still having a sense of control\u2014that\u2019s harder.\u201d<\/p>\n\n\n\n<h2>A Face Emerges<\/h2>\n\n\n\n<p>With the portrait of his wife, Huckaby saw enough details he wanted to change that he started over with a fresh canvas, creating&nbsp;<em>The Family: Letitia (2018)<\/em>. He constructed&nbsp;<em>Letitia\u2019s<\/em>&nbsp;oval canvas by attaching curved pieces to each side of a large rectangle. The seams where the pieces met would eventually show through the paint, creating a faint frame within the frame, tightly cropping Letitia\u2019s face\u2014and matching the other portraits in the family. Huckaby glued the canvas to a heavy wood panel. \u201cThat\u2019s important,\u201d he says, \u201cbecause I stack up a whole lot of paint on there.\u201d With that massive panel leaning against a studio wall, he began painting.<\/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=\"682\" src=\"\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-005-1024x682.jpeg\" alt=\"\" class=\"wp-image-96985\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-005-1024x682.jpeg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-005-636x424.jpeg 636w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-005-768x512.jpeg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-005-900x600.jpeg 900w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-005-450x300.jpeg 450w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-005-600x400.jpeg 600w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-005.jpeg 1100w\" 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=\"683\" height=\"1024\" src=\"\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-004-683x1024.jpeg\" alt=\"\" class=\"wp-image-96984\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-004-683x1024.jpeg 683w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-004-424x636.jpeg 424w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-004-768x1152.jpeg 768w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-004-1024x1536.jpeg 1024w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-004-667x1000.jpeg 667w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/19-1444-CFAHUCKABY-004.jpeg 1100w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/><\/figure><\/div><\/div>\n<\/div><\/div>\n\n\n\n<p class=\"has-text-color has-background has-normal-font-size has-white-color has-black-background-color\">To paint the large-scale portraits in his&nbsp;<em>Three Forbidden F Words&nbsp;<\/em>series, Huckaby first drew each family member in oil pastels (below). He used these pieces to sketch from. Each iteration of the portrait helped him understand the finished work.<\/p>\n\n\n\n<p>\u201cI will start off with the paint very thin and sort of washy,\u201d he says. Gradually, a faint monochromatic portrait emerges. It\u2019s a guide for Huckaby\u2019s next steps, which slowly bring the picture into sharper focus. \u201cI will build up the image, add some color to it. And then I\u2019ll start loading it up with paint.\u201d<\/p>\n\n\n\n<p>He mashed paint remnants he\u2019d saved from past projects and Galkyd, a fast-drying compound, onto the canvas, building up Letitia\u2019s forehead, nose, and lips. \u201cI pile it on with palette knives and some big, thick gloves,\u201d he says. \u201cI mix it all together and push it and plow it into place.\u201d In some spots, the paint was an inch and a half thick.<\/p>\n\n\n\n<p>Then he picked up a brush again and began developing details and colors. \u201cI\u2019m working from life and I\u2019m working with the colors that I see,\u201d Huckaby says. \u201cBut I try to, at times, mimic the colors that I\u2019m seeing using the most intense versions\u2014so they\u2019re a little bit of a souped-up version of what I\u2019m seeing.\u201d That meant choosing from upwards of two dozen colors in his palette, which bear names like cadmium orange, sap green, and burnt umber.<\/p>\n\n\n\n<h2>Inspiration and Interpretation<\/h2>\n\n\n\n<p>When he talks about his painting, Huckaby could just as easily be describing one of his artistic inspirations: jazz musician John Coltrane\u2014whose album&nbsp;<em>A Love Supreme<\/em>&nbsp;Huckaby honored with his quilt painting. \u201cHe knew where he was in his music and he was constantly pushing toward a certain edge, pushing to go over and beyond a certain threshold,\u201d Huckaby says. Whether working with a saxophone or a brush, there\u2019s a process and structure to the art, but also plenty of space for inspiration and interpretation. It\u2019s that fluidity that leads to stylistic shifts and breakthroughs.<\/p>\n\n\n\n<p>As he re-created&nbsp;<em>Letitia<\/em>, Huckaby kept pushing an idea he\u2019d been working on. \u201cOne of the things that has been entering into my paintings a little more, as I\u2019ve gone along, the paint has gotten a lot more fluid. It starts to drip, it splashes,\u201d he says. \u201cTextures, marks, even something as simple as transparency to opacity, it all becomes language to me. The splashes give the painting another kind of feel to it, it helps it to speak in a slightly different voice.\u201d<\/p>\n\n\n\n<p>The face staring out from the oval canvas seems timeless, unanchored in any particular era\u2014an effect captured in many of Huckaby\u2019s portraits. Its features are smoother and more subtly realized than those of the earlier version of&nbsp;<em>Letitia<\/em>. Browns, reds, and oranges combine to define her face, from her delicate cheekbones to the slightly upturned corners of her mouth. The blue headdress and a matching top frame the face, whites and blues blending to give the fabrics texture. The tiniest spots of white give her eyes a spark echoed in the other members of&nbsp;<em>The Family<\/em>.<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"alignright size-large\"><img loading=\"lazy\" width=\"683\" height=\"1024\" src=\"\/cfa\/files\/2023\/01\/The-Family-Letitia-1-Huckaby-683x1024.jpeg\" alt=\"\" class=\"wp-image-96989\" srcset=\"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/The-Family-Letitia-1-Huckaby-683x1024.jpeg 683w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/The-Family-Letitia-1-Huckaby-424x636.jpeg 424w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/The-Family-Letitia-1-Huckaby-667x1000.jpeg 667w, https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/files\/2023\/01\/The-Family-Letitia-1-Huckaby.jpeg 700w\" sizes=\"(max-width: 683px) 100vw, 683px\" \/><figcaption>The Family: Letitia (2018)<\/figcaption><\/figure><\/div>\n\n\n\n<h2>The Family Redux<\/h2>\n\n\n\n<p>Huckaby\u2019s second exhibit of&nbsp;<em>The Family<\/em>&nbsp;began in May 2018 at the Art Museum of South Texas in Corpus Christi. To complete the installation, Huckaby re-created the series in miniature. He wanted visitors to see the family in different ways as they moved through the exhibit. \u201cMany times in life, people only see things from one perspective,\u201d he says.<\/p>\n\n\n\n<p>Huckaby\u2019s final showing of&nbsp;<em>The Family: Letitia (2018)<\/em>&nbsp;came one year later, at the 2019 Dallas Art Fair, where the painting sold to a private collector. After more than three years, the members of Huckaby\u2019s family portrait were each going their own way. \u201cIt\u2019s like they\u2019re characters in a story,\u201d Huckaby says. \u201cAt the end of a story, everyone ends up doing different things.\u201d<\/p>\n\n\n\n<p class=\"is-style-end-of-article\">If there was anything about&nbsp;<em>Letitia<\/em>&nbsp;that Huckaby felt needed more work, he\u2019s not saying now. \u201cIt\u2019s about as done as it\u2019s going to be,\u201d he says with a laugh. \u201cAnything else I would\u2019ve done to it, I need to create another painting.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>For his first New York City show,&nbsp;The 99%, Huckaby covered a wall with 101 black-and-white portraits of people from his neighborhood, making each sitter look \u201ccasually but distinctly regal,\u201d according to the&nbsp;New York Times. By contrast, the canvas for his 80-foot-wide&nbsp;A Love Supreme&nbsp;is filled by a single painting of brightly colored quilts, a craft he [&hellip;]<\/p>\n","protected":false},"author":6310,"featured_media":96986,"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":[385],"media_type":[],"_links":{"self":[{"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/96983"}],"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=96983"}],"version-history":[{"count":3,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/96983\/revisions"}],"predecessor-version":[{"id":97678,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-article\/96983\/revisions\/97678"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media\/96986"}],"wp:attachment":[{"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media?parent=96983"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/tags?post=96983"},{"taxonomy":"bu-publication","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu-publication?post=96983"},{"taxonomy":"magazine-article-category","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/magazine-article-category?post=96983"},{"taxonomy":"magazine-topic","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/magazine-topic?post=96983"},{"taxonomy":"news-article-category","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/news-article-category?post=96983"},{"taxonomy":"news-topic","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/news-topic?post=96983"},{"taxonomy":"bu_edition","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/bu_edition?post=96983"},{"taxonomy":"media_type","embeddable":true,"href":"https:\/\/id-andrea.cms-devl.bu.edu\/cfa\/wp-json\/wp\/v2\/media_type?post=96983"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}