{"id":8380,"date":"2024-01-22T18:05:47","date_gmt":"2024-01-22T16:05:47","guid":{"rendered":"https:\/\/tahneyalexandramay.com\/?p=8380"},"modified":"2024-03-18T15:28:12","modified_gmt":"2024-03-18T13:28:12","slug":"sarah-schug","status":"publish","type":"post","link":"https:\/\/tahneyalexandramay.com\/index.php\/2024\/01\/22\/sarah-schug\/","title":{"rendered":"Sticky Teeth | Micro\u2013interview with Sarah Schug"},"content":{"rendered":"
<\/div>\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

When you know what you\u2019re writing about and what you want to say, then you\u2019re already very close to being able to write something that everybody will understand.\u00a0<\/span><\/span><\/p>


\u00a0–\u00a0<\/i><\/span><\/span>\u00a0<\/i>Sarah Schug<\/i><\/p><\/blockquote>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Sticky Teeth’s<\/a> micro-interviews f<\/i><\/b><\/span>t. words on the intersection of arts and writing.\u00a0<\/i><\/b><\/span><\/p>\n

\u00a0<\/span><\/p>\n

In this edition,\u00a0<\/span><\/span>Brussels-based journalist\u00a0<\/span>Sarah Schug discusses the challenges of language in the art world (the need for accessibility, the diminishing value of art writing) and touches on her proudest accomplishment\u2014a self-published book on Iceland’s contemporary art scene.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

xx Tahney<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Sarah Schug is a journalist based in Brussels writing about art, culture, design and photography.\u00a0<\/i><\/span><\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Arts\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t
\n
sarahschug.com    <\/a><\/span><\/h6>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\n\t\t
\n\t\t\t\t\t\t\n\t\t\t\t<\/i>\t\t\t<\/a>\n\t\t\t\t\t\t\n\t\t\t\t<\/i>\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Her work has been published in L’Officiel Art Belgium, TL Magazine, Previiew Journal, and others. She’s the author of the 5th edition of the Brussels Art Guide, has published a book on Iceland’s art scene and also founded seeyouthere.be, an online mag putting forward the Belgian cultural scene. She curated the exhibition “No place like home” at Brussels Art Department and project-managed the 2019 edition of A Performance Affair. Since September, Sarah has been a staff writer at The Parliament Magazine.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Tahney: How should we be approach<\/span>ing arts writing?<\/h2>\n
Sarah Schug:\u00a0<\/i>The art world, as much as I love it, can be intimidating to many, and grapples with exclusion in different ways, especially financially. Language is a way to open it up and it shouldn\u2019t be used (intentionally or not) for gatekeeping.\u00a0<\/span>\n\n<\/span><\/div>\n
When you know what you\u2019re writing about and what you want to say, then you\u2019re already very close to being able to write something that everybody will understand.\u00a0<\/span>\n\n<\/span><\/div>\n
Whoever I write for, I want my texts to be interesting to art world insiders but, at the same time, accessible to those who don\u2019t understand art. Of course, that bridge is not always easy to build. But jargon is such a lazy way to sound important without saying anything.\u00a0<\/span><\/div>\n
\u00a0<\/span><\/div>\n
I\u2019ve had cases where I called the gallery about their press release to ask “What do you actually mean by this?” and I couldn\u2019t get an answer.<\/span><\/div>\n
\n
\n
\n
\n
<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Screenshot\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

What arts writers (et al.) do you resonate with?<\/span><\/h2>\n
\n
\n
\n
\n
\n
I am very drawn to text-based art or artists working with language. Thinking of Lawrence Weiner, Birgir And\u00e9sson, On Kawara, Flexboj & LA\u2026<\/div>\n
<\/div>\n
When opening The New Yorker<\/a>, I always search for pieces by Peter Schjedahl. He is able to turn even the shortest exhibition blurb into something poetic. In Seven Days in the Art World<\/i>\u00a0(I love this book, a great example of making the art world less mysterious) he says:<\/div>\n
<\/div>\n
\u201cThose who write for the little they are paid by Artforum are writing for glory. But there is a point when your glory metre smiles, and you notice that you are starving to death.\u201d<\/div>\n
<\/div>\n
At this point, Artforum can be replaced with any art publication. It\u2019s extremely demotivating to see how writing about art, or good writing in general, is less and less valued.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Another quote from Peter\u00a0<\/span>Schjedahl?<\/h2>\n
\u201cLike a diet of only celery, which is said to consume more calories in the chewing than it provides to digestion, KAWS activates hallucinatory syndromes of spiritual starvation.\u201d<\/span>\n<\/span><\/div>\n

Core moments from your own arts writing practice?<\/h2>\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n

My most recent publication: I was hired by Fondation pour les Arts to write the 5th edition of the Brussels Art Guide<\/a><\/i>, which features 10 portraits of women who are integral parts of the Brussels art scene as well as all the best places and spaces to experience art. The local scene here is super international but quite small in comparison to the usual art hubs, and much more welcoming than London or Paris. Come to Brussels, people!\u00a0<\/b><\/span><\/p>\n

\u00a0<\/span><\/p>\n

My favourite project, and the one I\u2019m most proud of, is a book I wrote on the Icelandic contemporary art scene<\/a>, which deserves much more attention than it currently receives.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

What I was most impressed about was that so much is happening outside of Reykjav\u00edk, in defunct fishing factories in remote villages, for instance. We (photographer Pauline Miko, graphic designer Raya Boteva, and myself) self-published 500 copies. It\u2019s almost sold out. It\u2019s a journey around the island and at the same time features different voices of the Icelandic art landscape, from curators and framers to artists and gallery directors.<\/span><\/p>\n

\u00a0<\/span><\/p>\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Other arts centric writing you’re loving, atm?<\/span><\/h2>\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n
\n

Not necessarily arts writing, but written by artists or weaving art into the story:<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Olivia Laing: The Lonely City\u00a0<\/i><\/span><\/p>\n

\u00a0<\/span><\/p>\n

Jenny Odell: How to Do Nothing – Resisting the Attention Economy<\/i> (this really spoke to me, as I continuously oscillate between “I should delete all social media” and “I don\u2019t post enough to get my work out there”. Although, I do find her a little condescending at times).<\/span><\/p>\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

More on Sarah Schug\u00a0here<\/a>.\u00a0<\/h2>
Interview by Tahney Fosdike.\u00a0<\/a><\/i><\/h6>
\u00a0<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t
<\/div>\n\t\t\t\t
<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\tHey! My name is Tahney. I design words that fill the space between you, your creative project, and your audience.\t\t\t\t\t<\/div>\n\t\t\t\t\n\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\n\t\t\t\t\t\tGet in touch \t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\n\t\t\n\t\t\n\t\t
\n\t\t\t\n\n
\n\t
\n\t\t\t\t
\n\t\t\t\n\t\t\t\t\"Sticky\n\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\tAugust 21, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with David Willis<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t

David Willis: “It is my personal mission as an art writer to strike a balance between critical rigour and concise readability.” <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

\n\t
\n\t\t\t\t
\n\t\t\t\n\t\t\t\t\"Sticky\n\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\tJune 30, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Carmela Vienna<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t

Carmela Vienna talks about the overreliance on AI in arts marketing and social media, and the need for more inspired, well-edited content, as well as treating arts marketing more seriously within arts orgs in general. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

\n\t
\n\t\t\t\t
\n\t\t\t\n\t\t\t\t\"Review:\n\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\tMay 28, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tReview: Is the 2024 Venice Biennale too overwhelming?<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t

Too, with the Venice Biennale as a whole, in this unearthliness, the curatorial was a blur of impact and thought. I wasn\u2019t sure if it was possible to achieve anything cohesive. I\u2019m still not sure if it\u2019s possible to look at, en masse like this, the variety of mediums, ideas, and cultural contexts and get it and not just be overwhelmed, weary, and clueless.<\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

\n\t
\n\t\t\t\t
\n\t\t\t\n\t\t\t\t\"Sticky\n\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\tApril 25, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Haneen Mahmood Martin<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t

Haneen Mahmood Martin talks about shared accountability and diverse perspectives in the arts industry, matching words with actions\u2014i.e., more POC in leadership positions\u2014and the use of clear, accessible, but impactful language. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

\n\t
\n\t\t\t\t
\n\t\t\t\n\t\t\t\t\"Sticky\n\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\tMarch 18, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Liv Collins<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t

Liv Collins has an infectious energy rare in an industry of pretension. I’m really excited to feature her in this sticky teeth micro-interview for her truths about writing education at art school and some hot insider arts reading suggestions. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n

\n\t
\n\t\t\t\t
\n\t\t\t\n\t\t\t\t\"Sticky\n\t\t\t<\/a>\n\t\t<\/div>\n\t\t\t\t
\n\t\t\t
\n\t\t\t\tFebruary 20, 2024<\/span>\t\t\t<\/div>\n\t\t\t
\n\t\t\t\tSticky Teeth | Micro\u2013interview with Anna Kate Blair<\/a>\n\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t

Anna Kate Blair speaks on the intersection of art, writing, and time. She explains her major concerns for lack of enough resources for the writing process itself, and also touches on history, capitalism and imagining alternative futures for creativity. <\/p>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n\t\t<\/div>\n\n \n\t\t\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t
<\/div>\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Brussels-based journalist Sarah Schug discusses the challenges of language in the art world, the need for accessibility, the diminishing value of art writing and her proud accomplishment\u2014a self-published book on Iceland’s contemporary art scene.<\/p>\n","protected":false},"author":1,"featured_media":8385,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_vp_format_video_url":"","_vp_image_focal_point":[],"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[523,537,359],"tags":[],"class_list":["post-8380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sticky-teeth","category-micro-interview","category-writing"],"acf":[],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/tahneyalexandramay.com\/wp-content\/uploads\/2024\/01\/headshot-horizontal-Sarah.jpg?fit=1600%2C964&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p9Pso7-2ba","jetpack_likes_enabled":false,"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8380","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/comments?post=8380"}],"version-history":[{"count":75,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8380\/revisions"}],"predecessor-version":[{"id":8669,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/posts\/8380\/revisions\/8669"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/media\/8385"}],"wp:attachment":[{"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/media?parent=8380"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/categories?post=8380"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tahneyalexandramay.com\/index.php\/wp-json\/wp\/v2\/tags?post=8380"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}