{"id":4289,"date":"2015-08-19T16:31:36","date_gmt":"2015-08-19T16:31:36","guid":{"rendered":"https:\/\/vjic.org\/vjic2\/?page_id=4289"},"modified":"2015-09-10T07:59:33","modified_gmt":"2015-09-10T07:59:33","slug":"1-saci-definitions-essay-1","status":"publish","type":"page","link":"https:\/\/vjic.org\/vjic2\/?page_id=4289","title":{"rendered":"Sa\u0301ndor Szila\u0301gyi: On Photography"},"content":{"rendered":"<p><span style=\"font-size: 10pt;\"><a href=\"https:\/\/vjic.org\/?page_id_1134\">Return to table of content<\/a><\/span><\/p>\n<h4><strong><em><br \/>\nThis is the first of 9 essays on photography by Sa\u0301ndor Szila\u0301gyi<br \/>\n<\/em><\/strong><\/h4>\n<p><em><span style=\"font-size: 10pt;\">S\u00e1ndor Szil\u00e1gyi (b. 1954) is a Hungarian media theorist, writer on photography, living in Budapest, Hungary. His main interest are Hungarian art photography,\u00a0 documentarist photography, and the theoretical questions of photography. He has autgored books, essays and articles, and gives lectures at universities and clubs, on these subjects. S\u00e1ndor Szil\u00e1gyi earned his PhD degree in 2013 (University of P\u00e9cs); the title of his dissertation is\u00a0 Anti-Photography: Photography as the Medium of Art in the optico-pedagogical system of L\u00e1szl\u00f3 Moholy-Nagy. His books on photography are: Ansel Adams z\u00f3narendszere [The Zone-system of Ansel Aadams], Pelik\u00e1n Kiad\u00f3, Budapest, 1995, pp. 50. Neoavantg\u00e1rd tendenci\u00e1k a magyar fot\u00f3m\u0171v\u00e9szetben,1965\u20131984 [Neo-avant-garde trends in Hungarian photo arts, 1965\u20131984], Fot\u00f3kult\u00fara \u2013 \u00daj Mand\u00e1tum, Budapest, 2007, pp. 425(http:\/\/www.tankonyvtar.hu\/hu\/tartalom\/tamop425\/0052_2A_fotoelmelet2\/adatok.html). A fotogr\u00e1fia (?) elm\u00e9letei [Photography (?) theories], Vince Kiad\u00f3, Budapest, 2014, pp. 324.<\/span><\/em><\/p>\n<p><em>(Editor&#8217;s note: All videos are under copyright by Sa\u0301ndor Szila\u0301gyi and VASA)<\/em><\/p>\n<h2><strong>Definitions<\/strong><\/h2>\n<p><iframe loading=\"lazy\" style=\"margin-left: 20px; margin-bottom: 5px; float: right;\" src=\"https:\/\/player.vimeo.com\/video\/137352809\" width=\"320\" height=\"240\" allowfullscreen=\"allowfullscreen\"><\/iframe><br \/>\nLet us begin at the beginning: what is photography? Not as a form of art, but photography in general. Photography could be defined as a form of human communication through which a wave motion is fixed as a still picture on a carrier (paper, glass, metal, etc.) by optical and chemical means. This wave motion is mainly light but does not exclude other forms invisible to the human eye, such as radio, heat, UV and infrared waves, as well as X-ray.<\/p>\n<p>Photography for the purposes of art is clearly only a minute sliver of this\u2014the subdivision where artistic and photographic communication intersect with each other. From the perspective of art, it is a work created by photographic means. From the perspective of photography as a whole, art photography is photography that is neither amateur, nor applied (and not a mere snapshot, either).<\/p>\n<p><a href=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/saci_def_graph.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-4291\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/saci_def_graph.jpg\" alt=\"saci_def_graph\" width=\"403\" height=\"243\" srcset=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/saci_def_graph.jpg 403w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/saci_def_graph-150x90.jpg 150w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/saci_def_graph-300x181.jpg 300w\" sizes=\"auto, (max-width: 403px) 100vw, 403px\" \/><\/a>I believe that using this very simple dual-perspective definition not only helps us to get our bearings in today\u2019s jungle of photographic use, but also helps us to understand the history of photography \u2013 and, above all, to see that the cultural history of photography does not coincide with autonomous art photography either in space or in time.<\/p>\n<p><iframe loading=\"lazy\" style=\"margin-left: 20px; margin-bottom: 5px; float: right;\" src=\"https:\/\/player.vimeo.com\/video\/137357125\" width=\"320\" height=\"240\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Regrettably, this distinction is not made even in the most distinguished overviews of the history of photography, resulting in an issue precisely because the existence and qualities of autonomous art photography are hard to perceive as they merge into the greater whole. Art photography\u2019s loss of its most distinctive trait which sets it apart from all other photographic use\u2014the medium of art photography is different from that of photography\u2014is a problematic consequence of this oversight.<\/p>\n<p>The medium of art photography is the <em>print,<\/em> and not \u2013 as in all other photographic use \u2013 merely the captured sight, the <em>image<\/em>.<sup class='footnote'><a href='#fn-4289-1' id='fnref-4289-1' onclick='return fdfootnote_show(4289)'>1<\/a><\/sup><\/span>\u00a0 \u00a0The Print is made for art\u2019s sake and intended for exhibition, or sale, as art; a print is made, or at least approved, by its maker.<\/p>\n<p>With this in mind, it can now be understood that in the first half century of the history of photography, art photography did not yet exist. It only began in the early 1890s with the birth of pictorialism, both in a sociological and aesthetic sense.<\/p>\n<p>Before pictorialism photography was used in a na\u00efve form: naturalists, travellers, explorers, archaeologists and in their wake tourists <em>documented<\/em> their special visual experiences. Besides this there was also an \u201capplied\u201d form: studio photography, practised mostly by painters who had trained themselves to be photographers. Practising painters also used the photograph as a technical aid, both because it was cheaper than painting from life and because it was more exact than drawing a study. But, I repeat, art photography did not exist, as within photography there was nothing to compare the pursuit of art against \u2013 and the whole of photography was obviously not art.<sup class='footnote'><a href='#fn-4289-2' id='fnref-4289-2' onclick='return fdfootnote_show(4289)'>2<\/a><\/sup><\/p>\n<h3><strong>The birth of art photography<\/strong><\/h3>\n<p><iframe loading=\"lazy\" style=\"margin-left: 20px; margin-bottom: 5px; float: right;\" src=\"https:\/\/player.vimeo.com\/video\/137582713\" width=\"320\" height=\"240\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Art photography is photography that is not amateur and not applied. Before pictorialism, art photography cannot be talked about, as this duo, amateur and applied photography, likewise did not exist. So, what brought them into being?<\/p>\n<p>Kodak\u2019s famous slogan from 1888 (\u201cYou press the button, we do the rest\u201d), or rather, the institution of photo labs operating as a service divorced from the taker of the image (and also of course the mass production of raw materials and devices) revolutionized the cultural history of photography. On the one hand, the production of snapshots appeared, which virtually required no knowledge or manual skill to produce (and so it is today). On the other hand, and this is very important, as a <em>counter effect<\/em> of this, there emerged the movement of <em>serious amateurs<\/em> for those who wished to continue to process their own films and prints: photography magazines were launched, and photography clubs and salons sprouted one after another, whose walls were covered with members\u2019 photos from floor to ceiling,<sup class='footnote'><a href='#fn-4289-3' id='fnref-4289-3' onclick='return fdfootnote_show(4289)'>3<\/a><\/sup> as well.<\/p>\n<div id=\"attachment_4322\" style=\"width: 560px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/You_press_the_button.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-4322\" class=\"wp-image-4322 size-full\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/You_press_the_button.jpg\" alt=\"Wikipedia Commons, author unkown. \" width=\"550\" height=\"358\" srcset=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/You_press_the_button.jpg 550w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/You_press_the_button-150x98.jpg 150w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/You_press_the_button-300x195.jpg 300w\" sizes=\"auto, (max-width: 550px) 100vw, 550px\" \/><\/a><p id=\"caption-attachment-4322\" class=\"wp-caption-text\">Wipidia Commons, author unkown.<\/p><\/div>\n<p>Art photography was born as a counteraction to this amateur dilettantism. It was not by chance that it was called the <em>Photo\u2013Secession<\/em> in America, as it tried to distance itself from the world of photography clubs.<\/p>\n<p><iframe loading=\"lazy\" style=\"margin-left: 20px; margin-bottom: 5px; float: right;\" src=\"https:\/\/player.vimeo.com\/video\/137588526\" width=\"320\" height=\"240\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>But let us look at the other side, which the new artistic movement also disassociated itself from: how did the applied forms develop? The invention of the rotary printing machine and half-tone, autotype reproduction of photographs in the 1880s enabled photographs (or more precisely, as this is the real point, <em>reproductions<\/em> of them, broken down into a grid of tiny dots) to be printed with text, resulting in the mass use of photo reproductions by the press.<\/p>\n<p>With the photo-illustrated press, again the cultural history of photography as well as the psychology of acceptance was revolutionized: this was the beginning of the process whereby people mostly encountered <em>reproductions<\/em> and not original photographs (prints)\u2014and what is more, in an unprecedented quantity, which has been burgeoning ever since. The sum of press, periodical and album photography can be described as applied photography.<sup class='footnote'><a href='#fn-4289-4' id='fnref-4289-4' onclick='return fdfootnote_show(4289)'>4<\/a><\/sup><\/p>\n<p>As a counteraction to applied photography existing merely in reproduction and on the other hand <em>dilettante<\/em> amateurism alas creating original photographs, the photographic print as an artwork was born in pictorialism: the original print in terms of graphic reproduction (a limited number of copies handmade by its author) for an artistic purpose, and its execution intended for autonomous artistic exhibition and sale as a work of art. And so art photography was born.<\/p>\n<h3><strong>Avant-garde pictorialism<\/strong><\/h3>\n<div id=\"attachment_4325\" style=\"width: 284px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/Anne-Brigman-the-Cleft-of-the-rock-1912.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-4325\" class=\"wp-image-4325\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/Anne-Brigman-the-Cleft-of-the-rock-1912-165x300.jpg\" alt=\"Anne Brigman\" width=\"274\" height=\"389\" \/><\/a><p id=\"caption-attachment-4325\" class=\"wp-caption-text\">Anne Brigman the Cleft of the Rock 1912 Permission: George Eastman House, International Museum of Photography and Film.<\/p><\/div>\n<p>Pictorialism, from its inception in 1892<sup class='footnote'><a href='#fn-4289-5' id='fnref-4289-5' onclick='return fdfootnote_show(4289)'>5<\/a><\/sup> right up until the appearance of Straight Photography in 1916\u201317, played a progressive role in the history of photography.<sup class='footnote'><a href='#fn-4289-6' id='fnref-4289-6' onclick='return fdfootnote_show(4289)'>6<\/a><\/sup> Under its influence the institution of the exhibition of photography as art was created, where the walls were not smothered in pictures from floor to ceiling as in the amateur clubs and salons, but were arranged as we have since come to expect: beside each other, properly mounted and framed, bearing in mind even the colour of the wall, and devoting particular attention to how the photos are lit.<sup class='footnote'><a href='#fn-4289-7' id='fnref-4289-7' onclick='return fdfootnote_show(4289)'>7<\/a><\/sup><\/p>\n<p>However, it was not just the exhibition of photography as art that pictorialism brought forth, but the photograph as an artwork itself. Although these prints were made by awkward manual techniques which have a seemingly obscure effect today (oil and bromoil, carbon, gum print, platinotype and their like), and their aesthetic canons are also perfectly out-dated, whoever has seen <em>original<\/em> prints from the period by Edward J. Steichen, Alfred Stieglitz, Clarence H. White, Gertrude K\u00e4sebier, Frederick H. Evans, and others knows that they were lucky to see manually-prepared photographic prints of unparalleled artistry and craftsmanship.<\/p>\n<p>As regards the out-dated aesthetic canons, the principles they embodied were considered <em>revolutionary in their own time<\/em>. When the pictorialists took the camera to nature, that is they did not use a painted background in a studio but nature as a backdrop for nudes and portraits, or when <em>all-weather photography<\/em> began in rain, fog and snow, and subjects such as cityscapes (ports, railway lines, silhouettes of buildings, etc.) like Japanese landscapes were placed into photography, the way of seeing in photography, and thus art, underwent a transformation akin to that which occurred in the arts with <em>plein air<\/em> and Impressionism.<\/p>\n<div id=\"attachment_4326\" style=\"width: 243px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/watson-schutze.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-4326\" class=\"wp-image-4326 size-medium\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/watson-schutze-233x300.jpg\" alt=\"Watson Schutze\" width=\"233\" height=\"300\" srcset=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/watson-schutze-233x300.jpg 233w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/watson-schutze-116x150.jpg 116w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/watson-schutze.jpg 504w\" sizes=\"auto, (max-width: 233px) 100vw, 233px\" \/><\/a><p id=\"caption-attachment-4326\" class=\"wp-caption-text\">Eva Watson Schutze, 1903 Permission: George Eastman House, International Museum of Photography and Film.<\/p><\/div>\n<p>However, pictorialism represented a level of quality unsurpassed even today not just in the creation of photographic works of art and the presentation befitting them, but also in the area of the reproduction of photographic works of art of high artistic standards. In this way, pictorialism also differentiated itself from applied, commercial photography. Stieglitz\u2019s magazine, <em>Camera Work<\/em>, appeared with a <em>photogravure<\/em> art supplement, which can be regarded as works of art similar to the original.<\/p>\n<p>These art supplements also made it possible for later generations to discover elsewhere unpublished works by their great predecessors: Hill and Adamson, as well as Julia Margaret Cameron. And it is interesting to note that modernist European art, the works of Picasso, Matisse, Rodin and Picabia, were first conveyed to the American public through this periodical on photography. The articles, essays and studies published in it are also exceptionally important, as they circumstantiate the great issues of modern art and within it of the newborn art photography.<\/p>\n<h3><strong>The birth of modern art photography<\/strong><\/h3>\n<p><iframe loading=\"lazy\" style=\"margin-left: 20px; margin-bottom: 5px; float: right;\" src=\"https:\/\/player.vimeo.com\/video\/137590008\" width=\"320\" height=\"240\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div id=\"attachment_4328\" style=\"width: 256px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/Camera_Work_cover.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-4328\" class=\"wp-image-4328\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/Camera_Work_cover-200x300.jpg\" alt=\"Cover Camera Work Cover design by: Edward Steichen\" width=\"246\" height=\"384\" \/><\/a><p id=\"caption-attachment-4328\" class=\"wp-caption-text\">Cover Camera Work<br \/> Cover design by: Edward Steichen Licensed under PD-US via Wikipedia<\/p><\/div>\n<p>&nbsp;<\/p>\n<p>Here, however, is a very interesting contradiction: Stieglitz, the founder and editor of the <em>Camera Work <\/em>magazine, for a good quarter of a century strove to popularise the Photo\u2013Secession and pictorialism, while in his own works he was always trying something <em>different<\/em>, exploring new directions.<sup class='footnote'><a href='#fn-4289-8' id='fnref-4289-8' onclick='return fdfootnote_show(4289)'>8<\/a><\/sup> It was as if he had felt that pictorialism was in fact a dead-end street, because the extraordinarily high requirements it set for the creation of the photographic artwork and its artistic reproduction were not sustainable, and that manually making prints in this form could not become the \u201ceveryday common language\u201d of art photography.<\/p>\n<div id=\"attachment_4327\" style=\"width: 310px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/paul-Strand-WallStreet.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-4327\" class=\"size-medium wp-image-4327\" src=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/paul-Strand-WallStreet-300x220.jpg\" alt=\"Paul Strand GEH\" width=\"300\" height=\"220\" srcset=\"https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/paul-Strand-WallStreet-300x220.jpg 300w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/paul-Strand-WallStreet-150x110.jpg 150w, https:\/\/vjic.org\/vjic2\/wp-content\/uploads\/2015\/08\/paul-Strand-WallStreet.jpg 371w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/a><p id=\"caption-attachment-4327\" class=\"wp-caption-text\">Paul Strand<br \/>GEH<\/p><\/div>\n<p>Stieglitz\u2019s human and intellectual (editorial and artistic) greatness is demonstrated by the fact that he was the one who first presented the new photographic style in his periodical. At the end of 1916 and the beginning of the following year, he published the works of a young photographer, Paul Strand, labelling them \u201cbrutally direct\u201d in his enthusiastic introduction. Stieglitz then closed <em>Camera Work <\/em>and his <em>291 <\/em><em>Gallery<\/em> at the same time, effectively putting an end to the pictorialist epoch.<\/p>\n<p>With this, <em>modern<\/em> art photography in America\u2014that is, Straight Photography, which was photo-like in every sense rather than an imitation of painting and graphic art\u2014was born.<\/p>\n<p>(Original Hungarian text published in Besz\u00e9l\u0151,\u00a0 2002. June,\u00a0 Translated by Christopher Claris)<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" style=\"margin-left: 20px; margin-bottom: 5px; float: center;\" src=\"https:\/\/player.vimeo.com\/video\/137591069\" width=\"320\" height=\"240\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><span style=\"font-size: 10pt;\"><a href=\"https:\/\/vjic.org\/?page_id_1134\">Return to Table of Content<\/a><\/span><\/p>\n<p>Notes:<\/p>\n<div class='footnotes' id='footnotes-4289'>\n<div class='footnotedivider'><\/div>\n<ol>\n<li id='fn-4289-1'>\u00a0<span class=\"Apple-style-span\">Unfortunately, we have today become so used to seeing photographs reproduced in albums and periodicals that writers on photography do not really make this distinction of principle. <span class='footnotereverse'><a href='#fnref-4289-1'>&#8617;<\/a><\/span><\/li>\n<li id='fn-4289-2'> Not even if art historians, curators and editors occasionally pick from photographs <em>not<\/em> created with an artistic purpose and publish the pieces they consider interesting for some reason at exhibitions and in albums. These reclassifications are in my opinion only possible \u2013 if possible at all \u2013 on very strict conditions. For instance, however aesthetic Muybridge\u2019s pictures are, they remain pictures with a scientific and not artistic purpose; what is more they are <em>motion pictures<\/em> and not photographs. <span class='footnotereverse'><a href='#fnref-4289-2'>&#8617;<\/a><\/span><\/li>\n<li id='fn-4289-3'> Thus, the dilettante serious amateur and the clicking hobbyist are not the same \u2013 and this is a difference that summaries of the history of photography usually do not pay any attention to. <span class='footnotereverse'><a href='#fnref-4289-3'>&#8617;<\/a><\/span><\/li>\n<li id='fn-4289-4'> From our perspective this, i.e. printed <em>reproduction<\/em> as the medium, is the crux of the matter; by comparison it is of secondary importance whether the image was taken to propagate science or knowledge, fashion taste, or promote consumption, lifestyle or ideology. <span class='footnotereverse'><a href='#fnref-4289-4'>&#8617;<\/a><\/span><\/li>\n<li id='fn-4289-5'> The year of forming the Linked Ring Brotherhood in England. Events preceding it \u2013from 1886 till 1891\u2013 were the writings and albums of Peter Henry Emerson, who called his photography not \u2019pictorialist\u2019 but \u2019naturalistic.\u2019 <span class='footnotereverse'><a href='#fnref-4289-5'>&#8617;<\/a><\/span><\/li>\n<li id='fn-4289-6'> In an aesthetic sense, late pictorialism after 1917 had a retrograde, restraining effect as I endeavored to demonstrate in my forthcoming article <em>The Hungarian Paradox<\/em>. One outstanding exception is the Spanish Jos\u00e9 Ortiz Echag\u00fce, who produced a major oeuvre as a late pictorialist. <span class='footnotereverse'><a href='#fnref-4289-6'>&#8617;<\/a><\/span><\/li>\n<li id='fn-4289-7'> The thumbnail sketch below naturally is not intended to give a full account of pictorialism. However, to understand what I am saying, it is enough to refer to the book <em>Alfred Stieglitz: Camera Work \u2013 The Complete Illustrations, 1903\u20131917 <\/em>(Taschen, Cologne, 1997). <span class='footnotereverse'><a href='#fnref-4289-7'>&#8617;<\/a><\/span><\/li>\n<li id='fn-4289-8'> A classic example is his almost cubist picture made in 1907, <em>The Steerage<\/em>, which Stieglitz thought was his most important work as well as being his personal favourite. <span class='footnotereverse'><a href='#fnref-4289-8'>&#8617;<\/a><\/span><\/li>\n<\/ol>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Return to table of content This is the first of 9 essays on photography by Sa\u0301ndor Szila\u0301gyi S\u00e1ndor Szil\u00e1gyi (b. 1954) is a Hungarian media theorist, writer on photography, living in Budapest, Hungary. His main interest are Hungarian art photography,\u00a0 &hellip; <a href=\"https:\/\/vjic.org\/vjic2\/?page_id=4289\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":88893,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-4289","page","type-page","status-publish","hentry"],"jetpack_shortlink":"https:\/\/wp.me\/P2KsSU-17b","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/pages\/4289","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/users\/88893"}],"replies":[{"embeddable":true,"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4289"}],"version-history":[{"count":48,"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/pages\/4289\/revisions"}],"predecessor-version":[{"id":4358,"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=\/wp\/v2\/pages\/4289\/revisions\/4358"}],"wp:attachment":[{"href":"https:\/\/vjic.org\/vjic2\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4289"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}