[{"id":777,"date":"2024-12-01T21:25:59","date_gmt":"2024-12-01T21:25:59","guid":{"rendered":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/?page_id=777"},"modified":"2024-12-01T21:26:06","modified_gmt":"2024-12-01T21:26:06","slug":"perserving-community-and-history","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/perserving-community-and-history\/","title":{"rendered":"Perserving Community and History 1"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":4038,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-777","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/777","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/users\/4038"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/comments?post=777"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/777\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/media?parent=777"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":539,"date":"2024-11-13T15:49:45","date_gmt":"2024-11-13T15:49:45","guid":{"rendered":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/?page_id=539"},"modified":"2024-12-03T20:25:31","modified_gmt":"2024-12-03T20:25:31","slug":"list-of-figures","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/list-of-figures\/","title":{"rendered":"List of Figures"},"content":{"rendered":"\t\t
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Figure 1:<\/strong><\/a> [left front side, right: back side] Thornton Dial, History Refused to Die<\/em>, 2004. Okra stalks and roots, clothing, collaged drawings, tin, wire, steel, Masonite, steel chain, enamel, and spray paint, 102 x 87 x 23 inches, Metropolitan Museum of Art. Image: Stephen Pitkin, Pitkin Studio, Souls Grown Deep Foundation.<\/p>

Figure 2:<\/strong><\/a> [left to right] Lonnie Holly, Louisiana P. Bendolph, Thornton Dial, and Mary Lee Bendolph at Dial Metal Patterns, Bessemer Alabama, 2006. Image by Matt Arnett.<\/p>

Figure 3:<\/strong><\/a> Dial\u2019s History Refused to Die <\/em>shown on the right side at the Museum of Fine Arts in Houston Texas, 2005. Video snapshot from Alabama Public Television.<\/p>

Figure 4:<\/strong><\/a> Installation view of History Refused to Die<\/em> exhibition in 2018.<\/p>

Figure 5:<\/strong><\/a> Installation view of History Refused to Die <\/em>exhibition in 2018.<\/p>

Figure 6:<\/strong><\/a> Banner for History Refused to Die<\/em> exhibition outside the Metropolitan Museum of Art, 2018, New York City, New York.<\/p>

Figure 7:<\/strong><\/a> Thornton Dial, New Generation<\/em>, 2002, photo is from Stephen Pitkin\/Pitkin Studio, wood, steel, clothing, twine, tin, enamel, spray paint, and Splash Zone compound 69.5 x 60 x 17 inches. Ackland Art Museum.<\/p>

Figure 8:<\/strong><\/a> Thornton Dial, Trip To The Mountaintop<\/em>, 2004, photo is from Stephen Pitkin\/Pitkin Studio, wood, clothing, wire screen, rope, steel, wire, and plastic 132 x 86 x 51 inches. Toledo Museum of Art Museum.<\/p>

Figure 9:<\/strong><\/a> Thornton Dial, Blood of Hard Times<\/em>, 2004, 58 x 89 inches. Photographer unknown. Location unknown.<\/p>

Figure 10:<\/strong><\/a> Thornton Dial, Heading for the Higher-Paying Jobs<\/em>, photo is from Gamma One Conversions, 1992, Wood, tin, steel, wire screen, cloth, enamel, and Splash Zone compound on canvas on wood, 64.5 x 90 x 9 inches. High Museum of Art.<\/p>

Figure 11:<\/strong><\/a> Detailed Thornton Dial, Monument to the Minds of the Little Negro Steelworkers<\/em>, 2001-2003, photo is from Photo: Stephen Pitkin\/Pitkin Studio, steel, wood, wire, twine, artificial flowers, ax blade, glass bottles, animal bones, cloth, tin cans, paint can lids, and enamel, 76 x 138 x 46 inches. Minneapolis Institute of Art.<\/p>

Figure 12:<\/strong><\/a> Pullman Standard Company Plant, 401 North Twenty-fourth Street, Bessemer, Jefferson County, Alabama. Library of Congress.<\/p>

Figure 13:<\/strong><\/a> Zoomed in view of Dial\u2019s, History Refused to Die<\/em>, 2004. Photographer unknown. Photo from the Metropolitan Museums Met catalog, 2018.<\/p>

Figure 14:<\/strong><\/a> Detailed view of tin bird in Dial\u2019s History Refused to Die<\/em>, 2004. Photo is from Vin de Vie Wine of Life.<\/p>

Figure 15:<\/strong><\/a> Detailed view of Dial\u2019s watercolor drawing in History Refused to Die<\/em>, 2004. Photographer unknown. Photo is from Vin de Vie Wine of Life.<\/p>

Figure 16:<\/strong><\/a> Detailed view of Dial\u2019s bent steel metal in History Refused to Die,<\/em> 2004. Photographer unknown. Photo is from Vin de Vie Wine of Life.<\/p>

Figure 17:<\/strong><\/a> Thornton Dial, In Honor,<\/em> 2002, photo is from Stephen Pitkin\/Pitkin Studio, clothing, bedding, carpet, plastic twine, enamel, and spray paint on canvas on wood, 73 x 108 x 3 inches. Souls Grown Deep Foundation.<\/p>

Figure 18:<\/strong><\/a> Thornton Dial, Memory of the Ladies That<\/em> Gave Us the Good Life<\/em>, 2004, photo is from Stephen Pitkin\/Pitkin Studio, tin, carpet, wood, glove, washbasin, scrub brush, yard ornament, motor-oil bottle, paint brush, clothing, wire, enamel, and spray paint on wood, 98.5 x 82 x 10.5 inches. Souls Grown Deep Foundation.<\/p>

Figure 19:<\/strong><\/a> Thornton Dial, Freedom Cloth,<\/em> 2005, Stephen Pitkin\/Pitkin Studio, cloth, coat hangers, steel, wire, artificial plants and flowers, enamel, and spray paint. 86 x 68 x 57 inches. Virginia Museum of Fine Arts.<\/p>

Figure 20:<\/strong><\/a> Mary Lee Bendolph quilting her quilt top in her home, 2005. Photo by David Raccuglia.<\/p>

Figure 21:<\/strong><\/a> Detail of Dial\u2019s quilts in History Refused to Die,<\/em> 2004. Photo: Stephen Pitkin\/Pitkin Studio.<\/p>

Figure 22:<\/strong><\/a> Thornton Dial, Mrs. Bendolph<\/em>, 2002, Clothing, bedding, carpet, enamel, and spray paint, on canvas on wood, 84 x 50 x 4 inches. High Museum of Art. Photo: Stephen Pitkin\/Pitkin Studio.<\/p>

Figure 23:<\/strong><\/a> Thornton Dial standing in front of his childhood home in Emelle, Alabama. Video snapshot from Alabama Public Television.<\/p>

Figure 24:<\/strong><\/a>\u00a0Pullman Standard Company Plant. Video snapshot from Alabama Public Television.<\/p>

Figure 25:<\/strong><\/a> Thornton Dial’s studio in Bessemer, Alabama. March, 2013. Photographer unknown.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

List of Figures Figure 1: [left front side, right: back side] Thornton Dial, History Refused to Die, 2004. Okra stalks and roots, clothing, collaged drawings, tin, wire, steel, Masonite, steel chain, enamel, and spray paint, 102 x 87 x 23 inches, Metropolitan Museum of Art. Image: Stephen Pitkin, Pitkin Studio, Souls Grown Deep Foundation. Figure […]<\/p>\n","protected":false},"author":4038,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-539","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/539","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/users\/4038"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/comments?post=539"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/539\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/media?parent=539"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":518,"date":"2024-11-11T16:45:12","date_gmt":"2024-11-11T16:45:12","guid":{"rendered":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/?page_id=518"},"modified":"2024-12-04T22:11:22","modified_gmt":"2024-12-04T22:11:22","slug":"literature-review-2","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/literature-review-2\/","title":{"rendered":"Literature Review"},"content":{"rendered":"\t\t

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Only two exhibitions have featured Dial\u2019s History Refused to Die <\/em>but neither emphasized the autobiographical aspects of his artistic materials. Dial completed History Refused to Die<\/em> in 2004 and donated his work to the Tinwood Alliance collection in Atlanta, Georgia the following year. Arnet founded the Tinwood Alliance to collect, preserve, and increase awareness of artwork by African American vernacular artists in the South.[3]<\/span><\/strong><\/a>\u00a0<\/span>Subsequently, in 2010, Arnett renamed the Tinwood Alliance the Souls Grown Deep Foundation. In 2014, the Souls Grown Deep Foundation gifted The Metropolitan Museum of Art with fifty-seven works by contemporary Black self-taught artists, including Dial\u2019s History Refused to Die<\/em>.[4]<\/a><\/strong><\/span><\/p>

Arnett asserts that Dial\u2019s sculpture attempts to demonstrate binaries of \u201cpast and present,\u201d \u201cnarrative and abstract,\u201d or \u201cinside and outside.[5]<\/a><\/strong> <\/span>Arnett\u2019s son, Paul Arnett, suggests History Refused to Die <\/em>is a reference to Dial\u2019s relationship with his wife, Clara Mae explaining that \u201cDial patched together a theoretical backdrop made from homegrown Black art for an elder Black couple fashioned from found wood.\u201d The inverted, dark side of the work, in Arnett\u2019s view, acts as a visual extension of Bessie Harvey\u2019s famous Blues song about an imagined place where no shackles exist in America. The elderly Black couple that appears within the work were rendered as protagonists who were regarded by Arnett as a free couple living in an imagined setting. By extension, Arnett felt this work was a\u00a0reminder of the freed Black Americans.[6]<\/a><\/strong><\/span><\/p>

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History Refused to Die <\/em>was first exhibited at the Museum of Fine Art in Houston, Texas in the exhibition Thornton Dial in the 21st Century<\/em> from 2005 to 2006 (Fig 3).[7]<\/a> <\/strong><\/span>The work was displayed in the museum\u2019s gallery spaces that focused on the Gee\u2019s Bend quilters and Dial\u2019s similar experiences with this community.<\/a>[8]<\/a><\/span> <\/strong>Although History Refused to Die<\/em> was part of this space with the quilts, there was no mention of how the Gee\u2019s Bend quilters are referenced in the work.[9]<\/a><\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Figure 3: Dial\u2019s History Refused to Die shown on the right side at the Museum of Fine Arts in Houston Texas, 2005. Film still from Alabama Public Television.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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<\/a><\/strong><\/span>Later in 2018, the Metropolitan Museum of Art organized an exhibition titled History Refused to Die: Highlights from the Souls Grown Deep Foundation <\/em>that was curated by Randall Griffey, Cherly Finley, Amelia Peck, and Darryl Pinckney (Fig. 4-6). The co-curator, Griffey provides a different perspective of Dial as a modern artist, also suggesting a connection between the work\u2019s organic materials and his African descent. He claims that Dial\u2019s particular choice of okra roots and stalks function as a symbol of his genealogical links with Africa, African culture, and the transatlantic slave trade. Griffey also explains that the okra stalks are a symbol both of African indigenous plants and Southern cuisines. Other materials in the work, such as the fabric and wire, are described as symbols of African diasporic ties.[10]<\/a><\/strong><\/span> These formal interpretations of his African descent are not new to Dial\u2019s work, and such analysis may stem from his comments about Black slave history. Further, in the exhibition catalog for History Refused to Die<\/em>, Griffey recounts the kidnappings of Africans for enslaved labor and enslaved people having to navigate a new continent to survive the institution as a whole. A similar interpretation is found in a recently published dissertation by Aleesa Pitchamarn Alexander titled Unaccountable Modernisms: The Black Arts of Post-Civil Rights Alabama<\/em>. Alexander explains that the inwoven materials in History Refused to Die <\/em>communicate the cultural strength of the Black diaspora and emphasizes that the title is a statement about the legacy of Black oppression and the\u00a0persistence of White supremacy into the present day.[11]<\/a><\/strong><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Figure 4: Installation view of History Refused to Die exhibition in 2018.<\/figcaption><\/figure><\/a><\/div>
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Figure 5: Installation view of History Refused to Die exhibition in 2018.<\/figcaption><\/figure><\/a><\/div>
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The Met exhibition aimed to pair Black self-taught artists with white European modern artists such as Henri Rousseau (1844-1910) and Jean Dubuffet (1901-1985), thereby leaving labor and creative communities, two critical aspects of Black art, unexplained.[12]<\/a><\/strong> <\/span>The exhibition presentation of Dial\u2019s History Refused to Die<\/em> alongside Gee\u2019s Bend quilts and sculptures lacked in their elaboration of labor and creative communities.[13]<\/a><\/strong><\/span>\u00a0For example, exhibition statements and labels did not draw on Dial\u2019s social relations with Holly, and the only mention of labor occurred in Holly\u2019s assembled work African Mask<\/em>.[14]<\/a><\/strong> <\/span>Comparing different European artists was an attempt to establish a similarity in stylistic practice, but this quickly overlooked the complex social-cultural histories of American Black self-taught artists.[15]<\/a><\/strong><\/span>\u00a0While this exhibition aimed to recognize the creative talents and resourcefulness of Black self-taught artists in the South who were each part of the Souls Grown Deep Foundation, it did not engage with the significance of the individual<\/em> artists\u2019 life histories and show what such histories suggest for their artwork\u2019s social-political connections. This exhibition showed that the artists of the exhibition were multifaceted in their formal approaches to their art, but it failed to establish a strong link that bound together the autobiographical experiences of labor and creative agency. This capstone elaborates on the connections between Dial\u2019s experiences of labor and artistic production, asserting that History Refused to Die <\/em>integrates historical objects associated with his work in agriculture, heavy industry, and domestic labor to convey links with the Gees Bend quiltmakers and Black vernacular yard artists.<\/p>

When Dial met more art collectors, curators, and art historians in the late 1980s, he then became increasingly integrated into art historical literature on American folk and self-taught art. Early scholarly debates about placing Dial\u2019s artwork within the American art historical canon began in the early 1980s.[16]<\/a><\/strong> <\/span>Disputes over where Dial fit into the art historical canons appear in texts such as African American Artist: The Work of Thornton Dial in Context<\/em>, Images of the Tiger<\/em>, and Testimony<\/em>.[17]<\/a><\/strong> <\/span>Art collector Paul Arnett, the American art historian Lowery Stokes Sims, poet Amiri Baraka, the American art critic Thomas McEvilley, and artist Judith M. McWillie contribute varied opinions about categorizing Dial\u2019s artworkArnett, Sims, Amiri Baraka, McEvilley, and McWillie each argue that untrained art practices had a place within the American art canon and assert that the creation of assemblage art by Black self-taught artists in the South addresses a more extensive history of Black struggle that was excluded from art historical studies.[18]<\/a><\/strong><\/span> Labels such as \u201coutsider\u201d and \u201cfolk\u201d are frequent terms used to describe artists who created these artworks. Nevertheless, in this evaluation, some scholars, such as Judith McWillie, wonder if such terms are appropriate to apply to Black artists in the American South.[19]<\/a><\/strong><\/span>\u00a0Other scholars, including Amiri Baraka and McEvilley, made use of less demeaning terms such as \u201cself-taught\u201d or \u201cBlack vernacular.\u201d[20]<\/a><\/strong><\/span><\/a> \u201cSelf-taught\u201d has been increasingly used since it grants the artists agency and creates a distance from inadequate European art label traditions.[21]<\/a><\/strong><\/span>\u00a0Such scholarly labels are fraught with their own individual meanings and assumptions about artists, but these debates brought forth another scholarly discussion on what autobiographical objects reveal about the Black struggle in the American South.<\/a><\/p>

Rather than engaging with art historical categories, Dial made use of the term \u201cthings,\u201d meaning that there is a twofold understanding of the materials in History Refused to Die<\/em>: the materials both respond to a history of Black life, as well as functioning as art.[22]<\/a><\/strong>\u00a0<\/span>The word \u201cthings\u201d can be attributed to Dial\u2019s engagement with material surfaces to address metaphorical concepts related to multiple topics, such as labor.<\/em> Using the term \u201cthings\u201d can also encompass Dial’s interest in the materiality of a specific object.<\/em> Amiri Baraka attends to \u201cthings\u201d and explains they are what Dial used to make \u201cstatements about the world he was in.\u201d Further, he argues that Dial\u2019s day-to-day contact with the world allowed him to use things as a visual expression for his experiences.[23]<\/a><\/strong><\/span> The material surface of Dial objects would frequently change throughout his work, and many of his other works arguably blend bold paint strokes but History Refused to Die<\/em> uniquely differs. For example, Dial\u2019s New Generation<\/em>, (2002) (Fig. 7) and Trip To The Mountaintop<\/em> (2004) (Fig. 8) show assembled pieces of wood, rope, tin, steel, wire, and clothing that had been painted entirely over. <\/em>Unlike these works, Dial\u2019s History Refused to Die <\/em>shows that he allowed the viewer to see the material status of iron, tin, steel, wood, quilts, and roots. Other details show twisted wire and nailed wood, which further suggest that Dial intended for his audience to witness the \u201cthings\u201d and its industrious quality in History Refused to Die<\/em>.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Figure 7: Thornton Dial, New Generation, 2002, photo is from Stephen Pitkin\/Pitkin Studio, wood, steel, clothing, twine, tin, enamel, spray paint, and Splash Zone compound 69.5 x 60 x 17 inches. Ackland Art Museum.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Figure 8: Thornton Dial, Trip To The Mountaintop, 2004, photo is from Stephen Pitkin\/Pitkin Studio, wood, clothing, wire screen, rope, steel, wire, and plastic 132 x 86 x 51 inches. Toledo Museum of Art Museum.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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[3]<\/a><\/strong><\/span> \u201cWho We Are,\u201d Tinwood: Changing the way The World Think About Art and Culture. Internet Archive Wayback Machine, accessed September 9th<\/sup>, 2024, https:\/\/web.archive.org\/web\/20120614203127\/http:\/\/www.tinwoodmedia.com\/Tinwood-Who-We-Are.html<\/a>.<\/p>

[4]<\/a> <\/strong><\/span>Dial was familiar with the Tinwood Alliance as it had been established by his art collector, William Arnett. The Tinwood Alliance was renamed the Souls Grown Deep Foundation in 2010 and was established by Arnett. As a result of this change, Dial’s work became part of the Souls Grown Deep Foundation. See, Metropolitan Museum of Art. “History Refused to Die: Highlights from the Souls Grown Deep Foundation.\u201d https:\/\/www.metmuseum.org\/art\/collection\/search\/653729<\/a>.<\/p>

<\/a><\/p>

[5]<\/a><\/strong><\/span> Thornton Dial, William Arnett, and Joanne Cubbs. Thornton Dial in the 21st<\/sup> Century<\/em>, (Atlanta: Tinwood Books, 2005), 21, 170-171.<\/p>

[6]<\/a><\/strong><\/span> \u201cThornton Dial,\u201d Souls Grown Deep,\u201d accessed October 13, 2024, https:\/\/www.soulsgrowndeep.org\/artist\/thornton-dial.<\/a><\/p>

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[7]<\/a><\/strong><\/span> Thornton Dial, William Arnett, and Joanne Cubbs, Thornton Dial in the 21st<\/sup> Century<\/em>.<\/p>

[8]<\/a><\/strong><\/span> Alabama Public Television, \u201cMr. Dial Has Something to Say,\u201d YouTube Video, 59:11, Alabama Public Television, \u201cMr. Dial Has Something to Say,\u201d https:\/\/www.pbs.org\/video\/alabama-public-television-documentaries-mr-dial-has-something-to-say\/<\/a>.<\/p>

[9]<\/a> <\/strong><\/span>Alabama Public Television, \u201cMr. Dial Has Something to Say,\u201d YouTube Video, 59:11, Alabama Public Television, \u201cMr. Dial Has Something to Say,\u201d https:\/\/www.pbs.org\/video\/alabama-public-television-documentaries-mr-dial-has-something-to-say\/<\/a>.<\/p>

[10]<\/a> <\/strong><\/span>Griffey, \u201cSelf-taught and Modern\u201d in History Refused to Die: Highlights from the Souls Grown Deep Foundation<\/em>, (Metropolitan Museum of Art: New York, 2018), 22.<\/p>

[11]<\/a> <\/strong><\/span>Aleesa Pitchamarn Alexander, \u201cUnaccountable Modernisms: The Black Arts of Post-Civil Rights Alabama,\u201d (PhD diss., University of California Santa Barbra, 2018), 164.<\/p>

[12]<\/a> <\/strong><\/span>Although there were twenty quilts by the Gee\u2019s Bend quiltmakers on view, the Metropolitan Museum of Art did not include those by Mary Lee Bendolph, whom Dial met in 2001. See, \u201cMrs. Bendolph,\u201d accessed October 19, 2023, https:\/\/www.soulsgrowndeep.org\/artist\/thornton-dial\/work\/mrs-bendolph<\/a>. See, Randall R Griffey, \u201cSelf-Taught and Modern\u201d in My Soul Has Grown Deep: Black Art from the American South, Metropolitan Museum of Art (New York, N.Y.), 2018, 22.<\/p>

<\/a>[13]<\/a><\/span><\/strong> Scholarly interpretations surrounding Dial\u2019s History Refused to Die <\/em>remain scarce, even as the artwork provided the title of a 2014 exhibition at the Metropolitan Museum of Art. Artists in the exhibition were Thronton Dial, Lonnie Holly, Joe Minter, Nellie Mae Rowe, Ronald Lockett, Purvis Young, Annie Mae Young, Linda Diane Bennett, Emma Lee Pettway Campbell, Mary Elizabeth Kennedy, Lucy Mingo, Lola Pettway, Lucy T. Pettway, Loretta Pettway. See, Cheryl Finley, Randall R Griffey, Amelia Peck, Darryl Pinckney, My Soul Has Grown Deep: Black Art from the American South<\/em>, Metropolitan Museum of Art (New York, N.Y.), 2018.<\/p>

[14]<\/a> <\/strong><\/span>\u201cAfrican Mask,\u201d accessed October 19, 2023, https:\/\/www.metmuseum.org\/art\/collection\/search\/653735?ft=*&oid=653735&pkgids=490&pos=9&nextInternalLocale=en&pg=0&rpp=20&offset=20&exhibitionId=%7Ba14fcea9-f132-4a22-80f4-7e668eeb100c%7D<\/a>.<\/p>

[15]<\/a> <\/strong><\/span>Scholars attempted to show that both Black self-taught artists and modern European artists were similar in that they used unconventional everyday objects in their work and were experimenting with depictions of real-world environments. However, these comparisons are inadequate because of the large differences between the two groups of artists. The two mentioned European artists and the Black self-taught artist of the Souls Grown Deep Foundation had been different in how they viewed their practice and how they engaged with real-world events and spaces. See, Randall R. Griffey in \u201cSelf-Taught and Modern,\u201d in My Soul Has Grown Deep: Black Art from the American South<\/em>, (New York: Metropolitan Museum of Art, 2015), 21.<\/p>

<\/a>[16]<\/a><\/span><\/strong>\u00a0Judith M. McWillie, \u201cAfrican American Art and Contemporary Critical Practice,\u201d in Testimony: Vernacular Art of the African American South (New York: H.N. Abrams, 2001), 11-30.<\/p>

[17]<\/a><\/strong>\u00a0<\/span>For more debates on the art historical categorization of Thornton Dial see, African American Artists: The Work of Thornton Dial in Context,” Drafts, circa 1990. Lowery Stokes Sims papers, 1967-2019: African American Artists: Box 6 Folder 20. Archives of American Art; Thomas McEvilley, \u201cProud Stepping Tiger: History as Struggle in the Work of Thornton Dial,\u201d and Amiri Baraka (Leroi Jones), \u201cFearful Symmetry: The Art of Thornton Dial,\u201d in Thornton Dial: Image of the Tiger (ABRAMS, 1993), 8-65; Judith M. McWillie, \u201cAfrican American Art and Contemporary Critical Practice,\u201d in Testimony: Vernacular Art of the African American South (New York: H.N. Abrams, 2001), 11-30.<\/p>

[18]<\/a><\/strong> <\/span>Paul Arnett, \u201cAn Introduction to Other Rivers\u201d in Souls Grown Deep African American Vernacular Art of the South <\/em>(Tinwood Books, 2000), xiii-4.<\/p>

<\/a><\/a>[19]<\/a><\/strong> Judith McWillie notes that using \u201coutsider art\u201d and \u201cfolk art\u201d labels in the context of Black American art context requires more clarification and exploration since these terms were applied to European modern art contexts with a particular modernist epistemology. As art critics used labels with European connotations to write about Black self-taught art, it ignored the social complexities of Black vernacular artists in the South. See, Judith M. McWillie, \u201cAfrican American Art and Contemporary Critical Practice,\u201d in Testimony: Vernacular Art of the African American South<\/em> (New York: H.N. Abrams, 2001), 14-24.<\/p>

[20]<\/a><\/strong> <\/span>Amiri Baraka (Leroi Jones) supported the use of self-taught as a label for Black vernacular artists with no formal training in studio art because the label for Dial represented an \u201cunlicensed\u201d pursuit to create and make statements of the world from found objects. See, Amiri Baraka (Leroi Jones), \u201cFearful Symmetry: The Art of Thornton Dial,\u201d in Thornton Dial: Image of the Tiger<\/em> (ABRAMS, 1993), 34.<\/p>

<\/a><\/a>[21]<\/a><\/strong> Finley, Griffey, Peck, Pinckney, My Soul Has Grown Deep: Black Art from the American South, Metropolitan Museum of Art<\/em>, 2018, 21.<\/p>

[22]<\/a> <\/strong><\/span>While scholarly conversations about how to refer to Dial\u2019s artwork took place, Dial remained impartial toward them. In other words, Dial was not directly engaging in conversations about finding a distinctly African American art style or deciding which canon of art his work fell under. Dial did not oppose the art historical categories of his work because he had not been familiar with the terms. See, Thornton Dial, William Arnett, and Joanne Cubbs. Thornton Dial in the 21st<\/sup> Century<\/em>, (Atlanta: Tinwood Books, 2005).<\/p>

[23]<\/a><\/strong> <\/span>Amiri Baraka, \u201cFearful Symmetry,\u201d 41.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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literature review Only two exhibitions have featured Dial\u2019s History Refused to Die but neither emphasized the autobiographical aspects of his artistic materials. Dial completed History Refused to Die in 2004 and donated his work to the Tinwood Alliance collection in Atlanta, Georgia the following year. Arnet founded the Tinwood Alliance to collect, preserve, and increase […]<\/p>\n","protected":false},"author":4038,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-518","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/518","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/users\/4038"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/comments?post=518"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/518\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/media?parent=518"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":392,"date":"2024-03-08T17:59:20","date_gmt":"2024-03-08T17:59:20","guid":{"rendered":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/?page_id=392"},"modified":"2024-03-08T19:34:40","modified_gmt":"2024-03-08T19:34:40","slug":"history-refused-to-die","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/history-refused-to-die\/","title":{"rendered":"History Refused to Die"},"content":{"rendered":"\t\t

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<\/div><\/section><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"","protected":false},"author":4038,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-392","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/392","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/users\/4038"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/comments?post=392"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/392\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/media?parent=392"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":347,"date":"2024-02-20T15:36:42","date_gmt":"2024-02-20T15:36:42","guid":{"rendered":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/?page_id=347"},"modified":"2024-11-28T01:46:12","modified_gmt":"2024-11-28T01:46:12","slug":"bibliography","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/bibliography\/","title":{"rendered":"Bibliography"},"content":{"rendered":"\t\t
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BibliOGRAPHY<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Alexander<\/strong>, A. P. (2018). Unaccountable Modernisms: The Black Arts of Post-Civil\u00a0 Rights\u00a0Alabama. UC Santa Barbara. ProQuest ID: Alexander_ucsb_0035D_14014. Merritt ID:<\/span>ark:\/13030\/m5kd6wtk. Retrieved from <\/span>https:\/\/escholarship.org\/uc\/item\/5h18d8gc<\/a>.<\/span><\/p>

American Folk Art Museum.<\/strong> “I sit there and draw till my mind go blank, then I stop.”\u2060Instagram, January 16<\/span>th<\/sup>, 2020. <\/span>https:\/\/www.instagram.com\/reel\/B7Y3AMFlN9Y\/<\/a>.<\/span><\/p>

Art Conservator.<\/strong> \u201cConserving Thornton Dial: The Assemblages in the High Museum of Art.\u201d\u00a0Accessed November 25, 2023. <\/span>https:\/\/artconservator.williamstownart.org\/preservingthorntondial#:~:text=Dial%20created%20complex%20three%2Ddimensional,2<\/a>.<\/p>

Arnett<\/strong>, Matt., Paul. Arnett, Joanne Cubbs, Dana Friis-Hansen, and E. W. Metcalf. Mary <\/em>Lee Bendolph, Gee\u2019s Bend Quilts, and Beyond<\/em>. Atlanta, Georgia: Tinwood Books, 2006.<\/p>

Arnett<\/strong>, William. Alvia Wardlaw, and Jane Livingston. The Quilts of Gee\u2019s Bend. Atlanta: Tinwood Books, 2002.<\/p>

Arnett<\/strong>, William, and Paul Arnett.\u00a0Souls Grown Deep: African American Vernacular Art of the South. Volume One, The Tree Gave the Dove a Leaf<\/em>. Atlanta: Tinwood, 2000.<\/p>

Arnett<\/strong>, William, and Paul Arnett. 2001.\u00a0Souls Grown Deep: African American Vernacular Art of the South. Volume Two, Once That River Starts to Flow<\/em>. Atlanta: Tinwood.<\/p>

Bradley<\/strong>, Rizvana\u00a0(2013).\u00a0Corporeal Resurfacings: Faustin Linyekula, Nick Cave and Thornton <\/em>Dial.\u00a0<\/em>Dissertation, Duke University.\u00a0Retrieved from\u00a0https:\/\/hdl.handle.net\/10161\/7245<\/a>.<\/p>

Carey Cecil<\/strong>. \u201cMr. Dial Has Something to Say,\u201d Alabama Public Television. October 16, 2007. YouTube Video, 59:11. https:\/\/www.pbs.org\/video\/alabama-public-television-documentaries-mr-dial-has-something-to-say\/<\/a>.<\/p>

Chave<\/strong>, C. Anna, \u201cDis\/Cover\/ing the Quilts of Gee’s Bend, Alabama,\u201d Journal of Modern Craft<\/em>, 1:2, doi\/https:\/\/doi.org\/10.2752\/174967808X325514<\/a>.<\/p>

Clay<\/strong>, Jackie. \u201cMonography: Fall 2022.\u201d October 10, 2022, YouTube Video, 26:24, https:\/\/www.youtube.com\/watch?v=gVBxjoAm71w<\/a>.<\/p>

Dial<\/strong>, Thornton., Metcalf, Eugene., Cubbs, Joanne., David C Driskell, Greg Tate. Hard Truths: The Art of Thornton Dial<\/em>. Prestel Publishing (Indianapolis, Ind.: Indianapolis Museum Of Art; Munich; New York), 2011.<\/p>

Dial<\/strong>, Thornton. \u201cThornton Dial Oral History.\u201d 2008-06-26: National VisionaryLeadership Project \/ interview conducted by Johnnetta Cole. https:\/\/lccn.loc.gov\/2010655180<\/a>.<\/p>

Dial<\/strong>, Thornton., William Arnett, and Joanne Cubbs. Thornton Dial in the 21st Century \/ Essays\u00a0by Joanne Cubbs [and Others]; Curated and with Essays by William Arnett [and Others]. Atlanta: Tinwood Books, 2005.<\/p>

Hodge<\/strong>, Josh, \u201cTwentieth Century Alabama Agriculture: Sharecropping, Agribusinesses, and Direct Marketing.” Vulcan Historical Review<\/em> 15, no. 9 (2011) 120-140. University of Alabama at Birmingham Digital Commons.<\/p>

Carey Cecil<\/strong>. \u201cMr. Dial Has Something to Say,\u201d Alabama Public Television. October 16, 2007. YouTube Video, 59:11. https:\/\/www.pbs.org\/video\/alabama-public-television-documentaries-mr-dial-has-something-to-say\/<\/a>.<\/p>

Crown<\/strong>, Carol and Charles Russell. Sacred and Profane: Voice and Vision in Southern Self-Taught Art<\/em>. Jackson: University Press of Mississippi, 2007.<\/p>

Cubbs,<\/strong> Joanne. \u201cOutside\/In: The Art of Thornton Dial.\u201d Newfields, streamed live April 8, 2011, YouTube video 27:55.\u00a0 https:\/\/youtu.be\/3SuhKAmiMsg?t=415<\/a>.<\/p>

Kaminski<\/strong>, Edward S. Pullman-Standard freight cars, 1900-1960<\/em>. Berkeley, CA: Signature Press, 2007.<\/p>

Finley<\/strong>, Cheryl. Randall R Griffey, Amelia Peck, and Darryl Pinckney.\u00a0My Soul Has Grown Deep: <\/em>Black Art from the American South<\/em>. Metropolitan Museum of Art (New York, N.Y.), 2018.<\/p>

Google.<\/strong> \u201cAfrican Mask.\u201d Accessed October 17, 2023, accessed October 19, 2023 https:\/\/www.metmuseum.org\/art\/collection\/search\/653735?ft=*&oid=653735&pkgids=490&pos=9&nextInternalLocale=en&pg=0&rpp=20&offset=20&exhibitionId=%7Ba14fcea9-f132-4a22-80f4-7e668eeb100c%7D<\/a>.<\/p>

Google.<\/strong> \u201cThe History of the Gee\u2019s Bend, Alabama.\u201d Accessed October 18, 2023 https:\/\/www.auburn.edu\/academic\/other\/geesbend\/explore\/history.htm<\/a><\/p>

Metropolitan Museum of Art.<\/strong> \u201cHistory Refused to Die: Highlights from the Souls Grown Deep Foundation Gift.\u201d\u00a0 Accesses October 17, 2023 https:\/\/www.metmuseum.org\/exhibitions\/listings\/2018\/history-refused-to-die<\/a>.<\/p>

Encyclopedia of Alabama.<\/strong> \u201cThornton Dial.\u201d Accessed October 17, 2023 https:\/\/encyclopediaofalabama.org\/article\/thornton-dial\/<\/a>.<\/p>

Souls Grown Deep Foundation.<\/strong> \u201cMrs. Bendolph.\u201d Accessed October 19, 2023 https:\/\/www.soulsgrowndeep.org\/artist\/thornton-dial\/work\/mrs-bendolph<\/a>.\u00a0Lampkins-Fielder, Raina. Souls Grown Deep Like the Rivers: Black Artists from the American\u00a0<\/span>South \/ [exhibition Curators Raina Lampkins-Fielder and 3 Others]. London: Royal Academy of Arts, 2023.<\/span><\/p>

\u201cThe Pullman History Site: Labor and Race Relations.\u201d<\/strong> n.d. Pullman-Museum.org. Accessed September 7, 2023. https:\/\/pullmanmuseum.org\/labor\/laborRelations.html<\/a>.<\/p>

Tullos<\/strong>, Allen. \u201cThe Black Belt.\u201d Last modified April 19, 2004. https:\/\/southernspaces.org\/2004\/black-belt\/#section-the-black-belt<\/a>\u00a0National Endowment for the Arts. \u201cMary Lee Bendolph, Lucy Mingo, and Loretta Pettway: Quilters of Gee’s Bend.\u201d Last modified September 30, 2015.<\/span><\/p>

Scala<\/strong>, Mark, and Frist Center For The Visual Arts (Nashville, Tenn. 2012.\u00a0Creation Stories: Gee\u2019s Bend Quilts and the Art of Thornton Dial<\/em>. Nashville, Tenn.: Frist Center For The Visual Arts.<\/p>

Robert Smith<\/strong>, \u201cART VIEW; A Young Style for an Old Story.\u201d New York Times<\/em>, December 19, 1993. https:\/\/www.nytimes.com\/1993\/12\/19\/arts\/art-view-a-young-style-for-an-old-story.html<\/a>.<\/p>

Smith<\/strong>, Dinitia. \u201cBits, Pieces and a Drive To Turn Them Into Art.\u201d New York Times<\/em>, February 5, 1997. https:\/\/www.nytimes.com\/1997\/02\/05\/arts\/bits-pieces-and-a-drive-to-turn-them-into-art.html<\/a>.<\/p>

The History of Agriculture in Alabama<\/strong>: A Historic Context. Alabama Historical Commission<\/em>. 1-46.<\/p>

Vin de Vie Wine of Life.<\/strong> \u201cThe Souls Which Have Grown Deep in a History Which Refused to Die.\u201d Last updated February 12, 2020. https:\/\/vindevie.me\/2020\/02\/12\/life-which-refused-to-die\/<\/a>.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

BibliOGRAPHY Alexander, A. P. (2018). Unaccountable Modernisms: The Black Arts of Post-Civil\u00a0 Rights\u00a0Alabama. UC Santa Barbara. ProQuest ID: Alexander_ucsb_0035D_14014. Merritt ID:ark:\/13030\/m5kd6wtk. Retrieved from https:\/\/escholarship.org\/uc\/item\/5h18d8gc. American Folk Art Museum. “I sit there and draw till my mind go blank, then I stop.”\u2060Instagram, January 16th, 2020. https:\/\/www.instagram.com\/reel\/B7Y3AMFlN9Y\/. Art Conservator. \u201cConserving Thornton Dial: The Assemblages in the High […]<\/p>\n","protected":false},"author":4038,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-347","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/347","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/users\/4038"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/comments?post=347"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/347\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/media?parent=347"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":344,"date":"2024-02-20T15:36:26","date_gmt":"2024-02-20T15:36:26","guid":{"rendered":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/?page_id=344"},"modified":"2024-11-28T18:54:52","modified_gmt":"2024-11-28T18:54:52","slug":"conclusion","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/conclusion\/","title":{"rendered":"Conclusion"},"content":{"rendered":"\t\t

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History Refused to Die <\/em>is a complex work of art that, in its vibrant appearance, provides a striking look into Dial\u2019s personal trajectory and the artist’s method of documenting and remembering Black experiences in the South. On one side, Dial reveals mangled objects that appear in their unprepared, raw form. The other side shows a remarkably different surface of coated and partially coated objects. The formal choices that Dial made in History Refused to Die<\/em> would seem to show that he likely intended for the viewer to fixate on the\u00a0autobiographical nature of his chosen materials and consider his signature creative techniques that evolved over time. Beyond Dial, History Refused to Die<\/em> considers other self-taught artists who, through their agency, used materials for elaborate, personal displays and practical community use. Holly\u2019s yard art and encouragement for Dial influenced his artistic direction to continue with utilitarian materials in his work. Bendolph\u2019s patch work process in her quilts was internalized by Dial, and her practices were akin to his practice of salvaging used fabrics. Previous scholarly understandings about Dial have situated him within a larger framework of American contemporary art and African American Southern art to strongly argue for his place within these categories. Furthermore, scholarly analysis of Dial considered the history of exploitive, segregated industries in Alabama, where he lived all his life. Dial, Holly, and Bendolph and the larger community of assembledge artists in the South gesture to another area of study that recognizes how creative methods are gained from years of labor that had been intended for other means.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Conclusion History Refused to Die is a complex work of art that, in its vibrant appearance, provides a striking look into Dial\u2019s personal trajectory and the artist’s method of documenting and remembering Black experiences in the South. On one side, Dial reveals mangled objects that appear in their unprepared, raw form. The other side shows […]<\/p>\n","protected":false},"author":4038,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-344","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/344","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/users\/4038"}],"replies":[{"embeddable":true,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/comments?post=344"}],"version-history":[{"count":0,"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/pages\/344\/revisions"}],"wp:attachment":[{"href":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/wp-json\/wp\/v2\/media?parent=344"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":237,"date":"2024-02-05T18:52:15","date_gmt":"2024-02-05T18:52:15","guid":{"rendered":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/?page_id=237"},"modified":"2024-12-03T16:00:38","modified_gmt":"2024-12-03T16:00:38","slug":"elementor-237","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/History-Refused-to-Die\/","title":{"rendered":"Homepage"},"content":{"rendered":"

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