Mori Tetsuzan, Tigers in <\/em>Landscape and Birds<\/em>, late 1700s\u2013mid-1800s<\/h2>\n![\"Mori](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/Tetsuzan_Tigers-in-Landscape-and-Birds_late-1700s-mid-1800s-copy.jpg?w=400\")
\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tMori Tetsuzan (1775-1841) was born in Osaka and adopted by his uncle Mori Sosen, a famed painter of animals, to continue Sosen\u2019s artistic lineage. Likely at his uncle\u2019s urging, Mori later studied with Maruyama \u014ckyo, founder of the naturalistic school that bears his name; appointed as an official painter for the Kumamoto domain, Mori Tetsuzan brought the Maruyama style to the Kanto region. Mori is best known for combining realism with decorativeness, as in this set of four sliding doors with a rendering of two tigers on one side and a painting of birds on the other. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nCamille Claudel (1864\u20131943),\u00a0R\u00eave au coin du feu<\/em> (Fireside Dream), conceived 1899\u20131905<\/h2>\n![\"Camille](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/Claudel_Fireside-Dream-Reve-au-coin-du-feu_1899-1905-copy.jpg?w=400\")
\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tThough she was a prodigious talent, the artistic achievements of sculptor Camille Claudel\u2019s artistic achievements were long obscured by her tragic life story: her relationship with Auguste Rodin, her teacher and lover, and her confinement in a mental hospital during the last decades of her life. Conceived after her breakup with Rodin and representing her determination to distinguish her work from his, this intimate sculpture was one of Claudel\u2019s few commercially successful pieces. It was ultimately editioned in 65 different versions, including some, like this one, that doubled as electric lamps.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nTokio Ueyama, Untitled (Amache portrait)<\/em>, January 17, 1944<\/h2>\n![\"Tokio](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/Ueyama_Untitled-Amache-portrait_1944-copy.jpg?w=400\")
\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Estate of Tokio Ueyama.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tThe subject of a 2025 survey at the Denver Art Museum, Tokio Ueyama (1889\u20131954) moved to the United States at age 19 and studied fine art in San Francisco, Southern California, and Philadelphia. Following the bombing of Pearl Harbor, he was incarcerated with his wife Suye at the Granada Relocation Center (known as Camp Amache to its internees), a concentration camp for Japanese Americans in Colorado. Until their release in 1945, Ueyama taught adult art classes to 150 students and continued to make oil paintings, including this sensitive portrait of a woman.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\nJesus Rafael Soto, Plata, Negro, y Verde<\/em>, 1969<\/h2>\n![\"Jesus](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/Soto_Plata-Negro-y-Verde_1969-copy.jpg?w=400\")
\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tAfter encountering European geometric abstraction, Venezuelan-born painter and sculptor Jes\u00fas Rafael Soto (1923\u20132005) moved to Paris in 1950, living and working there until his death. In France, he became a leading practitioner of Kinetic art\u2014art that moves or appears to move\u2014inviting viewers to enter his sculptural works and walk around inside them. Closely related to his kinetic artworks, Soto\u2019s paintings likewise depend on the viewer\u2019s participation for their effects; this one, for example, appears to pulse and vibrate as one looks at it.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nJackie Am\u00e9zquita, el <\/em>SUDOR de mi GENTE<\/em> (Nuestro Norte Siempre Series), 2023<\/h2>\n![\"Jackie](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/Amezquita_el-SUDOR-de-mi-GENTE_2023-copy.jpg?w=400\")
\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Jackie Am\u00e9zquita.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tIn this wall piece, Guatemalan-born, Los Angeles-based artist Jackie Am\u00e9zquita addresses the long destructive effects of banana plantations on the people and ecology of Central America. To make the work, Am\u00e9zquita laid bananas on strips of copper, covering the fruit with plastic domes. The decaying bananas corroded the metal, leaving their imprints on its surface, while fruit flies traveled between the domes through plastic straws.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nTishan Hsu, mammal-screen-green-1<\/em>, 2024<\/h2>\n![\"Tishan](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/Hsu_mammal-screen-green-1_2024-copy-1.jpg?w=400\")
\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Tishan Hsu. \t\t\t\t<\/figcaption><\/figure>\n\n\n\tSince the 1990s, when he started using emerging software like Photoshop in silk-screened works, American artist Tishan Hsu has imagined how digital technologies might transform our visual world, our consciousness, and even our bodies. Since then, rapid advances in computer imaging and 3-D printing have afforded the artist the tools he needed to produce hybrid pieces like this one, which combines silicone protuberances and an enveloping digital \u201cskin.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nDyani White Hawk, Visiting<\/em>, 2024<\/h2>\n![\"Dyani](\"https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/White-Hawk_Visiting_2024-copy.jpg?w=308\")
\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Dyani White Hawk.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tOf Sicangu Lakota, German, and Welsh ancestry, Dyani White Hawk is known for beaded sculptures and paintings that highlight the role Native American art has played in the history of abstraction, a history that until recently was discussed as the province of white artists. Her use of beadwork puts particular emphasis Native women, whose artistry has often been downplayed in the Western canon. Her ten-foot-high columnar sculpture Visiting<\/em>, composed of strips of beadwork, pays tribute to the vertical sculptures of George Morrison (Grand Portage Ojibwe, 1919\u20132000) and Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955\u20132022).<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.artnews.com\/list\/art-news\/news\/denver-art-museum-new-acquisitions-camille-claudel-1234777161\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/dixon_cloud_world_1925_copy_720.jpg?w=720″] The Denver Art Museum in Colorado announced this week that it acquired more than 750 works across all 11 of its curatorial departments in roughly the last year, with an emphasis on further diversifying its collection. Made between October 1, 2024, and September 30, 2025, the acquisitions included Tishan Hsu\u2019s mammal-screen-green-1 (2024) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1823067","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1823067"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1823067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1823067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1823067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tMori Tetsuzan (1775-1841) was born in Osaka and adopted by his uncle Mori Sosen, a famed painter of animals, to continue Sosen\u2019s artistic lineage. Likely at his uncle\u2019s urging, Mori later studied with Maruyama \u014ckyo, founder of the naturalistic school that bears his name; appointed as an official painter for the Kumamoto domain, Mori Tetsuzan brought the Maruyama style to the Kanto region. Mori is best known for combining realism with decorativeness, as in this set of four sliding doors with a rendering of two tigers on one side and a painting of birds on the other. \u00a0<\/p>\n<\/div>\n<\/article>\n<\/li>\n
Camille Claudel (1864\u20131943),\u00a0R\u00eave au coin du feu<\/em> (Fireside Dream), conceived 1899\u20131905<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tThough she was a prodigious talent, the artistic achievements of sculptor Camille Claudel\u2019s artistic achievements were long obscured by her tragic life story: her relationship with Auguste Rodin, her teacher and lover, and her confinement in a mental hospital during the last decades of her life. Conceived after her breakup with Rodin and representing her determination to distinguish her work from his, this intimate sculpture was one of Claudel\u2019s few commercially successful pieces. It was ultimately editioned in 65 different versions, including some, like this one, that doubled as electric lamps.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nTokio Ueyama, Untitled (Amache portrait)<\/em>, January 17, 1944<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Estate of Tokio Ueyama.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tThe subject of a 2025 survey at the Denver Art Museum, Tokio Ueyama (1889\u20131954) moved to the United States at age 19 and studied fine art in San Francisco, Southern California, and Philadelphia. Following the bombing of Pearl Harbor, he was incarcerated with his wife Suye at the Granada Relocation Center (known as Camp Amache to its internees), a concentration camp for Japanese Americans in Colorado. Until their release in 1945, Ueyama taught adult art classes to 150 students and continued to make oil paintings, including this sensitive portrait of a woman.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nJesus Rafael Soto, Plata, Negro, y Verde<\/em>, 1969<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tAfter encountering European geometric abstraction, Venezuelan-born painter and sculptor Jes\u00fas Rafael Soto (1923\u20132005) moved to Paris in 1950, living and working there until his death. In France, he became a leading practitioner of Kinetic art\u2014art that moves or appears to move\u2014inviting viewers to enter his sculptural works and walk around inside them. Closely related to his kinetic artworks, Soto\u2019s paintings likewise depend on the viewer\u2019s participation for their effects; this one, for example, appears to pulse and vibrate as one looks at it.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nJackie Am\u00e9zquita, el <\/em>SUDOR de mi GENTE<\/em> (Nuestro Norte Siempre Series), 2023<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Jackie Am\u00e9zquita.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tIn this wall piece, Guatemalan-born, Los Angeles-based artist Jackie Am\u00e9zquita addresses the long destructive effects of banana plantations on the people and ecology of Central America. To make the work, Am\u00e9zquita laid bananas on strips of copper, covering the fruit with plastic domes. The decaying bananas corroded the metal, leaving their imprints on its surface, while fruit flies traveled between the domes through plastic straws.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nTishan Hsu, mammal-screen-green-1<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Tishan Hsu. \t\t\t\t<\/figcaption><\/figure>\n\n\n\tSince the 1990s, when he started using emerging software like Photoshop in silk-screened works, American artist Tishan Hsu has imagined how digital technologies might transform our visual world, our consciousness, and even our bodies. Since then, rapid advances in computer imaging and 3-D printing have afforded the artist the tools he needed to produce hybrid pieces like this one, which combines silicone protuberances and an enveloping digital \u201cskin.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nDyani White Hawk, Visiting<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Dyani White Hawk.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tOf Sicangu Lakota, German, and Welsh ancestry, Dyani White Hawk is known for beaded sculptures and paintings that highlight the role Native American art has played in the history of abstraction, a history that until recently was discussed as the province of white artists. Her use of beadwork puts particular emphasis Native women, whose artistry has often been downplayed in the Western canon. Her ten-foot-high columnar sculpture Visiting<\/em>, composed of strips of beadwork, pays tribute to the vertical sculptures of George Morrison (Grand Portage Ojibwe, 1919\u20132000) and Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955\u20132022).<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.artnews.com\/list\/art-news\/news\/denver-art-museum-new-acquisitions-camille-claudel-1234777161\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/dixon_cloud_world_1925_copy_720.jpg?w=720″] The Denver Art Museum in Colorado announced this week that it acquired more than 750 works across all 11 of its curatorial departments in roughly the last year, with an emphasis on further diversifying its collection. Made between October 1, 2024, and September 30, 2025, the acquisitions included Tishan Hsu\u2019s mammal-screen-green-1 (2024) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1823067","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1823067"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1823067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1823067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1823067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tThough she was a prodigious talent, the artistic achievements of sculptor Camille Claudel\u2019s artistic achievements were long obscured by her tragic life story: her relationship with Auguste Rodin, her teacher and lover, and her confinement in a mental hospital during the last decades of her life. Conceived after her breakup with Rodin and representing her determination to distinguish her work from his, this intimate sculpture was one of Claudel\u2019s few commercially successful pieces. It was ultimately editioned in 65 different versions, including some, like this one, that doubled as electric lamps.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
Tokio Ueyama, Untitled (Amache portrait)<\/em>, January 17, 1944<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Estate of Tokio Ueyama.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tThe subject of a 2025 survey at the Denver Art Museum, Tokio Ueyama (1889\u20131954) moved to the United States at age 19 and studied fine art in San Francisco, Southern California, and Philadelphia. Following the bombing of Pearl Harbor, he was incarcerated with his wife Suye at the Granada Relocation Center (known as Camp Amache to its internees), a concentration camp for Japanese Americans in Colorado. Until their release in 1945, Ueyama taught adult art classes to 150 students and continued to make oil paintings, including this sensitive portrait of a woman.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nJesus Rafael Soto, Plata, Negro, y Verde<\/em>, 1969<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tAfter encountering European geometric abstraction, Venezuelan-born painter and sculptor Jes\u00fas Rafael Soto (1923\u20132005) moved to Paris in 1950, living and working there until his death. In France, he became a leading practitioner of Kinetic art\u2014art that moves or appears to move\u2014inviting viewers to enter his sculptural works and walk around inside them. Closely related to his kinetic artworks, Soto\u2019s paintings likewise depend on the viewer\u2019s participation for their effects; this one, for example, appears to pulse and vibrate as one looks at it.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nJackie Am\u00e9zquita, el <\/em>SUDOR de mi GENTE<\/em> (Nuestro Norte Siempre Series), 2023<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Jackie Am\u00e9zquita.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tIn this wall piece, Guatemalan-born, Los Angeles-based artist Jackie Am\u00e9zquita addresses the long destructive effects of banana plantations on the people and ecology of Central America. To make the work, Am\u00e9zquita laid bananas on strips of copper, covering the fruit with plastic domes. The decaying bananas corroded the metal, leaving their imprints on its surface, while fruit flies traveled between the domes through plastic straws.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nTishan Hsu, mammal-screen-green-1<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Tishan Hsu. \t\t\t\t<\/figcaption><\/figure>\n\n\n\tSince the 1990s, when he started using emerging software like Photoshop in silk-screened works, American artist Tishan Hsu has imagined how digital technologies might transform our visual world, our consciousness, and even our bodies. Since then, rapid advances in computer imaging and 3-D printing have afforded the artist the tools he needed to produce hybrid pieces like this one, which combines silicone protuberances and an enveloping digital \u201cskin.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nDyani White Hawk, Visiting<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Dyani White Hawk.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tOf Sicangu Lakota, German, and Welsh ancestry, Dyani White Hawk is known for beaded sculptures and paintings that highlight the role Native American art has played in the history of abstraction, a history that until recently was discussed as the province of white artists. Her use of beadwork puts particular emphasis Native women, whose artistry has often been downplayed in the Western canon. Her ten-foot-high columnar sculpture Visiting<\/em>, composed of strips of beadwork, pays tribute to the vertical sculptures of George Morrison (Grand Portage Ojibwe, 1919\u20132000) and Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955\u20132022).<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.artnews.com\/list\/art-news\/news\/denver-art-museum-new-acquisitions-camille-claudel-1234777161\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/dixon_cloud_world_1925_copy_720.jpg?w=720″] The Denver Art Museum in Colorado announced this week that it acquired more than 750 works across all 11 of its curatorial departments in roughly the last year, with an emphasis on further diversifying its collection. Made between October 1, 2024, and September 30, 2025, the acquisitions included Tishan Hsu\u2019s mammal-screen-green-1 (2024) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1823067","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1823067"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1823067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1823067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1823067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tThe subject of a 2025 survey at the Denver Art Museum, Tokio Ueyama (1889\u20131954) moved to the United States at age 19 and studied fine art in San Francisco, Southern California, and Philadelphia. Following the bombing of Pearl Harbor, he was incarcerated with his wife Suye at the Granada Relocation Center (known as Camp Amache to its internees), a concentration camp for Japanese Americans in Colorado. Until their release in 1945, Ueyama taught adult art classes to 150 students and continued to make oil paintings, including this sensitive portrait of a woman.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
Jesus Rafael Soto, Plata, Negro, y Verde<\/em>, 1969<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tAfter encountering European geometric abstraction, Venezuelan-born painter and sculptor Jes\u00fas Rafael Soto (1923\u20132005) moved to Paris in 1950, living and working there until his death. In France, he became a leading practitioner of Kinetic art\u2014art that moves or appears to move\u2014inviting viewers to enter his sculptural works and walk around inside them. Closely related to his kinetic artworks, Soto\u2019s paintings likewise depend on the viewer\u2019s participation for their effects; this one, for example, appears to pulse and vibrate as one looks at it.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nJackie Am\u00e9zquita, el <\/em>SUDOR de mi GENTE<\/em> (Nuestro Norte Siempre Series), 2023<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Jackie Am\u00e9zquita.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tIn this wall piece, Guatemalan-born, Los Angeles-based artist Jackie Am\u00e9zquita addresses the long destructive effects of banana plantations on the people and ecology of Central America. To make the work, Am\u00e9zquita laid bananas on strips of copper, covering the fruit with plastic domes. The decaying bananas corroded the metal, leaving their imprints on its surface, while fruit flies traveled between the domes through plastic straws.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nTishan Hsu, mammal-screen-green-1<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Tishan Hsu. \t\t\t\t<\/figcaption><\/figure>\n\n\n\tSince the 1990s, when he started using emerging software like Photoshop in silk-screened works, American artist Tishan Hsu has imagined how digital technologies might transform our visual world, our consciousness, and even our bodies. Since then, rapid advances in computer imaging and 3-D printing have afforded the artist the tools he needed to produce hybrid pieces like this one, which combines silicone protuberances and an enveloping digital \u201cskin.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\nDyani White Hawk, Visiting<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Dyani White Hawk.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tOf Sicangu Lakota, German, and Welsh ancestry, Dyani White Hawk is known for beaded sculptures and paintings that highlight the role Native American art has played in the history of abstraction, a history that until recently was discussed as the province of white artists. Her use of beadwork puts particular emphasis Native women, whose artistry has often been downplayed in the Western canon. Her ten-foot-high columnar sculpture Visiting<\/em>, composed of strips of beadwork, pays tribute to the vertical sculptures of George Morrison (Grand Portage Ojibwe, 1919\u20132000) and Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955\u20132022).<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.artnews.com\/list\/art-news\/news\/denver-art-museum-new-acquisitions-camille-claudel-1234777161\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/dixon_cloud_world_1925_copy_720.jpg?w=720″] The Denver Art Museum in Colorado announced this week that it acquired more than 750 works across all 11 of its curatorial departments in roughly the last year, with an emphasis on further diversifying its collection. Made between October 1, 2024, and September 30, 2025, the acquisitions included Tishan Hsu\u2019s mammal-screen-green-1 (2024) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1823067","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1823067"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1823067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1823067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1823067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tAfter encountering European geometric abstraction, Venezuelan-born painter and sculptor Jes\u00fas Rafael Soto (1923\u20132005) moved to Paris in 1950, living and working there until his death. In France, he became a leading practitioner of Kinetic art\u2014art that moves or appears to move\u2014inviting viewers to enter his sculptural works and walk around inside them. Closely related to his kinetic artworks, Soto\u2019s paintings likewise depend on the viewer\u2019s participation for their effects; this one, for example, appears to pulse and vibrate as one looks at it.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
Jackie Am\u00e9zquita, el <\/em>SUDOR de mi GENTE<\/em> (Nuestro Norte Siempre Series), 2023<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Jackie Am\u00e9zquita.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tIn this wall piece, Guatemalan-born, Los Angeles-based artist Jackie Am\u00e9zquita addresses the long destructive effects of banana plantations on the people and ecology of Central America. To make the work, Am\u00e9zquita laid bananas on strips of copper, covering the fruit with plastic domes. The decaying bananas corroded the metal, leaving their imprints on its surface, while fruit flies traveled between the domes through plastic straws.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
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\nTishan Hsu, mammal-screen-green-1<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Tishan Hsu. \t\t\t\t<\/figcaption><\/figure>\n\n\n\tSince the 1990s, when he started using emerging software like Photoshop in silk-screened works, American artist Tishan Hsu has imagined how digital technologies might transform our visual world, our consciousness, and even our bodies. Since then, rapid advances in computer imaging and 3-D printing have afforded the artist the tools he needed to produce hybrid pieces like this one, which combines silicone protuberances and an enveloping digital \u201cskin.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nDyani White Hawk, Visiting<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Dyani White Hawk.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tOf Sicangu Lakota, German, and Welsh ancestry, Dyani White Hawk is known for beaded sculptures and paintings that highlight the role Native American art has played in the history of abstraction, a history that until recently was discussed as the province of white artists. Her use of beadwork puts particular emphasis Native women, whose artistry has often been downplayed in the Western canon. Her ten-foot-high columnar sculpture Visiting<\/em>, composed of strips of beadwork, pays tribute to the vertical sculptures of George Morrison (Grand Portage Ojibwe, 1919\u20132000) and Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955\u20132022).<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.artnews.com\/list\/art-news\/news\/denver-art-museum-new-acquisitions-camille-claudel-1234777161\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/dixon_cloud_world_1925_copy_720.jpg?w=720″] The Denver Art Museum in Colorado announced this week that it acquired more than 750 works across all 11 of its curatorial departments in roughly the last year, with an emphasis on further diversifying its collection. Made between October 1, 2024, and September 30, 2025, the acquisitions included Tishan Hsu\u2019s mammal-screen-green-1 (2024) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1823067","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1823067"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1823067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1823067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1823067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tIn this wall piece, Guatemalan-born, Los Angeles-based artist Jackie Am\u00e9zquita addresses the long destructive effects of banana plantations on the people and ecology of Central America. To make the work, Am\u00e9zquita laid bananas on strips of copper, covering the fruit with plastic domes. The decaying bananas corroded the metal, leaving their imprints on its surface, while fruit flies traveled between the domes through plastic straws.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
Tishan Hsu, mammal-screen-green-1<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Tishan Hsu. \t\t\t\t<\/figcaption><\/figure>\n\n\n\tSince the 1990s, when he started using emerging software like Photoshop in silk-screened works, American artist Tishan Hsu has imagined how digital technologies might transform our visual world, our consciousness, and even our bodies. Since then, rapid advances in computer imaging and 3-D printing have afforded the artist the tools he needed to produce hybrid pieces like this one, which combines silicone protuberances and an enveloping digital \u201cskin.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nDyani White Hawk, Visiting<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Dyani White Hawk.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tOf Sicangu Lakota, German, and Welsh ancestry, Dyani White Hawk is known for beaded sculptures and paintings that highlight the role Native American art has played in the history of abstraction, a history that until recently was discussed as the province of white artists. Her use of beadwork puts particular emphasis Native women, whose artistry has often been downplayed in the Western canon. Her ten-foot-high columnar sculpture Visiting<\/em>, composed of strips of beadwork, pays tribute to the vertical sculptures of George Morrison (Grand Portage Ojibwe, 1919\u20132000) and Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955\u20132022).<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.artnews.com\/list\/art-news\/news\/denver-art-museum-new-acquisitions-camille-claudel-1234777161\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/dixon_cloud_world_1925_copy_720.jpg?w=720″] The Denver Art Museum in Colorado announced this week that it acquired more than 750 works across all 11 of its curatorial departments in roughly the last year, with an emphasis on further diversifying its collection. Made between October 1, 2024, and September 30, 2025, the acquisitions included Tishan Hsu\u2019s mammal-screen-green-1 (2024) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1823067","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1823067"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1823067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1823067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1823067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tSince the 1990s, when he started using emerging software like Photoshop in silk-screened works, American artist Tishan Hsu has imagined how digital technologies might transform our visual world, our consciousness, and even our bodies. Since then, rapid advances in computer imaging and 3-D printing have afforded the artist the tools he needed to produce hybrid pieces like this one, which combines silicone protuberances and an enveloping digital \u201cskin.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n
Dyani White Hawk, Visiting<\/em>, 2024<\/h2>\n\n\t\t\t\t\tImage Credit: Collection of the Denver Art Museum. Artwork copyright \u00a9 Dyani White Hawk.\t\t\t\t<\/figcaption><\/figure>\n\n\n\tOf Sicangu Lakota, German, and Welsh ancestry, Dyani White Hawk is known for beaded sculptures and paintings that highlight the role Native American art has played in the history of abstraction, a history that until recently was discussed as the province of white artists. Her use of beadwork puts particular emphasis Native women, whose artistry has often been downplayed in the Western canon. Her ten-foot-high columnar sculpture Visiting<\/em>, composed of strips of beadwork, pays tribute to the vertical sculptures of George Morrison (Grand Portage Ojibwe, 1919\u20132000) and Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955\u20132022).<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n[analyse_source url=”https:\/\/www.artnews.com\/list\/art-news\/news\/denver-art-museum-new-acquisitions-camille-claudel-1234777161\/”]<\/p>\n","protected":false},"excerpt":{"rendered":"
[analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/dixon_cloud_world_1925_copy_720.jpg?w=720″] The Denver Art Museum in Colorado announced this week that it acquired more than 750 works across all 11 of its curatorial departments in roughly the last year, with an emphasis on further diversifying its collection. Made between October 1, 2024, and September 30, 2025, the acquisitions included Tishan Hsu\u2019s mammal-screen-green-1 (2024) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1823067","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1823067"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1823067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1823067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1823067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\tOf Sicangu Lakota, German, and Welsh ancestry, Dyani White Hawk is known for beaded sculptures and paintings that highlight the role Native American art has played in the history of abstraction, a history that until recently was discussed as the province of white artists. Her use of beadwork puts particular emphasis Native women, whose artistry has often been downplayed in the Western canon. Her ten-foot-high columnar sculpture Visiting<\/em>, composed of strips of beadwork, pays tribute to the vertical sculptures of George Morrison (Grand Portage Ojibwe, 1919\u20132000) and Jim Denomie (Ojibwe, Lac Courte Oreilles Band, 1955\u20132022).<\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n [analyse_source url=”https:\/\/www.artnews.com\/list\/art-news\/news\/denver-art-museum-new-acquisitions-camille-claudel-1234777161\/”]<\/p>\n","protected":false},"excerpt":{"rendered":" [analyse_image type=”featured” src=”https:\/\/www.artnews.com\/wp-content\/uploads\/2026\/03\/dixon_cloud_world_1925_copy_720.jpg?w=720″] The Denver Art Museum in Colorado announced this week that it acquired more than 750 works across all 11 of its curatorial departments in roughly the last year, with an emphasis on further diversifying its collection. Made between October 1, 2024, and September 30, 2025, the acquisitions included Tishan Hsu\u2019s mammal-screen-green-1 (2024) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[61,226],"class_list":["post-1823067","post","type-post","status-publish","format-standard","hentry","category-politics","tag-artnews-com","tag-crawlmanager"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1823067"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1823067\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1823067"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1823067"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1823067"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}