{"id":264,"date":"2026-06-12T10:40:15","date_gmt":"2026-06-12T10:40:15","guid":{"rendered":"https:\/\/cityflowjournal.com\/?p=264"},"modified":"2026-06-12T10:40:15","modified_gmt":"2026-06-12T10:40:15","slug":"david-hockneys-defiant-pleasure","status":"publish","type":"post","link":"https:\/\/cityflowjournal.com\/?p=264","title":{"rendered":"David Hockney’s defiant pleasure"},"content":{"rendered":"
\n

David Hockney has died, leaving London with the most visually seductive exhibition installation of the year as his obituary. A Year in Normandie<\/em> is the most stunning I\u2019ve seen since the National Gallery\u2019s jewel-like Siena: The Rise of Painting<\/em>. Entering the Serpentine\u2019s North Gallery, you are plunged into darkness. A stripe of landscape painting in bright colors runs around the wall \u2014 so luminous in its colors, it looks on first glance like it\u2019s been made out of neon and, on second glance, that it\u2019s in 3D.<\/p>\n

Read more The Equality Act\u2019s fatal paradox<\/a><\/p>\n

The work consists of 130 paintings of views near Hockney\u2019s home in Normandy, executed on an iPad. They were made in 2020, amidst the pandemic lockdown. The successive scenes tell a story of the seasons, beginning with snow on the bare branches of trees in winter, through to the bright blossoms of Spring, saturated colors of Summer, glowering clouds and rain of Autumn and back to the first snow of Winter. Hockney\u2019s iPad paintings which he has been making since 2010 have never looked so alluring. So, 10\/10 for the exhibition design.<\/p>\n

As for the art\u2026 Hmmm. It\u2019s just the kind of stuff that the art critics like me are meant to dislike: a relentless panorama of prettiness. Pretty flowers, pretty trees, pretty paths, pretty skies, pretty half-timbered houses, runs my internal monologue. Pretty inane. It reminded me of what I used to draw when I was a teenager with my box of Caran d\u2019Ache felt-tipped pens. I found myself wondering how many of the effects were accomplished with tabs you can just click on in the app he downloaded. Hockney said the display was inspired by the Bayeux Tapestry which he visited every fortnight in the first year he lived in Normandy. But hang on, the Bayeux Tapestry will be exhibited at the British Museum from September this year. Mightn\u2019t he have decided to show his iPad drawings in this format because the idea is topical?<\/p>\n

The critical voice inside my head continued: \u201cHe\u2019s coasting on his celebrity status these days, isn\u2019t he? This is typical \u2018late work\u2019 when the artist indulges himself\u2026\u201d Except\u2026 except\u2026 except I can\u2019t stop looking at them. And the more I look at them, the more I like them. Even though I am trying not to! I can\u2019t turn my head away.<\/p>\n

I am hardly alone in this response, as I discovered when I canvassed the opinions of some of the punters looking at the show. Of course, some people simply love Hockney\u2019s art. \u201cIt\u2019s the usual David Hockney because he always brings joy,\u201d one art lover told me unambiguously. \u201cI\u2019ve been here a couple of times. The first time I left happy, the second time I left very happy,\u201d another beamed. There\u2019s a second group who don\u2019t rate it but respect Hockney\u2019s devotion to pleasing the average gallery-goer: \u201cIt is not breaking any boundaries, but it is giving people what they want,\u201d whispered a visitor to me. Lastly, there\u2019s an ambivalent and confused third group. \u201cI can\u2019t quite decide if I l like it or not,\u201d murmured one. \u201cThere are bits where I think I can\u2019t bear this, but I can\u2019t put my finger on why.\u201d It was a sentiment with which I could heartily concur.<\/p>\n

And as I retraced my steps around the exhibition several times, a thought slowly dawned on me. Could this be exactly the dilemma that Hockney seeks to evoke in my mind \u2013 and the minds of any other over-educated art critics and gallery-goers who might dare to visit his show? For this work goes against the conceptual grain of contemporary art deliberately, defiantly but also skillfully. It also dovetails with long-running themes in Hockney\u2019s art: his return to early 20th-century \u201cism\u201ds; his pop art sensibility; his interest in technology; and his commitment to beauty.<\/p>\n

And then there is the defining aspect of his personality. Hockney loved to wind up the powers-that-be. If the art establishment of the moment decided that the important art was conceptual, \u201cexplores\u201d trauma, \u201creferences\u201d the identity of the artist, and so on \u2014 Hockney would say, uh-uh. I will make art that simply gives pleasure.<\/p>\n

Hockney made his name with sleek and cool pop art images of people and swimming pools in LA in the sixties, but from the Eighties onwards, his art became increasingly inspired by modernist art movements. His large canvases of Californian landscapes were painted in a Cubist style, which also inspired his collages of polaroids. At the beginning of this century his work looked increasingly like Matisse\u2019s. When he died, he was making iPad paintings outdoors in front of his subject, en plein air<\/em>, to use the parlance of art history, just like the Impressionists. If it was raining, he would sit in a van with his tablet. He would use pure colors to build up and model his forms rather than adding a layer of shading over colors \u2014 again, just like the Impressionists did. In some scenes, a myriad of colored dots recalls the pointilliste<\/em> movement, while the spidery branches dotted with blossom are very Van Gogh. The colors are hyper-intense, too \u2014 a tree in shadow might be purple or crimson \u2014 in a manner redolent of the Fauves<\/em>. I spotted one of those classic metal white-painted garden chairs, sitting in the sunlight; its scrolling ironwork and chipped paint is, deliciously, painted in bold brown, white and black just like Matisse might have done. The hay bales in changing light, Hockney himself declared, are inspired by Monet.<\/p>\n

Read more Can Whitehall stop the riots?<\/a><\/p>\n

So who was Hockney trying to be? Fauvists Andr\u00e9 Derain or Raoul Dufy? Van Gogh? Pissarro? Matisse? There are traces of all of them in Hockney\u2019s Year in Normandie<\/em>, without anything which amounts to imitation. Rather Hockney comes across in these works as the French Post-Impressionist who never was \u2014 Monsieur David Huq-Nez<\/em>, perhaps \u2014 working a century too late. Those artists were dedicated to painting beauty, which they might find in a view out of a window, in a back garden or down the road, and that was enough of a purpose for art. In 1908, Matisse wrote: \u201cWhat I dream of is an art of balance, of purity and serenity\u2026 something like a good armchair in which to rest from physical fatigue.\u201d<\/p>\n

Today art is expected to supply psychological angst or radical concepts, but Hockney always defiantly maintained the right of art to just be great to look at: \u201cI have always believed that art should be a deep pleasure\u2026 There is always, everywhere, an enormous amount of suffering, but I believe that my duty as an artist is to overcome and alleviate the sterility of despair.\u201d<\/p>\n

To this artistically retro project, he added a tech element. Hockney\u2019s art was back to the future. His engagement with digital media began in 1985 when he was invited to draw on the Quantel Paintbox for the BBC programme Painting with Light<\/em>. \u201cI think I was the only one who grasped the possibilities of it as it developed,\u201d he told Serpentine director Hans Ulrich Obrist in an interview. He was invited to the launch of Adobe Photoshop in Silicon Valley around 1989 and could see \u201cthe end of chemical photography.\u201d Every image at the Serpentine is made in a new hi-tech medium, the iPad with the drawing\/painting app, Brushes, customized for Hockney by a software company specializing in immersive computer-generated environments, Reflex Arc,\u00a0 whose past clients include BBC, Marvel and Manchester\u2019s National Science & Media Museum. Reflex Arc designed special virtual brushes for Hockney, one of which was designed to put down bursts of dots in a pointilliste<\/em> style. So, yes, to answer my earlier question in the gallery \u2014 he really did use a special tool from a drop-down menu.<\/p>\n

And what of it? The technology adds its own artistic feel to the work. Look closely and you see how Hockney would build up the image with a simple repertory of fields of color, dots and squiggles. Hockney\u2019s always been a brilliant draftsman, and he applies his marks and colors with such deftness that you can identify the weeping willows, oaks and apple orchard trees, along with most of the flowering plants. Although printed onto paper, Hockney\u2019s palette has the electronic intensity of the screen. It\u2019s all clearly structured as layers, which gives it the quality of cels in animation. There\u2019s an anime quality to the world Hockney leads us into, as if he is making Post-Impressionist style cartoons \u2014 which leads us back to his Pop Art roots.<\/p>\n

Finally we come to David Hockney the life-long anti-elite contrarian. As a Student at the Royal College of Art in London in the early Sixties, he refused to write the obligatory degree essay and demanded to be graded on his paintings and drawings alone. The RCA changed their rules and gave Hockney his degree. Hockney criticizes perspective, that pillar of Western art, at every opportunity; the human eye, he likes to say, doesn\u2019t see in perspective from one point of view at one frozen moment in time. He wrote a book, <\/span>Secret Knowledge<\/span><\/i>, arguing convincingly that artists were using camera-like tools long before the invention of photography itself. It became a BBC TV series in 2003. Beyond the confines of the art world, he honed a public persona as a cantankerous Yorkshireman. He came across in his interviews as what the Germans call a <\/span>Besserwisser <\/span><\/i>\u2014 someone who always knows better. He was a proud smoker and complained in most of his interviews about the ban in public places: \u201cI think that writing \u2018Smoking Kills\u2019 on a packet of cigarettes is just part of the uglification of Europe,\u201d he once said.<\/span><\/p>\n

So, as tranquil and serene as Hockney\u2019s scroll of Normandy landscapes are, they are also part of his life-long campaign against the establishment. He painted when art critics and curators said painting was dead. He made figurative paintings, when abstraction was all the rage. These days he\u2019s painting on computers \u2014 anathema for those who think painting is all about the original hand of the artist. As we have seen, he paints beauty like it\u2019s going out of fashion (which it did long ago). But, it\u2019s not just any kind of beauty: it\u2019s a particular populist, much-maligned, generic kind of beauty, the one you find on postcards and biscuit tins, of landscapes with cottages, blossoms and sunsets. Hockney always trolled us with prettiness.\u00a0<\/span><\/p>\n

David Hockney: A Year in Normandes and Some Other Thoughts About Painting is at the Serpentine Gallery until 23 August.<\/em><\/p>\n

Read more How drug gangs threaten the World Cup<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

David Hockney has died, leaving London with the most visually seductive exhibition installation of the year as his obituary. A Year in Normandie is the most stunning I\u2019ve seen since the National Gallery\u2019s jewel-like Siena: The Rise of Painting. Entering the Serpentine\u2019s North Gallery, you are plunged into darkness. A stripe of landscape painting in […]<\/p>\n","protected":false},"author":1,"featured_media":263,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[94],"tags":[],"class_list":["post-264","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-obituary"],"yoast_head":"\nDavid Hockney's defiant pleasure - \u0421ity Flow Journal<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityflowjournal.com\/?p=264\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"David Hockney's defiant pleasure - \u0421ity Flow Journal\" \/>\n<meta property=\"og:description\" content=\"David Hockney has died, leaving London with the most visually seductive exhibition installation of the year as his obituary. A Year in Normandie is the most stunning I\u2019ve seen since the National Gallery\u2019s jewel-like Siena: The Rise of Painting. Entering the Serpentine\u2019s North Gallery, you are plunged into darkness. A stripe of landscape painting in […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cityflowjournal.com\/?p=264\" \/>\n<meta property=\"og:site_name\" content=\"\u0421ity Flow Journal\" \/>\n<meta property=\"article:published_time\" content=\"2026-06-12T10:40:15+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/#\\\/schema\\\/person\\\/eb5442f0ad6aa87f0eddf619a8d0abc4\"},\"headline\":\"David Hockney’s defiant pleasure\",\"datePublished\":\"2026-06-12T10:40:15+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264\"},\"wordCount\":1800,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cityflowjournal.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/1ccbcfa585396cabaae5a83da3d281c5.webp\",\"articleSection\":[\"obituary\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/cityflowjournal.com\\\/?p=264#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264\",\"url\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264\",\"name\":\"David Hockney's defiant pleasure - \u0421ity Flow Journal\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cityflowjournal.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/1ccbcfa585396cabaae5a83da3d281c5.webp\",\"datePublished\":\"2026-06-12T10:40:15+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/#\\\/schema\\\/person\\\/eb5442f0ad6aa87f0eddf619a8d0abc4\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/cityflowjournal.com\\\/?p=264\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264#primaryimage\",\"url\":\"https:\\\/\\\/cityflowjournal.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/1ccbcfa585396cabaae5a83da3d281c5.webp\",\"contentUrl\":\"https:\\\/\\\/cityflowjournal.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/1ccbcfa585396cabaae5a83da3d281c5.webp\",\"width\":594,\"height\":459},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/?p=264#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/cityflowjournal.com\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"David Hockney’s defiant pleasure\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/#website\",\"url\":\"https:\\\/\\\/cityflowjournal.com\\\/\",\"name\":\"\u0421ity Flow Journal\",\"description\":\"\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/cityflowjournal.com\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/cityflowjournal.com\\\/#\\\/schema\\\/person\\\/eb5442f0ad6aa87f0eddf619a8d0abc4\",\"name\":\"admin\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g\",\"caption\":\"admin\"},\"sameAs\":[\"http:\\\/\\\/cityflowjournal.com\"],\"url\":\"https:\\\/\\\/cityflowjournal.com\\\/?author=1\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"David Hockney's defiant pleasure - \u0421ity Flow Journal","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/cityflowjournal.com\/?p=264","og_locale":"en_US","og_type":"article","og_title":"David Hockney's defiant pleasure - \u0421ity Flow Journal","og_description":"David Hockney has died, leaving London with the most visually seductive exhibition installation of the year as his obituary. A Year in Normandie is the most stunning I\u2019ve seen since the National Gallery\u2019s jewel-like Siena: The Rise of Painting. Entering the Serpentine\u2019s North Gallery, you are plunged into darkness. A stripe of landscape painting in […]","og_url":"https:\/\/cityflowjournal.com\/?p=264","og_site_name":"\u0421ity Flow Journal","article_published_time":"2026-06-12T10:40:15+00:00","author":"admin","twitter_card":"summary_large_image","twitter_misc":{"Written by":"admin","Est. reading time":"9 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/cityflowjournal.com\/?p=264#article","isPartOf":{"@id":"https:\/\/cityflowjournal.com\/?p=264"},"author":{"name":"admin","@id":"https:\/\/cityflowjournal.com\/#\/schema\/person\/eb5442f0ad6aa87f0eddf619a8d0abc4"},"headline":"David Hockney’s defiant pleasure","datePublished":"2026-06-12T10:40:15+00:00","mainEntityOfPage":{"@id":"https:\/\/cityflowjournal.com\/?p=264"},"wordCount":1800,"commentCount":0,"image":{"@id":"https:\/\/cityflowjournal.com\/?p=264#primaryimage"},"thumbnailUrl":"https:\/\/cityflowjournal.com\/wp-content\/uploads\/2026\/06\/1ccbcfa585396cabaae5a83da3d281c5.webp","articleSection":["obituary"],"inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/cityflowjournal.com\/?p=264#respond"]}]},{"@type":"WebPage","@id":"https:\/\/cityflowjournal.com\/?p=264","url":"https:\/\/cityflowjournal.com\/?p=264","name":"David Hockney's defiant pleasure - \u0421ity Flow Journal","isPartOf":{"@id":"https:\/\/cityflowjournal.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/cityflowjournal.com\/?p=264#primaryimage"},"image":{"@id":"https:\/\/cityflowjournal.com\/?p=264#primaryimage"},"thumbnailUrl":"https:\/\/cityflowjournal.com\/wp-content\/uploads\/2026\/06\/1ccbcfa585396cabaae5a83da3d281c5.webp","datePublished":"2026-06-12T10:40:15+00:00","author":{"@id":"https:\/\/cityflowjournal.com\/#\/schema\/person\/eb5442f0ad6aa87f0eddf619a8d0abc4"},"breadcrumb":{"@id":"https:\/\/cityflowjournal.com\/?p=264#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/cityflowjournal.com\/?p=264"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/cityflowjournal.com\/?p=264#primaryimage","url":"https:\/\/cityflowjournal.com\/wp-content\/uploads\/2026\/06\/1ccbcfa585396cabaae5a83da3d281c5.webp","contentUrl":"https:\/\/cityflowjournal.com\/wp-content\/uploads\/2026\/06\/1ccbcfa585396cabaae5a83da3d281c5.webp","width":594,"height":459},{"@type":"BreadcrumbList","@id":"https:\/\/cityflowjournal.com\/?p=264#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/cityflowjournal.com\/"},{"@type":"ListItem","position":2,"name":"David Hockney’s defiant pleasure"}]},{"@type":"WebSite","@id":"https:\/\/cityflowjournal.com\/#website","url":"https:\/\/cityflowjournal.com\/","name":"\u0421ity Flow Journal","description":"","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/cityflowjournal.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/cityflowjournal.com\/#\/schema\/person\/eb5442f0ad6aa87f0eddf619a8d0abc4","name":"admin","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/50b1ad2e498f523425ee0a8cc5180a210646db1622662a3d56cc405d3e0c346a?s=96&d=mm&r=g","caption":"admin"},"sameAs":["http:\/\/cityflowjournal.com"],"url":"https:\/\/cityflowjournal.com\/?author=1"}]}},"_links":{"self":[{"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=\/wp\/v2\/posts\/264","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=264"}],"version-history":[{"count":0,"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=\/wp\/v2\/posts\/264\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=\/wp\/v2\/media\/263"}],"wp:attachment":[{"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=264"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/cityflowjournal.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}