[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"triage":3},{"desktop_intro_text":4,"title":15,"mobile_intro":22,"mobile_intro_2":29,"body":30,"column_1":362,"column_2":388,"column_3":415,"column_4":435},{"dimensions":5,"alt":8,"copyright":8,"url":9,"id":10,"edit":11},{"width":6,"height":7},1920,1025,null,"https:\u002F\u002Fsaint-heron.cdn.prismic.io\u002Fsaint-heron\u002Fd5Yy9dj6mLwuyYc4_hero-text-desktop.svg","d5Yy9dj6mLwuyYc4",{"x":12,"y":12,"zoom":13,"background":14},0,1,"transparent",{"dimensions":16,"alt":8,"copyright":8,"url":19,"id":20,"edit":21},{"width":17,"height":18},3840,2050,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002FhQiHpswKkTQXt8da_hero-images-desktop.png?auto=format,compress","hQiHpswKkTQXt8da",{"x":12,"y":12,"zoom":13,"background":14},{"dimensions":23,"alt":8,"copyright":8,"url":26,"id":27,"edit":28},{"width":24,"height":25},346,176,"https:\u002F\u002Fsaint-heron.cdn.prismic.io\u002Fsaint-heron\u002FtRK5dfkk6gHjFhi3_Group1.svg","tRK5dfkk6gHjFhi3",{"x":12,"y":12,"zoom":13,"background":14},{},[31,68,139,157,232,314,331],{"primary":32,"items":65,"id":66,"slice_type":67,"slice_label":8},{"left_column":33,"right_column":55,"image":56,"mobile_top_image":57,"mobile_bottom_image":64},[34,39,42,45,52],{"type":35,"text":36,"spans":37,"direction":38},"paragraph","Some people learn “triage” in the language of emergency rooms, where the impossible abundance of need arrives all at once, pressing against the finite borders of time. But some lives inherit triage as a first language. Some of us are taught, before we can name it, that survival is more often about selection than certainty. History has required us, over and over again, to become fluent in impossible decisions, remain composed while sorting through emergencies no one else notices, to decipher institutions that have never fully recognized our humanity, to make a meal, make a paycheck, make a way, make peace, make it through another week. Our understanding of triage exists as: “Which one of my needs can wait?”; “Which wound deserves my careful attention today?”; “Which exhaustion can be carried another mile?”; “Which truth is safe enough to speak aloud?”; “Which silence will cost less than being heard?”; “Which anger must remain folded inside the body a little longer?”; “Which part of yourself can wait because someone else's need has arrived first?”",[],"ltr",{"type":35,"text":40,"spans":41,"direction":38},"Claudia Rankine’s Triage asks these questions in a blend of fictional memoir, candid dialogue, criticism, and visual art that examines life under the weight of endless grief and weariness. Anchored by a narrator, and their longtime friend, “the theorist,” each chapter traces the pair’s relationship from college through adulthood as they repeatedly confront personal trauma, political upheaval, artistic practice, and the question of what ethical action actually looks like. Mostly conversational, the friends also query these themes in a ritualistic salutation of collapse—the somatic metaphor for grief, protest, survival, exhaustion…",[],{"type":35,"text":43,"spans":44,"direction":38},"Upon greeting one another, they physically fall to the ground and ultimately, find themselves rising again; this, a demonstrative response to racial violence, climate change, war, and personal grief. Through their evolving friendship, their action of collapse prompts the narrator’s contemplation of what it means to remain attentive when every headline, memory, and loss insists on being treated as most urgent. Across decades, the narrator and theorist disagree, disappoint one another, admire and sometimes fail each other, but keep returning to one another for accountability, intellectual sparring, love, care, and political solidarity.",[],{"type":35,"text":46,"spans":47,"direction":38},"In Triage, Rankine asks how we ration our emotional, political and moral attention when everything is an emergency. And instead of contriving a program for action as a universal answer, she explores the impossibility of finite hands tending to infinite catastrophes with flawless ethical prioritization.",[48],{"start":49,"end":50,"type":51},3,9,"em",{"type":35,"text":53,"spans":54,"direction":38},"Claudia Rankine's Triage arrives with the vocabulary of emergency medicine, where urgency is measured by necessity more than fairness. But by its end, the writing reveals it’s less interested in emergencies than in the conditions that make them feel unending. For Rankine, triage is a way of describing attention itself; how we ration it, how we protect it, how we lose it, and how we return to it. The following conversation with the multi-award winning Claudia Rankine moves through grief, friendship, embodiment, practice, and the uneasy ethics of deciding where our care belongs when we silence the world’s demands of it.",[],[],{},{"dimensions":58,"alt":8,"copyright":8,"url":61,"id":62,"edit":63},{"width":59,"height":60},748,1066,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002FmMBMvZpfthHIAH_b_Kandis-Williams-mobile-01.png?auto=format,compress","mMBMvZpfthHIAH_b",{"x":12,"y":12,"zoom":13,"background":14},{},[],"text_columns___expandable_image$d0ca3b6f-1dac-4771-9413-fbe89a6c3d3b","text_columns___expandable_image",{"primary":69,"items":137,"id":138,"slice_type":67,"slice_label":8},{"left_column":70,"right_column":103,"image":128,"mobile_top_image":129,"mobile_bottom_image":136},[71,79,82,86,89,93,99],{"type":35,"text":72,"spans":73,"direction":38},"SA: One of the things that stayed with me is that Triage doesn't ask us to solve grief—it asks us how we can live alongside it. At what point did you realize this book wasn't going to be about recovery, but about endurance?",[74,76],{"start":12,"end":49,"type":75},"strong",{"start":77,"end":78,"type":51},50,56,{"type":35,"text":80,"spans":81,"direction":38},"CR: That's an excellent question. The book had a different ending when I first wrote it, and then I rewrote it because everything is ongoing. There has been no pause in the onslaught of deaths, and abuse, and deportations, and everything. So I wanted the book to end in the difficulty, with everything ongoing, even as we grapple with it moment to moment.",[],{"type":35,"text":83,"spans":84,"direction":38},"SA: Reading this, I wondered if grief is less an interruption of life than one of its enduring conditions. ",[85],{"start":12,"end":49,"type":75},{"type":35,"text":87,"spans":88,"direction":38},"Did writing triage alter your relationship to grief, or did it deepen your vocabulary or capacity for living with grief?",[],{"type":35,"text":90,"spans":91,"direction":38},"CR: Well, certainly it deepened my capacity. I think one of the things about the book starting with somebody in their 60s, is you can really go a whole life without confronting it, depending on the privilege of your life. But when you get to your 60s, people will be dying, and it's just a matter of fact. But we are also in a political moment where we have two full-on, highly publicized wars going on, and one of them, an out-and-out genocide. And we're coming off of a pandemic where death was the threat. Your relationship, even to family members, is mitigated by whether or not you would be a threat to them, or they would be a threat to you.",[92],{"start":12,"end":49,"type":75},{"type":35,"text":94,"spans":95,"direction":38},"So we're in a moment right now where grief is de facto, and it has to be dealt with one way or another. And so I think writing Triage allowed me to exist with that through language and force myself to articulate what that feeling was.",[96],{"start":97,"end":98,"type":51},127,133,{"type":35,"text":100,"spans":101,"direction":38},"SA: Switching gears a little bit, the game of collapse between the narrator and theorist begins almost playfully, but over time it becomes a language for recognizing what the body knows before the mind does. Do you think we've lost some of our cultural fluency for reading collapse before it becomes catastrophe?",[102],{"start":12,"end":49,"type":75},[104,108,111,115,125],{"type":35,"text":105,"spans":106,"direction":38},"CR: Exactly. And I think that Black women especially, we have been fed the crap around resilience and our ability to bear the ongoing onslaught of racism in this country. And all of that rhetoric, that “be twice as good,” “you've got to take it,” “they go low, you go higher,” all of that is to our physical detriment.",[107],{"start":12,"end":49,"type":75},{"type":35,"text":109,"spans":110,"direction":38},"And I'm so glad we've gotten to a moment where the language of refusal is now prevalent. We see it with athletes. Coco Gauff just left China saying, “you know, I don't have to put up with this racist abuse.” And taking time out now is a thing. You understand that when your body feels a way, it's responding to something. And the too muchness of that thing means you need to sit down, you need to lie down, you need to fall down.",[],{"type":35,"text":112,"spans":113,"direction":38},"SA: Yes. I want to stay right there. There’s a lingering provocation that care can look like staying present rather than fixing a thing. I think it’s no secret that many of us feel like the political landscape forces a kind of moral scarcity where we have to decide which grief to give our full attention. Specifically for us, like you just said, I feel like people see what Black women have made from impossible conditions, and they mistake that creation for endless capacity. When the theorist asked the narrator to house the refugee couple, it reminded me that our strength is easier to acknowledge than our sustained and generational deprivation. How did you come to trust presence as an ethical act in itself?",[114],{"start":12,"end":49,"type":75},{"type":35,"text":116,"spans":117,"direction":38},"CR: Well, what Triage tries to say is that our capacities are different, our histories are different, and we really need to know what we're capable of, what we have capacity for. We have to triage for others, but also on our own behalf. And that means that sometimes there are no right answers. Sometimes it looks not so good. But it might allow you to do a thing the next time. And I didn't want Triage to be static. The decision of the narrator versus the ask of the theorist is for now. And then the book continues inside the sort of deliberations of the narrator who might do something differently the next time. So I really struggled with how to keep our possibilities open. And that openness is tied to the presentness that you're talking about. Because the presentness means that you're present also to yourself.",[118,119,122],{"start":12,"end":49,"type":75},{"start":120,"end":121,"type":51},15,21,{"start":123,"end":124,"type":51},397,403,{"type":35,"text":126,"spans":127,"direction":38},"",[],{},{"dimensions":130,"alt":8,"copyright":8,"url":133,"id":134,"edit":135},{"width":131,"height":132},750,772,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002FsJGa9KRErTAdKPIq_Claudia-mobile-02.png?auto=format,compress","sJGa9KRErTAdKPIq",{"x":12,"y":12,"zoom":13,"background":14},{},[],"text_columns___expandable_image$2bc1bb58-e3e7-4ce5-9dc1-9f907f46f8c9",{"primary":140,"items":154,"id":155,"slice_type":156,"slice_label":8},{"image":141,"mobile":147},{"dimensions":142,"alt":8,"copyright":8,"url":144,"id":145,"edit":146},{"width":17,"height":143},2160,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002Fk7livXLwqosdJRLh_triage-quote-01.png?auto=format,compress","k7livXLwqosdJRLh",{"x":12,"y":12,"zoom":13,"background":14},{"dimensions":148,"alt":8,"copyright":8,"url":151,"id":152,"edit":153},{"width":149,"height":150},359,322,"https:\u002F\u002Fsaint-heron.cdn.prismic.io\u002Fsaint-heron\u002F8clZ1ehh0kJcory3_ClaudiaDossier_Mobile-text-01.svg","8clZ1ehh0kJcory3",{"x":12,"y":12,"zoom":13,"background":14},[],"image$739ddfa3-5f66-436b-838f-62787dd14f19","image",{"primary":158,"items":159,"id":230,"slice_type":231,"slice_label":8},{},[160,175,188,202,216],{"image":161,"caption":168},{"dimensions":162,"alt":8,"copyright":8,"url":165,"id":166,"edit":167},{"width":163,"height":164},640,394,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002F3f3K6kQKJ6su1ow0_m_collab_trockel_01.jpg?auto=format,compress","3f3K6kQKJ6su1ow0",{"x":12,"y":12,"zoom":13,"background":14},[169],{"type":35,"text":170,"spans":171,"direction":38},"Rosemarie Trockel, Replace Me, 2011.",[172],{"start":173,"end":174,"type":51},19,29,{"image":176,"caption":183},{"dimensions":177,"alt":8,"copyright":8,"url":180,"id":181,"edit":182},{"width":178,"height":179},2500,1663,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002FISNhLQ2RIYYPEbzM_8-fiction-knot_highres-17-jpg_52L-web-hires.jpg?auto=format,compress","ISNhLQ2RIYYPEbzM",{"x":12,"y":12,"zoom":13,"background":14},[184],{"type":35,"text":185,"spans":186,"direction":38},"Michael Beitz, Knot, 2011.",[187],{"start":120,"end":173,"type":51},{"image":189,"caption":196},{"dimensions":190,"alt":8,"copyright":8,"url":193,"id":194,"edit":195},{"width":191,"height":192},420,600,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002FEnsUGDDG7MnWHoMp_129317803556384451_d08ab000-e957-4e04-ac62-497d9adad597_206533.jpeg?auto=format,compress","EnsUGDDG7MnWHoMp",{"x":12,"y":12,"zoom":13,"background":14},[197],{"type":35,"text":198,"spans":199,"direction":38},"David Hammons, Hair-Relaxer, 2007.",[200],{"start":120,"end":201,"type":51},27,{"image":203,"caption":209},{"dimensions":204,"alt":8,"copyright":8,"url":206,"id":207,"edit":208},{"width":178,"height":205},1627,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002FJWbvjIdcy-RDHHG5_8-fiction-MSY_52400_Sofa_2023_A-jpg_52L-web-hires.jpg?auto=format,compress","JWbvjIdcy-RDHHG5",{"x":12,"y":12,"zoom":13,"background":14},[210],{"type":35,"text":211,"spans":212,"direction":38},"Martine Syms, 6 Year, 2023.",[213],{"start":214,"end":215,"type":51},14,20,{"image":217,"caption":224},{"dimensions":218,"alt":8,"copyright":8,"url":221,"id":222,"edit":223},{"width":219,"height":220},1500,1000,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002FHMW_ErN70XhNE8SE_small_1693.jpg?auto=format,compress","HMW_ErN70XhNE8SE",{"x":12,"y":12,"zoom":13,"background":14},[225],{"type":35,"text":226,"spans":227,"direction":38},"Dozie Kanu, Untitled, 2024.",[228],{"start":229,"end":215,"type":51},12,"hover_image_gallery$e5e042ec-8acf-4ac6-8f0c-6dda3c0f2627","hover_image_gallery",{"primary":233,"items":312,"id":313,"slice_type":67,"slice_label":8},{"left_column":234,"right_column":262,"image":291,"mobile_top_image":298,"mobile_bottom_image":305},[235,242,246,249,253,257,260],{"type":35,"text":236,"spans":237,"direction":38},"SA: I love that Triage resists cheap triumph or optimism without surrendering to despair. How do you continue making art that refuses cynicism while remaining fully honest about the world?",[238,239],{"start":12,"end":49,"type":75},{"start":240,"end":241,"type":51},16,22,{"type":35,"text":243,"spans":244,"direction":38},"CR: Well, thank you, because that is the goal. I think that my work from the very beginning has always been about communication, conversation, staying present with the person in front of you, understanding your own history, but also the history of others and negotiating all of it. That is what I would call a life, that negotiation, not being absent to things that are unpleasant to you and not being absent to the joys and the love that carry us through. All of those things make a life. I think sometimes people feel like, “oh, it's so unpleasant. I'm just not going to think about it,” but it's still having an effect. So, you might as well take it on as much as you can and make it work within all of the other things. Make it work with all of the other knowings.",[245],{"start":12,"end":49,"type":75},{"type":35,"text":247,"spans":248,"direction":38},"There's a point in the book where the narrator says to the theorist, “I'm not asking for a solution. I'm asking what you know. Because if you let me in, it will widen my knowing, and maybe I can meet you closer in terms of your needs.”",[],{"type":35,"text":250,"spans":251,"direction":38},"SA: Friendship and sisterhood occupies a central space in this work. I wanted to ask What made friendship\u002Fsisterhood the relationship through which Triage’s inquiry could happen? Is it in what you just said about being present together and the love that carries us?",[252],{"start":12,"end":49,"type":75},{"type":35,"text":254,"spans":255,"direction":38},"CR: Exactly. The characters are really built on every woman I've ever known. The life that's described for both of them comes from bits and pieces of the biographies of very close friends. And I like when my friends read the book, and they recognize their moments. Because it's a way of saying I'm paying attention, too. I'm watching you, too; and I see you, too.",[256],{"start":12,"end":49,"type":75},{"type":35,"text":258,"spans":259,"direction":38},"So I really wanted that kind of friendship; that long-term friendship that you don't even sometimes understand why you gravitate towards a person and how you come to love that person. And oftentimes, I think it's because you see in them things that you want to be, things that you cherish, things that you admire, a way of being, a positionality in the world that you, too, wish you had.",[],{"type":35,"text":126,"spans":261,"direction":38},[],[263,266,269,273,277,281,288],{"type":35,"text":264,"spans":265,"direction":38},"*brief pause*",[],{"type":35,"text":267,"spans":268,"direction":38},"But it doesn't mean you're gonna get there, you know. *laughs*",[],{"type":35,"text":270,"spans":271,"direction":38},"SA: I noticed the narrator and the theorist continued choosing each other despite their profound differences, and now, with that insight [of the many friendships compiled] my next question directly relates. There was sometimes almost a level of romantic intimacy and\u002For even something deeper than familial sisterhood. Even the recurring connections to Antigone’s devotion that metaphorically reverberated throughout. Do you think that sometimes persistence in our relationships teaches us what agreement\u002Fdirect alignment can’t or won’t?",[272],{"start":12,"end":49,"type":75},{"type":35,"text":274,"spans":275,"direction":38},"CR: I think so. I think love teaches us that, you know. You're right, there is a kind of romantic love. Even if it's not acted out, there's that level of closeness. And I believe we have that with a lot of people. And it allows us to bear things we might not bear with other people, you know? To be alongside, when we would lose patience, say, with another kind of person. And that, over time, is what builds the friendship, what builds the closeness. If you're in alliance, politically or culturally, that alliance can break if your alliances change. But if you're in communion because this other person, whoever they are, touches you in a way that no one else does, then that's a love story.",[276],{"start":12,"end":49,"type":75},{"type":35,"text":278,"spans":279,"direction":38},"SA: WOW! Can we talk about returning to difficult conversations vs abandoning them? In an era that rewards certainty over curiosity, what does it mean to remain in conversation—even when no one changes their mind? Is it in that love, that closeness? The connections that challenge us?",[280],{"start":12,"end":49,"type":75},{"type":35,"text":282,"spans":283,"direction":38},"CR: You know, Anne Carson just won the Nobel Prize [in Literature]. And one of the things she said is, “everything starts in doubt,” which I love. I do think for the narrator, there's a level of doubt. She, throughout the book, doubts her own knowledge. And I don't mean historical knowledge so much, but personal knowledge. She doesn't even know what she's capable of, in a way. And so I think if we hold on to that doubt, then we also hold on to possibility.",[284,285],{"start":12,"end":49,"type":75},{"start":286,"end":287,"type":51},104,130,{"type":35,"text":289,"spans":290,"direction":38},"It's only those people who work from a place of certainty that stay still in their resolves. And sometimes that looks great—sometimes, not. *laughs*",[],{"dimensions":292,"alt":8,"copyright":8,"url":295,"id":296,"edit":297},{"width":293,"height":294},306,820,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002Fx3T6YulKhMYCpm1w_claudia-expanding-graphic.png?auto=format,compress","x3T6YulKhMYCpm1w",{"x":12,"y":12,"zoom":13,"background":14},{"dimensions":299,"alt":8,"copyright":8,"url":302,"id":303,"edit":304},{"width":300,"height":301},680,800,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002Fi4_Z5iDcDTcsOyoE_mobile-03.png?auto=format,compress","i4_Z5iDcDTcsOyoE",{"x":12,"y":12,"zoom":13,"background":14},{"dimensions":306,"alt":8,"copyright":8,"url":309,"id":310,"edit":311},{"width":307,"height":308},764,1102,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002FUXZkyJadUwzO6iU0_mobile-04.png?auto=format,compress","UXZkyJadUwzO6iU0",{"x":12,"y":12,"zoom":13,"background":14},[],"text_columns___expandable_image$32771637-3883-49b6-b919-180697b7a0a6",{"primary":315,"items":329,"id":330,"slice_type":156,"slice_label":8},{"image":316,"mobile":322},{"dimensions":317,"alt":8,"copyright":8,"url":319,"id":320,"edit":321},{"width":17,"height":318},1990,"https:\u002F\u002Fimages.prismic.io\u002Fsaint-heron\u002F4c2MRF2a4ZuFHeaF_triage-quote-02.png?auto=format,compress","4c2MRF2a4ZuFHeaF",{"x":12,"y":12,"zoom":13,"background":14},{"dimensions":323,"alt":8,"copyright":8,"url":326,"id":327,"edit":328},{"width":324,"height":325},351,352,"https:\u002F\u002Fsaint-heron.cdn.prismic.io\u002Fsaint-heron\u002FfWpehOB3BVHQvG4W_ClaudiaDossier_Mobile-text-02.svg","fWpehOB3BVHQvG4W",{"x":12,"y":12,"zoom":13,"background":14},[],"image$85099f75-25f4-4875-809c-d8ad88da9730",{"primary":332,"items":360,"id":361,"slice_type":67,"slice_label":8},{"left_column":333,"right_column":356,"image":357,"mobile_top_image":358,"mobile_bottom_image":359},[334,341,345,348,352],{"type":35,"text":335,"spans":336,"direction":38},"SA: Throughout Triage, the various couches speak to the rest, the despair, and also speaks to how the body remembers, how it falls, how it relaxes, how it absorbs history. Were you intentionally resisting the temptation to let politics remain purely intellectual by depicting the couch visuals?",[337,338,340],{"start":12,"end":49,"type":75},{"start":49,"end":339,"type":51},4,{"start":120,"end":121,"type":51},{"type":35,"text":342,"spans":343,"direction":38},"CR: Well, the couch is a metaphor, or a conceit in the book, to me was always very important because the idea of being a couch potato, for example, where the inertia that that could suggest. And then the other kind of couch, the one that you just described, the one that allows for rest, that allows for collapse, as a place that exists in the home, that allows you not to end up on the floor, on the ground. And I wanted these images of couches to float between those two possibilities, the kind of concession; the giving up versus the rest, because the rest is necessary.",[344],{"start":12,"end":49,"type":75},{"type":35,"text":346,"spans":347,"direction":38},"It is too much what's happening. It's too much what we've been asked to carry and bear. But you can't stay there. You have to rise up. And so I really spent a lot of time thinking about those couches. The funny thing about the couches in Triage, though, is none of them are really usable as couches. They are made of steel, they are twisted, they are deformed. And that was also important to me, the kind of move towards unworlding. We want, we need— I should say, I want, I need a new way of thinking about these things. And so I didn't want to use couches that presented themselves as actual rest places. I wanted them to refuse the status quo as well. ",[],{"type":35,"text":349,"spans":350,"direction":38},"SA: Wow. Yes. I'd noticed that those couches, you cannot sit and actually rest on them. But when I initially looked at them, I saw them as a depiction of all that they've absorbed from carrying us and catching our collapse. So like they're not usable now, but because of just how much they've taken in from the collision of our bodies meeting their surfaces. Their hardening, knotting, burning, all symbolizing what we [continue to] rise up from.",[351],{"start":12,"end":49,"type":75},{"type":35,"text":353,"spans":354,"direction":38},"CR: That's fantastic.",[355],{"start":12,"end":49,"type":75},[],{},{},{},[],"text_columns___expandable_image$a7475a52-24f4-47d8-938e-128e7176a015",[363,368,372,376,380,384],{"type":35,"text":364,"spans":365,"direction":38},"Kaari Upson, Untitled, 2012.\nCopyright © Esmé Trust \u002F Kaari Upson Trust.\nCourtesy Sprüth Magers.",[366],{"start":367,"end":121,"type":51},13,{"type":35,"text":369,"spans":370,"direction":38},"David Hammons, Hair-Relaxer, 2007.\nCourtesy of the artist and Tilton Gallery, New York. Photo\ncopyright © 2010 Phillips Auctioneers LLC.\nAll rights reserved.",[371],{"start":120,"end":201,"type":51},{"type":35,"text":373,"spans":374,"direction":38},"Rosemarie Trockel, Replace Me, 2011.\nCopyright © Rosemarie Trockel \u002F Artists Rights Society\n(ARS),New York \u002F VG Bild-Kunst, Bonn.\nCourtesy of Sprüth Magers and the Gladstone Gallery.",[375],{"start":173,"end":174,"type":51},{"type":35,"text":377,"spans":378,"direction":38},"Dozie Kanu, Untitled, 2024.\nCourtesy of the artist. Photo copyright © 2024 by Daniel Malhão. All rights reserved.",[379],{"start":229,"end":215,"type":51},{"type":35,"text":381,"spans":382,"direction":38},"Martine Syms, 6 Year, 2023.\nCourtesy of the artist and Sprüth Magers, Los Angeles.\nPhoto by Robert Wedemeyer.",[383],{"start":240,"end":215,"type":51},{"type":35,"text":385,"spans":386,"direction":38},"Michael Beitz, Knot, 2011.\nCourtesy of the artist.",[387],{"start":120,"end":173,"type":51},[389,395,400,405,410],{"type":35,"text":390,"spans":391,"direction":38},"Rodney McMillian, Couch, 2012.\nCourtesy of the artist and Petzel, New York. \u2028Photo by Jeffrey Sturges.",[392],{"start":393,"end":394,"type":51},18,23,{"type":35,"text":396,"spans":397,"direction":38},"Josh Kline, Normalization, 2017.\nImages courtesy of the artist. Photos by Joerg Lohse ",[398],{"start":229,"end":399,"type":51},25,{"type":35,"text":401,"spans":402,"direction":38},"Sarah Lucas, Cement Sofa, 2014.\nCopyright © Sarah Lucas. \u2028Courtesy Sadie Coles HQ , London.",[403],{"start":367,"end":404,"type":51},24,{"type":35,"text":406,"spans":407,"direction":38},"Sarah Lucas, Donkey Kong Diddle Eye, 2000.\nCopyright © Sarah Lucas. Courtesy Sadie Coles HQ , London.",[408],{"start":367,"end":409,"type":51},35,{"type":35,"text":411,"spans":412,"direction":38},"Rosemarie Trockel, Copy Me, 2013.\n© Rosemarie Trockel \u002F Artists Rights Society (ARS), New York \u002FVG Bild-Kunst, Bonn. Courtesy of Sprüth Magers and the Gladstone Gallery. Digital Image © The Museum of Modern Art \u002F Licensed by SCALA \u002F Art Resource, NY",[413],{"start":173,"end":414,"type":51},26,[416,419,422,425],{"type":35,"text":417,"spans":418,"direction":38},"INTERVIEW BY\nShantel Aurora of Saint Heron",[],{"type":35,"text":420,"spans":421,"direction":38},"EDITED BY\nSolange Knowles of Saint Heron\nShantel Aurora of Saint Heron",[],{"type":35,"text":423,"spans":424,"direction":38},"WEB DESIGN BY\nKai Jenrette of Saint Heron\nSabla Stays of Saint Heron",[],{"type":35,"text":426,"spans":427,"direction":38},"WEB DEVELOPMENT BY\nStudio Otto",[428],{"start":173,"end":429,"type":430,"data":431},30,"hyperlink",{"link_type":432,"url":433,"target":434},"Web","https:\u002F\u002Fstudio-otto.com","_blank",[436],{"type":35,"text":437,"spans":438,"direction":38},"SAINT HERON is a multidisciplinary platform and institution that seeks to amplify vital voices and works in literature, art, music and design. Saint Heron remains dedicated to empowering future practitioners of art by reverencing the spiritual act of creating and spotlighting artists’ unwavering devotion to the intergenerational language of expression.",[]]