{"id":3474,"date":"2020-08-13T12:51:21","date_gmt":"2020-08-13T17:51:21","guid":{"rendered":"https:\/\/wp.stolaf.edu\/flaten\/?page_id=3474"},"modified":"2023-06-07T08:20:24","modified_gmt":"2023-06-07T13:20:24","slug":"we-no-longer-consider-them-damaged","status":"publish","type":"page","link":"https:\/\/wp.stolaf.edu\/flaten\/we-no-longer-consider-them-damaged\/","title":{"rendered":"We No Longer Consider Them Damaged"},"content":{"rendered":"<div data-modular-content-collection><p><iframe loading=\"lazy\" src=\"https:\/\/my.matterport.com\/show\/?m=AFNUZwtEwvJ\" width=\"853\" height=\"480\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h3><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"4283\" data-permalink=\"https:\/\/wp.stolaf.edu\/flaten\/the-lil-rascals-brass-band-treme\/calhoun_mccormick_treme_1996_circa_2010-2-2\/\" data-orig-file=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/10\/Calhoun_McCormick_Treme_1996_Circa_2010-2.jpg\" data-orig-size=\"2560,1728\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Calhoun_McCormick_Treme_1996_Circa_2010-2\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/10\/Calhoun_McCormick_Treme_1996_Circa_2010-2-1024x691.jpg\" class=\"alignnone wp-image-4283 size-full\" src=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/10\/Calhoun_McCormick_Treme_1996_Circa_2010-2.jpg\" alt=\"\" width=\"2560\" height=\"1728\" \/><\/h3>\n<h3>On view October 1\u2013November 22, 2020<br \/>\n<strong>Visits restricted to current students, faculty, and staff, in accordance with campus guidelines.\u00a0<\/strong><\/h3>\n<p><em><span style=\"font-weight: 400;\">Curated by Assistant Professor of Art History at St. Olaf College, Hannah Ryan, with curatorial assistance from Amanda Rose &#8217;21<\/span><\/em><\/p>\n<p><span style=\"font-weight: 400;\">Both born and raised in the Lower Ninth Ward of New Orleans, married couple Chandra McCormick and Keith Calhoun have documented the culture of Louisiana together and separately for over forty years, with an unflinching dedication to social justice, particularly in their African American community.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Like their neighbors, their lives were forever changed by Hurricane Katrina. When the storm surged and the levees failed, Chandra and Keith were forced to evacuate to Texas, leaving their home and studio. The studio was full of negatives, prints, rolls of film, the sum of their lives\u2019 work. They moved what they could into plastic bins and elevated these to higher surfaces. When they were allowed to return months later, they found total destruction and waterlogged negatives. In a flash of brilliance, they put the damaged negatives in garbage bags and stored them in a freezer. Five years later, they opened them back up and realized that the freezer had halted the deterioration process in its tracks, abstracting the images with astounding beauty.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Since then, they have experimented with printing these works, and poignantly, they no longer consider them damaged. The prints of the damaged negatives feature imprints of mold, and shadows of other images. In addition, the colors from the Kodachrome film separated and resettled in unusual ways.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">McCormick stated \u201cThe mold, cracked film cases, and restoration created abstractions of our initial images\u2026 The images represent different forms of light that guide and sustain us through trials and tribulations\u201d. By capturing the altered state of the negatives accurately in their prints, McCormick and Calhoun draw attention to a community that is still facing significant hardships.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This exhibition is the first to focus on their abstract works, photographs taken throughout their long careers, altered by disaster in 2005, and printed between 2010 and 2020. Further, it will include a section of photographs they are taking right now, as their vulnerable community of the Lower Ninth Ward faces new crises of the coronavirus pandemic, social unrest, and the start of hurricane season. Thus, this exhibition will explore how these artists have paid radically sustained attention to their community. Speaking to crisis, resilience, and recovery, this show will encourage viewers to rethink conceptions of damage.<\/span><\/p>\n<hr \/>\n<div class=\"tiled-gallery type-rectangular tiled-gallery-unresized\" data-original-width=\"810\" data-carousel-extra='{&quot;blog_id&quot;:126,&quot;permalink&quot;:&quot;https:\\\/\\\/wp.stolaf.edu\\\/flaten\\\/we-no-longer-consider-them-damaged\\\/&quot;,&quot;likes_blog_id&quot;:61726901}' itemscope itemtype=\"http:\/\/schema.org\/ImageGallery\" > <div class=\"gallery-row\" style=\"width: 810px; height: 649px;\" data-original-width=\"810\" data-original-height=\"649\" > <div class=\"gallery-group images-1\" style=\"width: 810px; height: 649px;\" data-original-width=\"810\" data-original-height=\"649\" > <div class=\"tiled-gallery-item tiled-gallery-item-large\" itemprop=\"associatedMedia\" itemscope itemtype=\"http:\/\/schema.org\/ImageObject\"> <a href=\"https:\/\/wp.stolaf.edu\/flaten\/we-no-longer-consider-them-damaged33\/tk-smith_essay-cover\/\" border=\"0\" itemprop=\"url\"> <meta itemprop=\"width\" content=\"806\"> <meta itemprop=\"height\" content=\"645\"> <img decoding=\"async\" class=\"\" data-attachment-id=\"4289\" data-orig-file=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/10\/TK-Smith_Essay-Cover.jpg\" data-orig-size=\"1200,960\" data-comments-opened=\"\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"TK Smith_Essay Cover\" data-image-description=\"\" data-medium-file=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/10\/TK-Smith_Essay-Cover-300x240.jpg\" data-large-file=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/10\/TK-Smith_Essay-Cover-1024x819.jpg\" src=\"https:\/\/i0.wp.com\/wp.stolaf.edu\/flaten\/files\/2020\/10\/TK-Smith_Essay-Cover.jpg?w=806&#038;h=645&#038;ssl=1\" width=\"806\" height=\"645\" loading=\"lazy\" data-original-width=\"806\" data-original-height=\"645\" itemprop=\"http:\/\/schema.org\/image\" title=\"TK Smith_Essay Cover\" alt=\"TK Smith_Essay Cover\" style=\"width: 806px; height: 645px;\" \/> <\/a> <\/div> <\/div> <!-- close group --> <\/div> <!-- close row --> <\/div>\n<p>Click to view TK Smith&#8217;s essay <a href=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/10\/TK-Smith_Embracing-the-Infinite-Mother.pdf\"><em>Embracing the Infinite Mother<\/em><\/a>.<\/p>\n<hr \/>\n<p><strong>Programming<br \/>\n<\/strong><span style=\"font-weight: 400;\"><a href=\"https:\/\/wp.stolaf.edu\/flaten\/virtual-studio-visit-with-chandra-mccormick-and-keith-calhoun\/\">Virtual Studio Visit with Chandra McCormick and Keith Calhoun<\/a> <\/span><span style=\"font-weight: 400;\">(For current St. Olaf students)<\/span><em><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/em><span style=\"font-weight: 400;\">Thursday, October 8, 11:30 a.m.\u201312:45 p.m. CST | <\/span><a href=\"https:\/\/stolaf.zoom.us\/j\/98439142506?pwd=dzllZ1RBY3FIK2o4eGlKaUw0aUE2dz09\"><span style=\"font-weight: 400;\">Join Live <\/span><\/a><span style=\"font-weight: 400;\">(pw: flaten)<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><a href=\"https:\/\/wp.stolaf.edu\/flaten\/conversation-with-chandra-mccormick-and-keith-calhoun\/\">Conversation with Chandra McCormick and Keith Calhoun<\/a><\/span><em><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/em><span style=\"font-weight: 400;\">Thursday, October 8, 5\u20136 p.m. CST | <a href=\"https:\/\/www.stolaf.edu\/multimedia\/play\/?e=3137\">Join Live<\/a><br \/>\n<\/span><\/p>\n<p><a href=\"https:\/\/wp.stolaf.edu\/flaten\/lecture-with-t-k-smith-abstraction-as-a-state-of-being\/\">Lecture with TK Smith<\/a>: <em><span style=\"font-weight: 400;\">Abstraction as a State of Being: Identity, Fragmented Archives, and the Photographs of Chandra McCormick and Keith Calhoun<\/span><span style=\"font-weight: 400;\"><br \/>\n<\/span><\/em><span style=\"font-weight: 400;\">Thursday, October 22, 5\u20136 p.m. CST | <a href=\"https:\/\/www.stolaf.edu\/multimedia\/play\/?e=3131\">Join Live<\/a><\/span><\/p>\n<p><em><span style=\"font-weight: 400;\">Programming with the artists is made possible through generous support from St. Olaf College\u2019s Division of Academic Civic Engagement and The Taylor Center for Equity and Inclusion, the Departments of Art and Art History, Environmental Studies, Religion, Race and Ethnic Studies, and the Leraas Fund and Fine Arts Dean\u2019s Fund.<br \/>\n<\/span><\/em><\/p>\n<hr \/>\n<p><strong>Sources for Further Learning<br \/>\n<\/strong><span style=\"font-weight: 400;\">Explore the <a href=\"https:\/\/docs.google.com\/presentation\/d\/10_GXtAORURsjGGdSx4Z4k2tF24tDs-v-PuwJkXaFTtc\/edit#slide=id.p\">Exhibition Teaching Guide<\/a>.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Harlan, Becky.<\/span><a href=\"https:\/\/www.nationalgeographic.com\/photography\/proof\/2015\/10\/22\/warped-and-waterlogged-a-damaged-photo-collection-takes-on-new-life\/\"><span style=\"font-weight: 400;\"> \u201cWarped and Waterlogged, a Damaged Photo Collection Takes on New Life.\u201d National Geographic, October 22, 2015.\u00a0<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400;\">Delmez, Kathryn E., ed. <\/span><a href=\"https:\/\/www.artbook.com\/9780998681771.html\"><i><span style=\"font-weight: 400;\">Louisiana Medley: Photographs by Keith Calhoun and Chandra McCormick<\/span><\/i><span style=\"font-weight: 400;\">. Nashville: Frist Center for The Visual Arts, 2018.<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400;\">Lee, Spike, <\/span><i><span style=\"font-weight: 400;\">When the Levees Broke: A Requiem in Four Acts, <\/span><\/i><span style=\"font-weight: 400;\">2006.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Solnit, Rebecca, <\/span><i><span style=\"font-weight: 400;\">A Paradise Built in Hell: The Extraordinary Communities that Arise in Disaster,<\/span><\/i><span style=\"font-weight: 400;\"> 2010.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Landphair, Juliette.<\/span><a href=\"http:\/\/archive.oah.org\/special-issues\/katrina\/Landphair.html\"><span style=\"font-weight: 400;\"> \u201cThe Forgotten People of New Orleans: Community, Vulnerability, and the Lower Ninth Ward.,\u201d <\/span><i><span style=\"font-weight: 400;\">Journal of American History<\/span><\/i><span style=\"font-weight: 400;\"> 94, Special Issue (December 2007): 837\u201345.<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400;\">Willis, Deborah. <\/span><a href=\"https:\/\/www.nytimes.com\/interactive\/2020\/06\/19\/arts\/black-photographers-self-portraits.html\"><span style=\"font-weight: 400;\">\u201cSelf-Portraits From Black Photographers Reflecting on America: Looking Inward and Outward.\u201d The New York Times, June 19, 2020, sec. Arts.\u00a0<\/span><\/a><\/p>\n<hr \/>\n<p><strong>About the Artists<\/strong><\/p>\n<figure id=\"attachment_3766\" aria-describedby=\"caption-attachment-3766\" style=\"width: 1175px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"3766\" data-permalink=\"https:\/\/wp.stolaf.edu\/flaten\/we-no-longer-consider-them-damaged\/keith-calhou_chandra-mccormick_photo-by-adrienne-battistella\/\" data-orig-file=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/08\/Keith-Calhou_Chandra-McCormick_Photo-by-Adrienne-Battistella.jpg\" data-orig-size=\"1175,1157\" data-comments-opened=\"0\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"Keith Calhou_Chandra McCormick_Photo by Adrienne Battistella\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/08\/Keith-Calhou_Chandra-McCormick_Photo-by-Adrienne-Battistella-1024x1008.jpg\" class=\"wp-image-3766 size-full\" src=\"https:\/\/wp.stolaf.edu\/flaten\/files\/2020\/08\/Keith-Calhou_Chandra-McCormick_Photo-by-Adrienne-Battistella.jpg\" alt=\"\" width=\"1175\" height=\"1157\" \/><figcaption id=\"caption-attachment-3766\" class=\"wp-caption-text\">Photo of the artists by Adrienne Battistella<\/figcaption><\/figure>\n<p><span style=\"font-weight: 400;\">Since the early 1980s, photographers Keith Calhoun and Chandra McCormick have <\/span><span style=\"font-weight: 400;\">chronicled the African American experience in New Orleans and the surrounding Louisiana parishes. Working collaboratively, they preserve the unique traditions and deep-rooted attributes of Louisiana culture. Their images bear witness to both the celebrations and struggles of everyday events, with attention to the profound sense of place felt by Louisianans. Calhoun and McCormick were born in New Orleans. They are both from the Lower 9th Ward, a neighborhood that, prior to Hurricane Katrina in 2005, boasted the largest concentration of African American homeowners in the United States. Their photographic archive was nearly destroyed by Hurricane Katrina, yet their work has proved resilient.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Calhoun and McCormick have documented the soul of New Orleans and a vanishing Louisiana: the demise of manual laborers in the sugar cane fields of Louisiana, the dockworkers and longshoremen on the New Orleans waterfront, the sweet potato harvesters, and the displacement of African Americans after Katrina. They have photographed the traditions of Black church services and religious rituals; community rites and celebrations, such as parades and jazz funerals. As part of their labor series their documentation has covered the cruel conditions of the Louisiana State Penitentiary at Angola, a former \u201cslave-breeding\u201d plantation <\/span><span style=\"font-weight: 400;\">named for the African nation from which the enslaved people who were considered by slaveholders to be \u201cthe most profitable.\u201d<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Calhoun and McCormick\u2019s images have appeared twice in Aperture, Angola Bound, a collaboration with Aaron Neville and Dr Deborah Willis, Spring 2006; Aperture, Heroes Of The Storm: Five Years After Katrina, Fall 2010; Their work has been shown widely, including (A group) exhibition and the book, Reflections in Black: A History of Black Photographers, 1840 to the Present. Smithsonian Institution, Anacostia Museum, 2000 Washington, DC.; They have been exhibited at venues including the Brooklyn Museum, New York Feb. 16, 2001 (group exhibition), <\/span><i><span style=\"font-weight: 400;\">Committed to The Image<\/span><\/i><span style=\"font-weight: 400;\">, New York; Local Take, <\/span><i><span style=\"font-weight: 400;\">African American Portraiture In Louisiana<\/span><\/i><span style=\"font-weight: 400;\">, April 19, 2008, The Louisiana State Museum, Arsenal Building New Orleans; The Peace Museum, (solo exhibition) <\/span><i><span style=\"font-weight: 400;\">Soul Of The City<\/span><\/i><span style=\"font-weight: 400;\">, Feb. 2006. Chicago; New Orleans Museum <\/span><span style=\"font-weight: 400;\">of Art, <\/span><i><span style=\"font-weight: 400;\">Born By The River<\/span><\/i><span style=\"font-weight: 400;\">, 1988, New Orleans; The New Orleans Museum of Art, <\/span><i><span style=\"font-weight: 400;\">He&#8217;s The Prettiest: A Tribute to Big Chief Allison &#8220;Tootie\u201d Montana&#8217;s 50 Years of Suiting and Masking Consecutively as a Black Indian Chief<\/span><\/i><span style=\"font-weight: 400;\">, 1997, New Orleans; \u201cEssential Lens\u201d, <\/span><i><span style=\"font-weight: 400;\">Lives<\/span><\/i><span style=\"font-weight: 400;\"> (video), Annenberg Learner, 2014, New Orleans; PBS NewsHour \u201cAn Art Exhibition Aims to Help City Heal\u201d, 2008 L9 Center For The Arts, New Orleans; NewYork; <\/span><i><span style=\"font-weight: 400;\">Slavery: The Prison Industrial Complex<\/span><\/i><span style=\"font-weight: 400;\"> (solo exhibition), The Ogden Museum of Southern Art, New Orleans as part of Prospect.3: Notes for Now (2014-2015); The International Art Exhibition, La Biennale, <\/span><i><span style=\"font-weight: 400;\">ALL THE WORLD&#8217;S FUTURES<\/span><\/i><span style=\"font-weight: 400;\">, May 4, 2015 &#8211; November 2015 Venice, Italy; <\/span><i><span style=\"font-weight: 400;\">Art Spaces<\/span><\/i><span style=\"font-weight: 400;\">, The Ogden Museum of Southern Art, 5, 2015 New Orleans; \u201cAngola Prison and the Shadow of Slavery\u201d, The New Yorker, August 2015; Artsy Magazine, \u201cNew Orleans Photographer Who Captured the City before Katrina\u201d, August, 2016; Frist Museum, <\/span><i><span style=\"font-weight: 400;\">Slavery, The Prison Industrial Complex, A traveling exhibition<\/span><\/i><span style=\"font-weight: 400;\">, Feb. 2016, thru 2019, Youth Community Photography workshop, and exhibition; <\/span><i><span style=\"font-weight: 400;\">Slavery, The Prison Industrial Complex, Art + Practice<\/span><\/i><span style=\"font-weight: 400;\">, Sept. 2017, Hilliard Museum, 2018, Lafayette, Louisiana; Baltimore Museum of Art, <\/span><i><span style=\"font-weight: 400;\">Slavery, The Prison Industrial Complex<\/span><\/i><span style=\"font-weight: 400;\">, Youth Community Photography workshop, and exhibition, 2019; Florida State University, <\/span><i><span style=\"font-weight: 400;\">Rising Water: Artists Working in Response to Hurricanes<\/span><\/i><span style=\"font-weight: 400;\">, Exhibition, 2020; MoMa PS1, Exhibition, <\/span><i><span style=\"font-weight: 400;\">Marking Time<\/span><\/i><span style=\"font-weight: 400;\">, 3, 2020, New York City.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Calhoun and McCormick have given MFA Portfolio reviews at Duke University. They have also given various artist talks including Aperture Magazine, Artist Presentation and talk, 2006 New York; CBS Sunday with Randall Pinkston, 1998, New Orleans; Columbia University, <\/span><i><span style=\"font-weight: 400;\">Rite To Return<\/span><\/i><span style=\"font-weight: 400;\">, Artist Presentation and Panel Discussion, 2007; Artist Talk, 2018, Durham North Carolina; Harvard University, Artist Talk, Harvard Museum Collection 2019, Boston, Mass; University Central Florida, Artist Talk, Presentation, 2019.<\/span><\/p>\n<p><strong>References<br \/>\n<\/strong><span style=\"font-weight: 400;\">Edwards, Susan H. \u201cLouisiana Medley.\u201d In <\/span><i><span style=\"font-weight: 400;\">Louisiana Medley: Photographs by Keith Calhoun\u00a0<\/span><\/i><i><span style=\"font-weight: 400;\">and Chandra McCormick<\/span><\/i><span style=\"font-weight: 400;\">, edited by Kathryn E. Delmez, 15\u201330. Nashville: Frist Center for The Visual Arts, 2018.<br \/>\n<\/span><span style=\"font-weight: 400;\">Harlan, Becky. \u201cWarped and Waterlogged, a Damaged Photo Collection Takes on New Life.\u201d\u00a0<\/span><span style=\"font-weight: 400;\">National Geographic, October 22, 2015. https:\/\/www.nationalgeographic.com\/photography\/proof\/2015\/10\/22\/warped-and-waterlogged-a-damaged-photo-collection-takes-on-new-life\/.<\/span><\/p>\n<p><strong>Images<br \/>\n<\/strong>Keith Calhoun,\u00a0<em>Treme<\/em>, 1997 circa 2010, archival pigment paper<strong><br \/>\n<\/strong><span style=\"font-weight: 400;\">Keith Calhoun, <\/span><i><span style=\"font-weight: 400;\">Mother with Child<\/span><\/i><span style=\"font-weight: 400;\">, 1996 circa 2010, archival pigment paper<\/span><\/p>\n<p><!-- begin-migrated-from-panel-builder --><!-- end-migrated-from-panel-builder --><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>On view October 1\u2013November 22, 2020 Visits restricted to current students, faculty, and staff, in accordance with campus guidelines.\u00a0 Curated by Assistant Professor of Art History at St. Olaf College, [&hellip;]<\/p>\n","protected":false},"author":3509,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-3474","page","type-page","status-publish","hentry"],"acf":[],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/wp.stolaf.edu\/flaten\/wp-json\/wp\/v2\/pages\/3474","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/wp.stolaf.edu\/flaten\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/wp.stolaf.edu\/flaten\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/wp.stolaf.edu\/flaten\/wp-json\/wp\/v2\/users\/3509"}],"replies":[{"embeddable":true,"href":"https:\/\/wp.stolaf.edu\/flaten\/wp-json\/wp\/v2\/comments?post=3474"}],"version-history":[{"count":55,"href":"https:\/\/wp.stolaf.edu\/flaten\/wp-json\/wp\/v2\/pages\/3474\/revisions"}],"predecessor-version":[{"id":5915,"href":"https:\/\/wp.stolaf.edu\/flaten\/wp-json\/wp\/v2\/pages\/3474\/revisions\/5915"}],"wp:attachment":[{"href":"https:\/\/wp.stolaf.edu\/flaten\/wp-json\/wp\/v2\/media?parent=3474"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}