{"id":1564,"date":"2007-03-29T14:14:48","date_gmt":"2007-03-29T21:14:48","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/wp\/2007\/03\/the_invitation_speaks_for_itse\/"},"modified":"2007-03-29T14:14:48","modified_gmt":"2007-03-29T21:14:48","slug":"the_invitation_speaks_for_itse","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2007\/03\/the_invitation_speaks_for_itse.html","title":{"rendered":"The Invitation Speaks for Itself"},"content":{"rendered":"<p>(Mouse over it for details, and click for Emmett.)<br \/>\n<a href=\"http:\/\/www.artsjournal.com\/herman\/archives\/2007\/02\/post_11.html\" class=inline target=new\"><center><img decoding=\"async\" alt title=\"MEMORIAL CELEBRATION FOR EMMETT WILLIAMS (Sunday, April 1, 2007, beginning at 7 p.m., 537 Broadway @ Spring Street, 2nd floor, New York City (212.925.7651). Event organizer: Geoffrey Hendricks (212.431.8625 or cloudsmith@aol.com) [Photos: Ann Noel with Emmett Williams, Poznan, Poland (2005), performing Robert Filliou's score 13 WAYS TO USE EMMETT WILLIAMS' SKULL]\" src=\"http:\/\/www.artsjournal.com\/herman\/EW%20invitation%20Original%20back%20400.jpg\" width=399 border=0 \/><\/center><\/a><\/p>\n<p><!--more--><br \/>\n<a href=\"http:\/\/www.artsjournal.com\/herman\/archives\/2007\/02\/post_11.html\" class=inline target=new\"><center><img decoding=\"async\" alt title=\"From the invitation: ALPHABET SQUARE (1956), by Emmett Williams [Edition Francesco Conz, 1983]\" src=\"http:\/\/www.artsjournal.com\/herman\/EW%20Alphabet%20Square%20400.jpg\" width=399 border=0 \/><\/center><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>(Mouse over it for details, and click for Emmett.)<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4],"tags":[],"class_list":{"0":"post-1564","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-pe","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1564","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=1564"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/1564\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=1564"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=1564"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=1564"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}