{"id":15366,"date":"2013-01-07T15:16:31","date_gmt":"2013-01-07T21:16:31","guid":{"rendered":"http:\/\/artistsofutah.org\/15Bytes\/?p=15366"},"modified":"2023-11-14T09:43:08","modified_gmt":"2023-11-14T15:43:08","slug":"faux-naive","status":"publish","type":"post","link":"https:\/\/artistsofutah.org\/15Bytes\/faux-naive\/","title":{"rendered":"Faux Naive: A Conversation with Andrew Ballstaedt, Fidalis Buehler and Brian Kershisnik."},"content":{"rendered":"
\"\"<\/a>

From left, Brian Kershisnik, Andrew Ballstaedt and Fidalis Buehler, photo by Alex Vaughn<\/p><\/div>\n

 <\/p>\n

by Kev Nemelka | photographs by Alex Vaughn<\/span><\/p>\n

Maybe \u201cfaux-na\u00efve\u201d art is nothing more than what you\u2019d imagine: simple, modest works by trained artists who choose to draw and paint in a seemingly juvenile manner despite their higher education in the Arts. But maybe there\u2019s something more to this art tradition; maybe there are greater reasons for its emerging momentum in the contemporary art scene other than an ever-present irony or a giggle-factor. Because of its consciously contrived nature, some contend that faux-na\u00efve is borderline-kitsch, insincere and premeditated art, but the works of Andrew Ballstaedt, Fidalis Buehler, and Brian Kershisnik\u2014three of Utah\u2019s finest folk artists making a name for themselves as American contemporary faux-na\u00efvists\u2014show the positive side of contrivance, that faux-na\u00efve can provoke feelings of nostalgia and insight into real emotions, focusing our attention on adolescent memories or spiritual innocence alluded to in their works rather than on the lack of complexity, precision, or realism often sought after by aficionados of conventional, believable art.<\/span><\/p>\n

We form a spacious circle for an intimate group interview, the three of them drawing and painting. They expound on what it means to be faux-na\u00efvists, their own versions of faux-na\u00efvet\u00e9, and how they are inspired by the art of children and other na\u00efve artists. Oh, and a certain red-faced gentleman.\u00a0<\/span><\/p>\n

\"\"<\/a>

Fidalis Buehler<\/p><\/div>\n

Kev Nemelka: How did the three of you start working alongside one another and doing shows together?<\/strong><\/p>\n

F<\/strong>idalis Buehler: I remember hearing a voice coming from the other room saying, \u201cSome of the parts are equal to the whole,\u201d and when I peeked in I saw Brian. Our official meeting was in the Harris Fine Arts Center. I smelled this strong, distinct scent of galkyd, and I walked in and there he was working on “The Nativity,”\u00a0<\/strong>and he said, \u201cHi!\u201d kind of halfway out of it, probably from the fumes.<\/p>\n

B<\/strong>rian Kershisnik: Central nervous system damage.<\/p>\n

A<\/strong>ndrew Ballstaedt: He can\u2019t have any children anymore.<\/p>\n

\"\"<\/a>

Brian Kershisnik<\/p><\/div>\n

F<\/strong>: Anyway, we had a good conversation.<\/p>\n

A:<\/strong>\u00a0I met Brian in \u201905 when he came and spoke at a BFA seminar, and I just remember thinking how interesting it was to listen to him talk, and his pictures were really cool. One day while he was teaching at BYU in the winter of \u201906 I wanted to talk to him and saw him getting into an elevator with a bunch of other students around him. He was kind of a rockstar with all the students\u2014<\/p>\n

F:\u00a0<\/strong>Signing autographs.<\/p>\n

A:<\/strong>\u00a0Yeah, and I was like, \u201cHey, I just got into UT Austin, I wanna talk to you about it.\u201d And he just went up the elevator.<\/p>\n

B:<\/strong>\u00a0Because he\u2019s a rockstar.<\/p>\n

A:\u00a0<\/strong>There were always so many students trying to talk to him and he kind of shrugged me off but then he saw a painting of mine called “The City with a Small Helicopter”\u00a0<\/strong>and he wanted to buy it, and the beautiful girl from Venezuela called me from the gallery and said, \u201dBrian Kershisnik wants to buy your painting,\u201d and she said she\u2019d go out with me because she liked Brian.<\/p>\n

B:<\/strong>\u00a0Golly, I had no idea about this stuff. You owe me, man.<\/p>\n

\"\"<\/a>

Andrew Ballstaedt<\/p><\/div>\n

A:\u00a0<\/strong>I think she thought I\u2019d have money one day because some famous Utah guy was buying my art. Brian asked me, \u201cHow much is that painting?\u201d and I said, \u201cUhh, $250,\u201d and he said, \u201cOh, I won\u2019t pay any less than $500.\u201d That\u2019s never happened to me before.<\/p>\n

B:<\/strong>\u00a0That was my economic circumstance then.<\/p>\n

F:<\/strong>\u00a0I met Andrew in a critique. Andrew and I were the only guys in the class. There was a famous visiting artist that came and she didn\u2019t say one thing about our works so we kind of joined forces in our hatred towards the critique.<\/p>\n

A:<\/strong>\u00a0She was talking about all these girls in the class that were like 18 years old, how they were gonna be art stars. I don\u2019t even know who they were, they were cute but I don\u2019t remember them\u2026.<\/p>\n

\"\"<\/a>

Fidalis Buehler<\/p><\/div>\n

B:<\/strong>\u00a0I remember meeting both these guys when I taught temporarily at BYU. I think I went to Fidalis\u2019s first graduate review\u2014I wasn\u2019t required to go but I had seen his work around and wanted to go. And as Andrew said, I think the first time we met was when I saw his BFA show and I remember thinking, \u201cI want it!\u201d And once Fidalis had a small show and I remember seeing his work so I began snatching them up while they were cheap. Andrew\u2019s were too cheap.<\/p>\n

F:<\/strong>\u00a0I remember seeing Andrew\u2019s BFA show and I felt blown away by it.<\/p>\n

B:<\/strong>\u00a0So the nice thing about the three of us coming together was that it was all very organic, our work just went well together. We influence each other, but it just seems to fall naturally in putting together shows. Actually we talked about doing a show together for a long time and I think it was Fidalis\u2019s idea to do\u00a0The Bible Show<\/em>. I was teaching a monotype workshop and thought, \u201cLet\u2019s do monotypes,\u201d so every Friday last summer we would meet together and we produced a group show, and the thing that was unique about that group show, in my experience, was that we produced the work together. We would get together and work, so all of the stuff from that show was emerging in a group presence, instead of just going off on our own and making works to later put them together.<\/p>\n

A:<\/strong>\u00a0I think one of the reasons we all connect as folk artists is because we hate perspective. (all laugh)<\/p>\n

F:<\/strong>\u00a0The world is flat.<\/p>\n

B:<\/strong>\u00a0We don\u2019t hate perspective, we just use it creatively.<\/p>\n

A:<\/strong>\u00a0We just don\u2019t understand it.<\/p>\n

F:<\/strong>\u00a0Waaait a second. (all laugh) Andrew, I think you understand it more than a lot of people just in the fact that you\u2019re countering it.<\/p>\n

\"\"<\/a>

Brian Kershisnik<\/p><\/div>\n

B:<\/strong>\u00a0And perspective is a conceit, it is the way we draw, it is not actually how everything looks, it is an approximation or a code. I love Giotto\u2019s work more than the artists of the High Renaissance because I think there\u2019s something about the pure, raw, human content of his pieces that distracts you from the incredible capacity of the High Renaissance artists. I feel like they kind of lost that raw, human contact in their work and I feel like part of faux-na\u00efvet\u00e9 is that\u2026 I mean none of us are na\u00efve, but we\u2019re kind of reaching into a place not further from reality but actually closer to reality. Literal depictions approach a certain portion of reality but certainly not the whole spectrum of reality, and there is something about the human experience that I feel is left out of that kind of work. The work of children is not cute because it\u2019s not real, it\u2019s almost like it\u2019s too real for us to even understand. It\u2019s like hyper-real. It reduces things to some kind of essence that we don\u2019t understand yet, and children all over the world draw these weird kind of tadpole people and they haven\u2019t discussed it with each other\u2014<\/p>\n

F:<\/strong>\u00a0Tadpole people\u2026.<\/p>\n

B:<\/strong>\u00a0There\u2019s something about us that is just one of those tadpole people. So I think faux-na\u00efvet\u00e9 is almost like looking into what is generally seen as a more na\u00efve version of the world but for some reason seems to be closer to the core of the issue than further away. Sometimes I do drawings with my left hand because I don\u2019t have as much control over my left hand, and sometimes stuff comes out of it that feels truer than when I do have control. Accidental gestures and distortions just sometimes feel closer to the heart of the matter.<\/p>\n

K:\u00a0<\/strong>That reminds me of the first chapter of Saint-Exupery\u2019s\u00a0The Little Prince<\/em>, when the kid draws a picture for the pilot.<\/p>\n

B:<\/strong>\u00a0Yeah, yeah! My teacher in seventh grade had us memorize a quote from\u00a0The Little Prince<\/em>.<\/p>\n

A:<\/strong>\u00a0What was it?<\/p>\n

B:<\/strong>\u00a0\u201cI know a planet where there is a certain red-faced gentleman. He has never smelled a flower. He has never looked at a star. He has never loved any one. And he sits there adding up figures and he says over and over, \u2018I am busy with matters of consequence,\u2019 and this makes him swell up with pride. But he\u2019s not a man. He\u2019s a mushroom.\u201d (all laugh)<\/p>\n

\"\"<\/a>

Andrew Ballstaedt<\/p><\/div>\n

K:<\/strong>\u00a0Considering this idea that faux-na\u00efvet\u00e9 is a way of expressing the child within, do you think there is a place for nostalgia in the contemporary art scene?\u00a0<\/strong><\/p>\n

B:<\/strong>\u00a0There\u2019s a reason why we respond to children\u2019s drawings, and as I mentioned, I don\u2019t think it\u2019s just because they\u2019re cute.<\/p>\n

A:\u00a0<\/strong>If you want to see some of the most powerful images that were made after 9\/11, check out the images created by little kids\u2014images of men falling from the air with their ties flapping; those drawings were more powerful than photos, I thought. Little stick figures falling out of the buildings, scribbles of fire coming from the burning building\u2026 it was just searing in your brain.<\/p>\n

F:<\/strong>\u00a0I tend to recognize the aesthetic of na\u00efve art as a tool, and I think the way that children work allows an avenue for people to enter into a type of reality. I kind of like that idea, that it can be a way of accessing a feeling or experience that you might not be able to do with say photo-realism or some other medium. But then there\u2019s also something inside that says, you know, forget what the critic thinks, this is just how I respond to something. There\u2019s a connection, and sometimes it gets looked over as if it isn\u2019t an intelligent response, but it is, it\u2019s real.<\/p>\n

B:<\/strong>\u00a0There are of course people that will put it on a sweater, that are just contriving it. There are plenty of examples of people that are not doing good work, but I think in art there\u2019s a certain inevitability to how an artist works, and it\u2019s not someone sitting down and saying, \u201cI\u2019m gonna fake some naivet\u00e9.\u201d They\u2019re trying to get to something, and if there\u2019s authenticity to their work then they are getting there, but they haven\u2019t arrived, they\u2019re looking for it, you know? I work with a guy named Joe who has down-syndrome, and Joe is not trying to be smart, but I get ideas from working with him because I can\u2019t be na\u00efve like Joe, I can only learn some things about it because I can\u2019t return to that place and he can\u2019t leave it. And I don\u2019t try to draw like Joe\u2014all his people are Mr. Potatoheads with big grins, and it\u2019s always either a dead Indian or God. One time I asked, \u201dWhat is that Joe?\u201d and he said, \u201cMaybe your wife. Maybe God.\u201d And when he said that I just thought, \u201cGolly, I am just not smart enough to come up with a title like that.\u201d<\/p>\n

F:<\/strong>\u00a0There\u2019s something about our own personal filters as well. We can\u2019t allow ourselves to express our thoughts and feelings through our most immediate reactions because we are educated, so that has kind of taken away from the spirit of this whole feeling. I think that\u2019s another way to talk about faux-na\u00efvet\u00e9\u2014the style of a drawing or painting in this manner is kind of like this call for freedom. Sometimes I think education is more of a detriment to our learning than not.<\/p>\n

K:<\/strong>\u00a0Do you hope to create some kind of faux-na\u00efve school?<\/strong><\/p>\n

F:<\/strong>\u00a0It\u2019s never really been an inkling for me, no.<\/p>\n

B:<\/strong>\u00a0If anything, I think that there\u2019s always kind of a way that artists working in this tradition will gravitate towards each other, but I think that if you almost reduce it to a series of principles or to some kind of a manifesto, then it\u2019s over.<\/p>\n

K:<\/strong>\u00a0Part of faux-na\u00efvet\u00e9 is that the art has no principles.<\/p>\n

B:\u00a0<\/strong>Yeah, part of it is that there aren\u2019t parameters that you have to stay inside. If someone looks at my work, they\u2019ll see it existing in a certain range of kinds of metaphors and kinds of paint applications and all these things but I don\u2019t sit down at my easel and think, \u201cI need to do a painting that fits into this category.\u201d I\u2019m always trying to push out and reach out to things that I don\u2019t know, barging into rooms where I\u2019m disoriented, and I think it\u2019s possible that in retrospect someone will organize a group of artists that were working in a similar vein, and some people will have known each other well, and some of them will not have known each other at all. When I was in graduate school I had a Polish professor that was critiquing some of my work and he said, \u201cBut of course you know this Polish artist and this Polish artist,\u201d and I said, \u201cNo, I don\u2019t know any of these people,\u201d and he thought I was lying but I kind of saw it as more of a validation, like I was onto something bigger, that it wasn\u2019t just something I was pulling off of someone I was working alongside, that there was something central to that.<\/p>\n

F:<\/strong>\u00a0I\u2019ve always been fearful of being informed. There\u2019s kind of this idea that you have to research in school. And I teach it too. I tell my students, \u201cYou need to be aware of what\u2019s happening around you,\u201d but there\u2019s always been this side of me that cautions over-abundance of knowledge. There needs to be a balance in my personal aesthetic, between consciousness and making what is spontaneous and free of this over-conscious deliberation in the work. I hate to be bombarded by imagery that helps inform me on how to make my next painting just because I need to be informed.<\/p>\n

B:<\/strong>\u00a0I feel like part of what\u2019s being expressed\u2014this sounds a little weird when I talk about it\u2014is a kind of channeling of some other force, and when it works well and when it works authentically there\u2019s a sense that there really is some kind of force in the universe that is looking for expression, that there are some people that it can work through and some people through whom it can\u2019t, and those people do something else. But just as that same force works its way out in children\u2019s drawings covering refrigerators across the globe, there are certain artists that gain access to that \u201cradio wavelength\u201d or something like that. And I don\u2019t feel like I\u2019m good at it; when I say this I\u2019m not thinking of my own work, I\u2019m thinking of others and wishing I could access it like they do, but I don\u2019t. I access it in a different way, and I just have to do it.<\/p>\n

F:<\/strong>\u00a0I was trained to draw in a very classical tradition, to create the illusion of three-dimensional space on a two-dimensional surface. [I came to this] realization of something I was connected to more so than this approach to realism, like there was a real connection. And I think there are times when you can\u2019t help but acknowledge when the metaphysical and the mysterious seem to creep into the actualization of artwork.<\/p>\n

A:\u00a0<\/strong>I just make kid art because I don\u2019t know how to make \u201cgood\u201d art. I just try to copy kids because it seems easier than making stuff that looks real.<\/p>\n

F:<\/strong>\u00a0There\u2019s something that\u2019s also not being addressed as well and that\u2019s this idea that it is a language. Visual language can be spoken in many forms, and I think faux-na\u00efvet\u00e9 is just another way of speaking.<\/p>\n

K:<\/strong>\u00a0It\u2019s like a dialect.<\/p>\n

F:\u00a0<\/strong>Yeah it\u2019s a dialect, right? So I kind of look at it that way, that we learn several languages and different aspects of languages while we\u2019re in art school and art training from the time when we were kids. Also, I think something we\u2019re not really saying but I think is also a part of it is learning to speak the way we feel is most appropriate to be spoken when we\u2019re trying to deliver a message. I think there\u2019s a time and a season to speak in na\u00efvet\u00e9 and there\u2019s a time and season to speak in another fashion. Sometimes people are just gifted at one or the other, and sometimes artists like to just spread their language and they use other formats to talk about certain issues, and if visual communication really is a kind of communication then it makes sense to talk about it in that regard. I remember looking at Andrew\u2019s earlier stuff, some of his landscapes, and there\u2019s a relationship to his later work but there\u2019s this complexity in the design and colour choice and I think that he\u2019s really gifted in the sense of colour, and colour is actually a really big portion of visual language.<\/p>\n

K:<\/strong>\u00a0Speaking of language, there has been some controversy regarding the terminology that has been used to describe some of these forms of art. Raw Vision Magazine, one of the most prominent journals of \u201coutsider art,\u201d has decided to refrain from using terms like \u201cna\u00efve\u201d and \u201coutsider\u201d because it can come off as belittling or disrespectful. They prefer to use terms like \u201cintuitive art\u201d and \u201dself-taught artists.\u201d What are your thoughts?<\/span>
\n<\/strong>
\nA:<\/strong>\u00a0(jokingly) I hate when people call me an outsider artist.<\/p>\n

B:<\/strong>\u00a0Whenever I feel like a label is made, it never quite feels to me like it fits. And whenever I come up with my own labels for my own art I think, \u201cNo, that\u2019s not it.\u201d As those terms relate to what I do, I\u2019m not surprised to feel like that doesn\u2019t quite capture what\u2019s happening, but my own view of the cosmos is just that language is horribly imprecise and imperfect but we have to use words so we come up with some explanations, some of which get closer to the mark. But I don\u2019t feel like it\u2019s belittling. I actually am kind of surprised when people say, \u201cOh, your work is so child-like,\u201d and I say, \u201cI don\u2019t know any children that work like this.\u201d<\/p>\n

A:<\/strong>\u00a0But I think sometimes when they make comments like that they are admiring your art as tapping into something else they admire.<\/p>\n

B:<\/strong>\u00a0Yes, and just responding. And it\u2019s generally not meant as an insult, and I don\u2019t take issue with that. I feel like they are kind of just saying that my art is playing some chord that they associate with something that they also see emerging from the works of children.<\/p>\n

A:\u00a0<\/strong>My gallerist friend said I need to be careful so that people don\u2019t see my work as \u201cjuvenile,\u201d and I was kind of annoyed by that. She said don\u2019t use pink, purple, or yellow, so I said, \u201cWell, that\u2019s all I\u2019m gonna use now.\u201d<\/p>\n

K: What are your thoughts on the contemporary art scene as of late?<\/strong><\/p>\n

A:<\/strong>\u00a0I wish I was in it. I wish I wasn\u2019t a crappy Utah folk artist.<\/p>\n

F:<\/strong>\u00a0Sometimes I go to these contemporary art shows and I just roll my eyes because I feel like it\u2019s just people regurgitating things, like things are recycling too fast.<\/p>\n

K:<\/strong>\u00a0Everyone is already recycling Hurst and Koons.<\/p>\n

F:\u00a0<\/strong>Yeah, and they just try to put a little spin on it and I just think, \u201cWow, let\u2019s sit back a little and relax.\u201d But I mean maybe that\u2019s just me dealing with feeling the same way Andrew feels, like I wish I were in it\u2026 I wouldn\u2019t say I feel in or out of it actually. I\u2019m just making art.<\/p>\n

K:<\/strong>\u00a0It might just feel like it\u2019s recycling itself too fast because we exist in it simultaneously as it develops.<\/p>\n

F:<\/strong>\u00a0Yeah, we live in this age of the internet and everything is happening so fast. I kind of like the idea that art used to take some time to travel, that it created communities where thoughts were focused in certain areas, whereas now you can create a piece of work and people can connect to it, to that space, through an image or a jpeg. I\u2019m more of a physical space kind of guy; responding to memories is part of me responding to the physical space.<\/p>\n

B:<\/strong>\u00a0As someone who is a million miles from what is considered to be avant-garde, I understand at least a part of what Fidalis is saying. Wherever you are on this spectrum, you have to look inside for the best avant-garde, and if you\u2019re looking over your shoulder to see what you should be doing, or looking over your shoulder to see what you shouldn\u2019t be doing, well, neither of those are looking at the core of the matter. Some of us\u2014and I say us hoping I\u2019m in this set\u2014are looking inside to find something. It may or may not be important, but that\u2019s where we have to look, and for me to obliterate my vision because it\u2019s not currently \u201chip\u201d is the wrong kind of thinking, and it breeds a kind of insincere art, even if it is popular. I remember an artist in graduate school complaining about my work because I had a painting of a mother and child and he said, \u201cYou know, mother and child has been done,\u201d and I just thought, \u201cOh, are we finished with mothers and children?\u201d That\u2019s really hard on the human race, you know. As if because that subject has been dealt with we have sounded the depths of the connection between mothers and children. It was just amazing to me that he would excuse it because it\u2019s \u201cbeen done.\u201d So he was just trying to do something perceived as \u201cnever having been done\u201d and he was looking over his shoulder much more wildly than I was. I mean, I\u2019m also looking around at what calls me, but he was looking around to make sure he was doing something that no one had done before. That did not seem to me to anchor him to any kind of viewpoint, because all of our viewpoints are just a river of viewpoints that have flowed into us. But I don\u2019t know, maybe a lot of it is just sour grapes, that we\u2019re not getting a lot of phone calls from major museums. But one of the things I realized over the past few years is that there are wonderful things about being a regional artist. There\u2019s a part of my life that is seemingly very much my own, a certain amount of participation in a community that is very much available to me, that I value, as part of my religion, as part of my community, and I deal with galleries that I get along well with and my life feels more like something I have a big say in, and I\u2019m not in any big magazines and I buy my own groceries and I\u2019m good with that.<\/p>\n

F:<\/strong>\u00a0It’s sincerity and just recognizing where you\u2019re at. This is my home, this is what I respond to, this is where I\u2019m at, so these are my subjects anyway. I use family and I use my interactions as pivotal instruments in anything I make, so it\u2019s natural for me to feel comfortable and accept that. I don\u2019t look to New York to make sure that I\u2019m making \u201cwhat I need to make.\u201d It\u2019s all right here.<\/p>\n

\n
\"\"<\/a>

Brian Kershisnik<\/p><\/div>\n<\/div>\n

Fidalis Buehler and Andrew Ballstaedt will be featured in an upcoming exhibit at\u00a0Provo’s Academy Square Art Gallery called\u00a0Hue + Me<\/em>, January 11 – February 28. You can view more of these artists’ work at their respective websites:
\nAndrew Ballstaedt
\nFidalis Buehler<\/a>
\nBrian Kershisnik<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Maybe \u201cfaux-na\u00efve\u201d art is nothing more than what you\u2019d imagine: simple, modest works by trained artists who choose to draw and paint in a seemingly juvenile manner despite their higher education in the Arts. But maybe there\u2019s something more to this art tradition; maybe there are greater reasons for its emerging momentum in the contemporary art scene other than an ever-present irony or a giggle-factor. Because of its consciously contrived nature, some contend that faux-na\u00efve is borderline-kitsch, insincere and premeditated art, but the works of Andrew Ballstaedt, Fidalis Buehler, and Brian Kershisnik\u2014three of Utah\u2019s finest folk artists making a name for themselves as American contemporary faux-na\u00efvists\u2014show the positive side of contrivance, that faux-na\u00efve can provoke feelings of nostalgia and insight into real emotions, focusing our attention on adolescent memories or spiritual innocence alluded to in their works rather than on the lack of complexity, precision, or realism often sought after by aficionados of conventional, believable art.<\/p>\n","protected":false},"author":1,"featured_media":15416,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_piecal_is_event":false,"_piecal_start_date":"","_piecal_end_date":"","_piecal_is_allday":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17,14],"tags":[1175,362,1174,1176],"class_list":["post-15366","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artist_profiles","category-visual_arts","tag-andrew-ballstaedt","tag-brian-kershisnik","tag-by-kev-nemelka","tag-fidalis-buehler"],"jetpack_featured_media_url":"https:\/\/artistsofutah.org\/15Bytes\/wp-content\/uploads\/2013\/01\/fauxnaive.jpg","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"publishpress_future_action":{"enabled":false,"date":"2026-07-02 09:11:48","action":"change-status","newStatus":"draft","terms":[],"taxonomy":"category","extraData":[]},"publishpress_future_workflow_manual_trigger":{"enabledWorkflows":[]},"_links":{"self":[{"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/posts\/15366","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/comments?post=15366"}],"version-history":[{"count":15,"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/posts\/15366\/revisions"}],"predecessor-version":[{"id":71116,"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/posts\/15366\/revisions\/71116"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/media\/15416"}],"wp:attachment":[{"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/media?parent=15366"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/categories?post=15366"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artistsofutah.org\/15Bytes\/wp-json\/wp\/v2\/tags?post=15366"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}