2 10 134 https://mail.slaverymonuments.org/files/original/1d16606325ed2abe55fbfd83f5f49a13.jpg 0d0a8dd7c1fc0fe92a50171a6864a741 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Baldwin Hall Memorial (Athens, Georgia) Subject The topic of the resource Subject (Topic) Cemeteries--Georgia Enslaved persons Slavery--Georgia University of Georgia Subject (Object) Commemorative sculpture Description An account of the resource The Baldwin Hall Memorial at the University of Georgia in Athens includes "a circular form for the memorial plaza, creating a focal point that will serve as a place of contemplation to honor and respect these individuals; an elevated fountain in the center of the memorial plaza; a granite marker, purposefully designed with elements similar to a marker at Oconee Hill Cemetery, which includes text about the memorial; two granite benches facing the granite marker; and vertical elements that will create a sense of ascension and will provide visibility from the street. . . . The remains of the individuals were first discovered during construction of an addition to Baldwin Hall in November 2015. They were reinterred at Oconee Hill Cemetery in March 2017, in accordance with guidance from the State Archaeologist’s Office. The university also held a memorial service at Oconee Hill Cemetery to commemorate their lives, and a granite marker was placed at the gravesite. Acknowledgment in the form of a plaque also was placed inside the new entrance of the Baldwin Hall addition.” –University of Georgia, https://news.uga.edu/memorial-dedicated-baldwin-hall/ Creator An entity primarily responsible for making the resource Baldwin Hall Memorial Advisory Task Force Source A related resource from which the described resource is derived Photograph: <a href="https://medium.com/@carsen.christy/the-bones-beneath-uga-baldwin-hall-a-controversy-still-ongoing-eight-years-later-ae6eeaea6936" target="_blank" rel="noopener">Carsen Christy, Medium</a> Date A point or period of time associated with an event in the lifecycle of the resource November 16, 2018 Contributor An entity responsible for making contributions to the resource Millie Long Estate Quarry (granite); Baldwin Hall Memorial Advisory Task Force: Alicia Battle, Director for Workforce Development at Goodwill of North Georgia and Chair of the Clarke County Mentor Program; Dawn Bennett-Alexander, Associate Professor of Employment Law and Legal Studies; Paige Carmichael, Professor of Veterinary Pathology; Michelle Cook, Vice Provost for Diversity and Inclusion and Strategic University Initiatives (Chair); Gwynne Darden (Ex Officio), Associate Vice President for Facilities Planning; Dexter Fisher, Director of Services in the Facilities Management Division; Ammishaddai Grand-Jean, President of the Student Government Association; Mike Hamby, Athens-Clarke County Commissioner for the 10th District; Lawrence Harris, Director of the Athens Community Career Academy with the Clarke County School District; Kathy Hoard, Former Clarke County Commissioner; Meredith Gurley Johnson, Executive Director of the UGA Alumni Association; The Honorable Steve Jones, U.S. District Court Judge for the Northern District of Georgia; The Rev. Benjamin Lett, Pastor of the Hill Chapel Baptist Church; Charlie Maddox, Athens Rotary Club President and Member of the Athens Housing Authority Board of Commissioners; Alison McCullick, UGA Director of Community Relations; Arthur Tripp, Assistant to the President of UGA; Victor Wilson, Vice President for Student Affairs; and Henry Young, Kroger Associate Professor of Clinical and Administrative Pharmacy and President of the Black Faculty and Staff Organization. Rights Information about rights held in and over the resource University of Georgia, Athens, Georgia, 30602, United States Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Baldwin Hall, University of Georgia, 355 S Jackson Street, Athens, Georgia, 30602, United States Medium The material or physical carrier of the resource. Granite Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. “UGA Finalizes Baldwin Hall Memorial.” UGA Today, August 21, 2018. Accessed March 4, 2026. https://news.uga.edu/uga-finalizes-baldwin-hall-memorial/. “Memorial Dedicated at Baldwin Hall.” UGA Today, November 16, 2018. Accessed March 4, 2026. https://news.uga.edu/memorial-dedicated-baldwin-hall/. Grady Newsource. “UGA Student Government Approves Resolution to Honor Enslaved Peoples at Chapel Bell.” March 25, 2019. Accessed March 4, 2026. https://gradynewsource.uga.edu/uga-student-government-approves-resolution-to-honor-enslaved-peoples-at-chapel-bell/. “The Baldwin Hall Controversy.” UGA & Slavery. Accessed March 4, 2026. https://slavery.ehistory.org/baldwin-hall. Carsen, Christy. “The Bones Beneath UGA Baldwin Hall: A Controversy Still Ongoing Eight Years Later.” Medium, October 19, 2023. Accessed March 4, 2026. https://medium.com/@carsen.christy/the-bones-beneath-uga-baldwin-hall-a-controversy-still-ongoing-eight-years-later-ae6eeaea6936. University of Virginia. "Universities Studying Slavery." President's Commission on Slavery and the University. https://slavery.virginia.edu/universities-studying-slavery/. Wilder, Craig Steven. Ebony and Ivy: Race, Slavery, and the Troubled History of America's Universities. Bloomsbury Publishing, 2014. Has Part A related resource that is included either physically or logically in the described resource. Granite memorial block: In memory of the unknown individuals interred in this area during the 19th century, on land that was part of the Old Athens Cemetery. In 2015 remains were discovered during the construction of the Baldwin Hall addition. The vast Majority of the remains identified were those of men, women, and children of African descent, most likely slaves or former slaves. Upon guidance of the State of Georgia, they were reinterred at the Oconee Hill Cemetery. The University recognizes the contributions of these and other enslaved individuals and honors their legacy. May they continue to rest in peace. columns fountain granite inscription https://mail.slaverymonuments.org/files/original/bfa6926268bc4747a4286cbfc9e92fba.jpg df44e834459c7a5362b07e806e2011dd Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The commemorative works under the theme of "Emancipation" include two different types of monuments and memorials: those focused on the end of slavery in the United States through the Emancipation Proclamation, and memorials to emancipation and liberation movements in the Caribbean. The forms of the monuments and memorials range from figurative sculpture such as <a href="https://www.slaverymonuments.org/items/show/1145" target="_blank" rel="noopener">Redemption Song</a> in Kingston, Jamaica; a series of gateways at the <a href="https://www.slaverymonuments.org/items/show/1214" target="_blank" rel="noopener">Camp Barker Memorial</a> located at Garrison Elementary School in Washington, DC; and the abstract forms of <a href="https://www.slaverymonuments.org/items/show/1162" target="_blank" rel="noopener">L'Arbre de la liberté</a> in Schoelcher, Martinique. Thomas Ball's <a href="https://www.slaverymonuments.org/items/show/1223" target="_blank" rel="noopener">Freedmen's Memorial to Abraham Lincoln </a>(1876) as well as Meta Warrick Fuller's <a href="https://www.slaverymonuments.org/items/show/1121" target="_blank" rel="noopener">Emancipation</a> (1913) are also included here as they represent early sculptural engagements with the theme in the United States. In the near future, we will add more commemorative works from the Caribbean to this theme including public art in Trinidad and Tobago, U.S. Virgin Islands, and Sint Maarten. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 108 in. (275 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Freedmen's Memorial to Abraham Lincoln (Washington, DC) Creator An entity primarily responsible for making the resource Ball, Thomas, 1819-1911 Subject The topic of the resource Subject (Topic) Emancipation Proclamation--United States Enslaved persons--Emancipation Public art Public sculpture Slavery--Washington (D. C.) United States--History--Civil War, 1861-1865 Washington (D. C.) Subject (Name) Lincoln, Abraham, 1809-1865 Subject (Object Type) Commemorative sculpture Description An account of the resource The sculptor Thomas Ball’s composition includes two figures, one fully clothed, the other semi-nude. Due to the dozens of photographs that survive from the 1860s, we recognize that the standing bearded man is Abraham Lincoln. Dressed in a shirt with tie, a long coat, and trousers, Lincoln stands upright with most of his weight on one leg, in "contrapposto." Clothing and posture civilize Lincoln, marking his intelligence and morality. The kneeling man, a newly emancipated enslaved person, is semi-nude. The only article of clothing that he wears is a piece of cloth draped from his waist to the edge of his buttocks. The sinewy muscles are clearly delineated in the man’s arms, legs, and abdominal muscles. Modeled with short curly hair, the former slave is also shown with a distinctive broad nose, signifying his African ancestry. Source A related resource from which the described resource is derived Photograph by Renée Ater Date A point or period of time associated with an event in the lifecycle of the resource April 14, 1876 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts- Sculpture Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Ater, Renée. "On the Removal of Statues: Freedmen's Memorial to Abraham Lincoln." On Monuments Blog, July 1, 2020. https://www.reneeater.com/on-monuments-blog/2020/7/1/on-the-removal-of-statues-freedmens-memorial-to-abraham-lincoln. White, Jonathan W. and Scott Sandage. "What Frederick Douglass Had To Say About Monuments." Smithsonian Magazine, June 20, 2020. https://www.smithsonianmag.com/history/what-frederick-douglass-had-say-about-monuments-180975225/. Has Part A related resource that is included either physically or logically in the described resource. Plaque on front of memorial: Freedom's Memorial In grateful memory of Abraham Lincoln. This monument was erected by the Western Sanitary Commission of Saint Louis, Mo., with funds contributed solely by emancipated Citizens of the United States declared free by his Proclamation, January 1st A.D. 1863. The first contribution of five dollars was made by Charlotte Scott, a freed woman of Virginia, being her first earnings in freedom and consecrated by her suggestion and request, on the day she heard of President Lincoln’s death, to build a monument to his memory. Plaque on back of memorial: And upon this act, sincerely believed to be an act of justice, warranted by the Constitution upon military necessity, I invoke the considerate judgment of mankind, and the gracious favor of Almighty God. — A. Lincoln, Emancipation Proclamation, Jan 1, 1863. Western Sanitary Commission James E. Yeatman, President. C. S. Greeley, Treas. Geo. Partridge, Dr. J. B. Johnson, Wm. C. Eliot. Rights Information about rights held in and over the resource National Park Service, 1849 C Street, NW, Washington, DC, 20240, United States Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lincoln Park, East Capitol Street, SE, Washington, DC, 20003, United States Extent The size or duration of the resource. 108 in. (275 cm) Medium The material or physical carrier of the resource. Bronze; Granite Contributor An entity responsible for making contributions to the resource Charlotte Scott (donor); Emancipated Citizens of the United States (donors); Western Sanitary Commission of St. Louis: James E. Yeatman, President; Carlos S. Greeley, Treasurer; George Partridge; Dr. J. B. Johnson; Reverend William Greenleaf Eliot. 19th-century sculpture bronze Civil War figurative granite https://mail.slaverymonuments.org/files/original/cc8fbadf957bec5b2d5a1f80e0d32483.jpg f2ffac0ed5c853c7b8d0cae0d556e09b https://mail.slaverymonuments.org/files/original/edb4a2c0ac380aaa228d125a54471fc8.jpg a8ce6a9d77593cd5d2d32e9354aeb5d2 https://mail.slaverymonuments.org/files/original/712dab0d16f9a295dd58dd9d963008e8.jpg 3263fa6197a322dbe218ed2f43d34f74 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Unknown Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource William Seward and Harriet Tubman Statue (Schenectady, New York) Creator An entity primarily responsible for making the resource Benedict, Dexter, 1944- Subject The topic of the resource Subject (Topic) Antislavery movements--United States New York--Schenectady Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Seward, William Henry, 1801-1872 Subject (Object Type) Commemorative sculpture Date A point or period of time associated with an event in the lifecycle of the resource May 17, 2019 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Karen B. Johnson Schenectady County Public Library, 99 Clinton Street, Schenectady, New York, 12305, United States Description An account of the resource Placed outside the Schenectady County Public Library, a life-size statue of William Seward and Harriet Tubman stand on Mohawk Valley ordovician dolostone inside a garden bed. Seward stands with a cane in his right hand and his left arm around the back of Tubman. He wears nineteenth-century clothing including a jacket, vest, and pants. Tubman gestures with her right hand and carries a walking stick in her left hand. She wears a simple long dress. Draped across her chest is a sack with the end of a revolver visible. Source A related resource from which the described resource is derived Photographs by Renée Ater Contributor An entity responsible for making contributions to the resource Board of Trustees of the Schenectady County Public Library; and Community Members: Virginia and Frank Wicks; Carl George; Anita Paul and David Gerhan; Jim and Jean Underwood; Linda Patrik and David Kaczynski; Twitty and Constance Styles; Cara Molyneaux; Arnold Seiken; Roger Hull; Brian and Judith Merriam; Robert Ringlee; Miriam Butzel; Butzel Family Foundation; Norman Maender; David and Jean Cossey; Carmela St George; Barbara Armstrong and Robert Coppola; Rhonda Becker; Anastasia Pease; Eshragh Motahar; Paul and Christina Friedman; Katherine Lynes; Roger and Seneca Hoerl; Karen and Rodney Crosby; David and Ann Songayllo Hannay; Cherrice Traver; Jonathan and Rachel Marr; Marsha and Leonard Mortimore; James and Jean McLaughlin; Andrea Worthington and Robert Olberg; Kesheng Yu; Paul Wehrum; Barry Kramer; Rebecca Koopman; Assemblyman Angelo Santabarbara; Ted Vinick; Becky Cortez; Martha Huggins and Malcolm Willison; Faith and Dexter Benedict; Mary and Phillip Lyford; Clifford Brown; Caroline Bardwell; Margaret Craven Snowden, M.D.; Nancy Papish; Julie Pieper-Hemmings; Senator James Tedisco; Charles and Linda Becker; Charles and Marianne Szuberla; Patricia and Keith Barneyl; Wayne and Amy Brule; Jim and Cei Mack; Martin and Sharon Strosberg; Mary O’Keeffe; Margo and James Strosberg, M.D.; Peter and Judy Nocera; Mary and Thomas Werner; Michele and Randall Collins; Donald O. Reid; Darren and Lisa Tracy; West Branch Engineering and Consulting; Philip and Jo Ann Adams; Kenneth Baker; Marcia M. Steiner; Nicholas C. Barber; Carmel Patrick; Alden and Gay Doolittle; Betty Pieper; Robert McEvoy; Joe Spedafora; Linda Patrik and David Kaczynski; Matthew George; Brian Reh; Anita Paul; Susan and Gustave Davis, M.D.; Lek and James Meyer; Laura Lee; First Reformed Church of Schenectady; Wicks Family; Jim and Carol McCord; Capital District Civil War Round Table; Jonathan R. Miller (in memory of Aaron Rees ’95); Kathleen Pierone; Ann M. Cole; Professional Women; Schenectady County Historical Society; Hugh and Vaughn Nevin; John Polimeni; John and Lucy Halstead; Kim and Gary Mabee; Naomi Bristol; Lois and Richardson Atkinson; Brendan Degan Weingarten Savage; Henry M. Butzel Family Foundation; Lidia Pasamanick; The Honorable Richard and Bernice Russo; Touhey Family Foundation; John and Margaret Watraus; Susan Savage; Daniel and Shari Grygas; David Gerhan and Anita Paul; Deborah LaFond; Betty Carol Barlyn; Willie Terry; Mario Salerno; Philip Hilferty; Lewis and Irene Greenstein; Kim Scheverman; Arnold and Ione Seiken; David and Karen Bradley; David Kaczynski and Linda Patrik; The Brockbank Family; Estate of Marjorie Kenney (in Memory of Alice P Kenney); William Keat; Eric Bersch; Liz Paul and Paul John; Rene and William Curtin; Steve Rockwell; Jean Libby; The Reverend Ruby J. Smith; Dr Nancy D. Fitzroy; Janis Polishook; L. William Davis; Dr Walter and Anne Robb; Bradley and Catherine Lewis; Christopher Gardner; Kathleen LoGiudice and John Blanchard; Christopher Leonard; Philip M. Williamson; Jean Hayden Hutchins (in Memory of Dr Charles Steinmetz); Eric and Kent Johnson (in Memory of Mayor Karen Johnson); and The Wicks Family (in Memory of Dr Rollo and Hazel Wicks).<o:p></o:p> Rights Information about rights held in and over the resource Unknown Type The nature or genre of the resource Visual Arts-Sculpture Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque: William Seward 1801-1872 Harriet Tubman 1822-1913 Leaders Freedom Diversity Friendship "By the People for the People" Abraham Lincoln Mohawk Valley Ordovician Dolostone 2019 Sculptor/Caster Dexter Benedict References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad Medium The material or physical carrier of the resource. Bronze; Mohawk Valley ordovician dolostone Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Williams, Stephen. "Statue of Tubman and Seward Unveiled at Library." The Daily Gazette News, May 17, 2019. Accessed September 30, 2019. https://dailygazette.com/article/2019/05/17/statue-of-tubman-and-seward-unveiled-at-library. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bronze figurative portrait https://mail.slaverymonuments.org/files/original/be6a20a053a9ac2d891e16fa613d4b21.jpg 4c1d23095173d729c64d90bc3142073f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image Statue: 90 in. (228.6 cm) Base: 30 in. (76.2 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Frederick Douglass (West Chester, Pennsylvania) Creator An entity primarily responsible for making the resource Blake, Richard, 1943- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Pennsylvania--West Chester Public art Public sculpture Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource The ten-foot-tall bronze statue of a young Frederick Douglass casts his gaze forward and ever-so-slightly downward toward an imagined viewer. Standing squarely forward, Douglass' left knee is slightly raised as if he were on the verge of walking off the granite pedestal. In his right hand, Douglass holds a cane; in his left hand, he holds the end of a rope that coils around his torso and shoulders. Source A related resource from which the described resource is derived Photograph: <a href="https://patch.com/pennsylvania/westchester/25th-anniversary-celebration-frederick-douglass-institution" target="_blank" rel="noopener">West Chester University</a> Date A point or period of time associated with an event in the lifecycle of the resource October 1, 2013 Contributor An entity responsible for making contributions to the resource Frederick Douglass Statue Monument Project; Frederick Douglass Institute (C. James Trotman); and the West Chester University Foundation. Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Clifford E. and Inez E. DeBaptiste Plaza, Philips Memorial Building, West Chester University, West Chester, Pennsylvania, 19382, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on granite base: Frederick Douglass Frederick Douglass gave his last public lecture on West Chester's campus on Feb. 1, 1895. This statue of a younger Frederick Douglass honors a champion of human rights whose lifelong quest for knowledge and truth made him a timeless voice for justice, freedom, and equality for all. Extent The size or duration of the resource. Statue: 90 in. (228.6 cm) Base: 30 in. (76.2 cm) Medium The material or physical carrier of the resource. Bronze; Granite Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cummings, Colleen. "WCU Erects Statue to Honor Frederick Douglass." The Quad, October 14, 2013. Accessed October 31, 2019. https://wcuquad.com/103691/news/wcu-erects-statue-to-honor-frederick-douglass/. Garrard, Jeremy. "WCU Unveils Frederick Douglass Statue." Daily Local News, October 2, 2013. Accessed May 23, 2020. https://www.dailylocal.com/news/wcu-unveils-frederick-douglass-statue/article_5603ef47-0e70-58ca-a0fb-a1598f6e5857.html. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource West Chester University, 700 South High Street, West Chester, Pennsylvania, 19383, United States bronze figurative granite portrait https://mail.slaverymonuments.org/files/original/990388eb5485a0a89742679dfd40fb43.jpg bc0d77466d6e9e70810b5e884ded5097 https://mail.slaverymonuments.org/files/original/ea88baa982fcb598efa1609690387907.jpg 99b3021c37bef8fd7ae651e3caab1b1a https://mail.slaverymonuments.org/files/original/1cd1d9fd3f817df457740a2b3c439d43.jpg 016363d3c30a7d4d57ed3fae19071563 https://mail.slaverymonuments.org/files/original/ba1de0d10afc11fa79b95f2e0b66ff25.jpg b0a6c82a80c8b1fe10065ba5ab43f9ef https://mail.slaverymonuments.org/files/original/96f653f0e5edd84308deddb90f203db4.jpg 040f1672e7a3992d8ede8d40be99daed https://mail.slaverymonuments.org/files/original/e2940d7ec142b271adf411d20be51a56.jpeg 964a78a0ee72856e7b2dbd47a44246be Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 120 in. (304.8 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edmonson Sisters Memorial (Alexandria, Virginia) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom Public art Public sculpture Resistance Slavery--Virginia Transatlantic slave trade Virginia--Alexandria Subject (Name) Edmonson, Mary, 1832–1853 Edmonson, Emily, 1835–1895 Subject (Object Type) Commemorative sculpture Description An account of the resource Two young women emerge from a large rocky outcrop, their hands clasped tightly as they stride forward. The over life-sized work depicts the abolitionists and former enslaved sisters, Mary and Emily Edmonson. The statue is located on the site of the former Joseph Bruin’s slave jail, where the sisters were held after a failed attempt to escape from Washington, DC in 1848 on the ship Pearl. On the back of the sculpture is an etching of the ship and the word "Pearl." Creator An entity primarily responsible for making the resource Blome, Erik, 1967- Date A point or period of time associated with an event in the lifecycle of the resource June 25, 2010 Contributor An entity responsible for making contributions to the resource Carr Development Corporation and The City of Alexandria Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Edmonson Plaza, 1701 Duke Street, Alexandria, Virginia, 22314, United States Extent The size or duration of the resource. 120 in. (304.8 cm) Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Has Part A related resource that is included either physically or logically in the described resource. Inscription on the work's base: The Edmonson Sisters Erik Blome Sculptor © 2010 Assisted by C. Blome On the obverse of the memorial, Blome included a low relief of the schooner, Pearl. Source A related resource from which the described resource is derived Photographs by Renée Ater Rights Information about rights held in and over the resource City of Alexandria, 301 King Street, Alexandria, Virginia 22314, United States Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Heid, Markham. "Alexandria Dedicats Sculpture Honoring Edmonson Sisters." Washington Examiner, June 24, 2010. Accessed May 27, 2020. https://www.washingtonexaminer.com/alexandria-dedicates-sculpture-honoring-edmonson-sisters. Blome, Erick. "The Edmonson Sisters." Erick Blome-Sculptor. Accessed February 4, 2026. https://www.erikblome.com/edmonson-sisters. Ater, Renée. "The Memory of Slavery in the Urban Landscape of Alexandria Virginia." In Traces and Memories of Slavery in the Atlantic World, eds. Lawrence Ajé and Nicolas Gachon, 215-232. Routledge, 2020. bronze figurative portrait https://mail.slaverymonuments.org/files/original/ffec1056e474e75fd61f9ae23989e67f.jpg f450b9a059d304e784a417bef5e844b5 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144'' (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Ouidah, Republic of Benin) Subject The topic of the resource Subject (Topic) Public art Public sculpture Republic of Benin--Cotonou Republic of Benin--Ouidah Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Originally placed in Cotonou, Republic of Benin, the bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. Unlike the version in Liverpool, this work includes the addition of bronze bas-relief designs, reflecting images related to the transatlantic slave trade, including cotton plants, chains, and industrial factories. In 2021, the statue was moved to Centre Culturel de Rencontre International John Smith in Ouidah, République du Bénin. See "Création du CCR International John Smith à Ouidah", 2020, /https://www.accr-europe.org/fr/creation-du-centre-culturel-de-rencontre-international-john-smith-a-ouidah-benin and "Inauguration du CCR international John Smith à Ouidah," 2021, https://www.accr-europe.org/fr/les-actualites/actualites-professionnelles/inauguration-du-ccri-john-smith-au-benin. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961 Contributor An entity responsible for making contributions to the resource Republic of Benin Government; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 2005 Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1140" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Richmond, Virginia. Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/w/index.php?search=Statut_de_la_réconciliation&title=Special%3AMediaSearch&type=image" target="_blank" rel="noopener">Wikimedia Commons</a> Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin Rights Information about rights held in and over the resource Centre Culturel de Rencontre International John Smith, Palais de justice – Ouidah, BP 56 Ouidah, République du Bénin abstract bird bronze figurative inscription map slave ship https://mail.slaverymonuments.org/files/original/e974f5d022df99f923e02afd03bc94a4.jpg b3f706bc362fc1a2e0e3e0e9a4c958fe Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144 in. (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Liverpool, England) Description An account of the resource The iron torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular iron base. Two other identical sculptures were erected in 1989 in Belfast, Northern Ireland, and Glasgow, Scotland. According to the artist, Stephen Broadbent, the works were meant to be “powerful symbol[s] of the way in which sectarianism can be overcome through solidarity.” Broadbent reappropriated the form to serve as a memorial to the transatlantic slave trade. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource September 19, 1990 Contributor An entity responsible for making contributions to the resource John Varley (Iron Founders) Ltd; Merseyside Council for Voluntary Service; Liverpool City Council Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Concert Square, Concert and Wood Streets, Liverpool, L1 4DS, England Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Date Created Date of creation of the resource. 1989 Has Version A related resource that is a version, edition, or adaptation of the described resource. Two identical versions of this work exist in Belfast, Northern Ireland, and Glasgow, Scotland Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Cast iron Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation." Broadbent Studio. Accessed April 11th, 2019. https://broadbent.studio/reconciliation. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) England--Liverpool Public art Public sculpture Slavery--England Transatlantic slave trade Subject (Object Type) Commemorative sculpture Source A related resource from which the described resource is derived Photograph: <a href="https://artuk.org/discover/artworks/reconciliation-330986" target="_blank" rel="noopener">Martin Henderson, Art UK</a> Rights Information about rights held in and over the resource Culture and Arts Investment Programme, Liverpool City Council, Cunard Building, Water Street, Liverpool, L3 1AH, England abstract figurative iron https://mail.slaverymonuments.org/files/original/f54bab69a154a38515ba8d3b509ee6af.JPG c590c83e3d1da53f8acc00ad22d5060b https://mail.slaverymonuments.org/files/original/c085a7bea1e9d8663f985cc7eb26816d.JPG b0a1f045e90a54b8bcd85fd71570173a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Transatlantic Slave Trade Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection focuses on commemorative works dedicated to the transatlantic slave trade and the Middle Passage. Between the sixteenth and nineteenth centuries, between ten million and twelve million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic route between Africa and the Americas that was part of the transatlantic slave trade. Historians believe that between 15 and 25 percent of the enslaved Africans perished aboard the overcrowded, unsanitary slave ships. The works in this thematic group address the violence and trauma of the transatlantic slave trade in various ways. Monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener">The Ark of Return</a> on the grounds of the United Nations in New York City, and <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener">The Middle Passage Monument</a> in St. Croix, U. S. Virgin Islands, use abstraction to commemorate the victims of the transatlantic slave trade. Other memorials such as <a href="https://www.slaverymonuments.org/items/show/1150" target="_blank" rel="noopener">Kumbukumbu Ya Historia Ya Watumwa</a> in Stone Town, Zanzibar, and the <a href="https://www.slaverymonuments.org/items/show/1166" target="_blank" rel="noopener">Atorkor Slave-Trade Memorial</a> (Atorkor, Ghana), use figuration to evoke human presence. Memorialization efforts from Senegal to present-day Nigeria are tied to The Slave Route Project run by UNESCO. Launched in 1994 in Ouidah, Benin, the Slave Route Project has three primary objectives: <ul> <li>Contribute to a better understanding of the causes, forms of operation, stakes and consequences of slavery in the world (Africa, Europe, the Americas, the Caribbean, the Indian Ocean, Middle East and Asia).</li> <li>Highlight the global transformations and cultural interactions that have resulted from this history.</li> <li>Contribute to a culture of peace by promoting reflection on inclusion, cultural pluralism, intercultural dialogue and the construction of new identities and citizenships. (See https://en.unesco.org/themes/fostering-rights-inclusion/slave-route#isc)</li> </ul> One way that The Slave Route Project fulfills its mission is to engage in "the preservation and promotion of sites and itineraries of memory related to the slave trade and slavery." Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura and Renée Ater Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 144 in. (365.76 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Reconciliation Memorial (Richmond, Virginia) Subject The topic of the resource Subject (Topic) Public art Public sculpture Slavery--Virginia Transatlantic slave trade Virginia--Richmond Subject (Object Type) Commemorative sculpture Description An account of the resource The bronze torsos of two abstracted figures, engaged in a tight embrace, emerge from a rectangular bronze base. This work includes the addition of bronze low-relief designs, reflecting images related to the slave trade, including a topographic map of the James River, birds following slave ships, chains with manacles, and a port with lifts pulling up cotton bales. The work was erected close to Richmond’s former slave market in Shockoe Bottom. Creator An entity primarily responsible for making the resource Broadbent, Stephen, 1961- Date A point or period of time associated with an event in the lifecycle of the resource March 31, 2007 Contributor An entity responsible for making contributions to the resource City of Richmond, Virginia; Faith Bebbington (sculptor); Garry Morris (curator, Liverpool Maritime Museum); Liverpool school students; Richmond, VIrginia, school students Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant East Main Street and North 15th Street, Richmond, Virginia, 23219, United States Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Reconciliation Triangle Has Part A related resource that is included either physically or logically in the described resource. Inscription on side: Reconnaissons et pardonnons le passé Célébrons le présent Construisons l'avenir dans la réconciliation et la justice. Acknowledge and forgive the past Embrace the present Shape a future of reconciliation and justice. Information plaque: The Triangle Liverpool, England The Benin Region of West Africa Richmond, Virginia During the 18th Century, these three places reflected one of the well-known triangles in the trade of enslaved Africans. Men, women, and children were captured in West and Central Africa and transported from Benin and other countries. They were chained, herded, loaded on ships built in England and transported through the unspeakable horrors of the Middle Passage. They were imported and exported in Richmond, Virginia and sold in other American cities. Their forced labor laid the economic foundation of this nation." Has Version A related resource that is a version, edition, or adaptation of the described resource. An identical version of the <a href="https://www.slaverymonuments.org/items/show/1139" target="_blank" rel="noopener">Reconciliation Memorial</a> exists in Ouidah, Republic of Benin. Extent The size or duration of the resource. 144 in. (365.76 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Broadbent, Stephen. "Reconciliation Triangle." Broadbent Studio. Accessed April 11, 2019. https://broadbent.studio/reconciliation-triangle-casestudy. Hatch, John B. Race and Reconciliation: Redressing Wounds of Injustice. Lexington Books, 2008. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photographs by Rénee Ater Rights Information about rights held in and over the resource Public Art Commission, City of Richmond, 900 East Broad Street, Room 511, Richmond, Virginia, 23219, United States abstract bronze figurative inscription map slave ship https://mail.slaverymonuments.org/files/original/a1cc6e7b96ad566f941d0ab0d0f8a615.jpg 78a9a600a6f799146035bc4448c2ac1a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Resistance Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this section commemorate the enslaved and free men and women who resisted bondage and worked to end the institution of slavery. In her book, The Slave's Cause: A History of Abolition (2016), historian Manisha Sinha examines the long history of Black resistance to chattel slavery. Resistance to enslavement took many forms—from rebellions aboard slave ships and on plantations to the enslaved slowing the pace of work, breaking tools, feigning illness, and escaping from bondage. The works in this section honor these diverse histories of resistance. The <a href="https://www.slaverymonuments.org/items/show/1122" target="_blank" rel="noopener">Amistad Memorial</a> in New Haven, Connecticut, recognizes Sengbe Pieh, who led a revolt of abducted Africans against their captors on the Spanish slave ship, the Amistad; the <a href="https://www.slaverymonuments.org/items/show/1159" target="_blank" rel="noopener">Three Rebel Queens of the Virgin Islands</a> in St. Thomas, U.S. Virgin Islands, celebrates the women of the Fireburn Revolt of 1878; and the <a href="https://www.slaverymonuments.org/items/show/1156" target="_blank" rel="noopener">Gaspar Yanga</a> statue highlights a seventeenth-century self-emancipated leader of a maroon colony near Veracruz, Mexico. In the near future, we will add more commemorative works from the Caribbean to this theme including monuments and memorials in Antigua, Jamaica, Guadeloupe, and Martinique. Updated January 26, 2026 Creator An entity primarily responsible for making the resource Written by Grace Yasumura Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Emancipation Statue (Bridgetown, Barbados) Subject The topic of the resource Subject (Topic) Barbados--Bridgetown Enslaved persons--Emancipation--Barbados Freedom Public art Public sculpture Resistance Slave insurrections--Barbados Slavery--Bardados Slavery--England Transatlantic slave trade Subject (Name) Bussa (dates unknown) Subject (Object Type) Commemorative sculpture Description An account of the resource The monumental bronze statue depicts a semi-nude figure, dressed only in shorts. He raises his arms in a triumphant gesture, which accentuates the broken chains around his wrists. The identity of the figure is thought to be the leader of the April 1816 slave revolt, General Bussa. Although ultimately unsuccessful, it was the largest revolt in Barbadian history, General Bussa commanded nearly 400 freedom fighters. Creator An entity primarily responsible for making the resource Broodhagen, Karl, 1909–2002 Date A point or period of time associated with an event in the lifecycle of the resource March 28, 1985 Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant J. T. C. Ramsey Roundabout, ABC Highway and Highway 5, Bridgetown, Barbados Alternative Title An alternative name for the resource. The distinction between titles and alternative titles is application-specific. Bussa Has Part A related resource that is included either physically or logically in the described resource. Inscription on front of monument,an excerpt from the Abolition Act of 1833: ...Be therefore enacted…that from and after the first day of August one thousand eight hundred and thirty-four all persons who in conformity with the laws now in forces in the said colonies respectively shall on or before (August 1, 1834) have been duly registered as slaves in and such colony and who on (August 1, 1834) shall be actually within any such colony and who shall by such registries appear to be (August 1, 1834) of the full age of six years and upwards shall by force and virtue of this act...become and be apprenticed laborers...' The Abolition Slavery Act (1883) This statue was erected by the government and people of Barbados to commemorate the 150th anniversary of the abolition of slavery and the emancipation of Barbadians from the institution of slavery This statue was unveiled by the Prime Minster The Hon. H. B. St. John O. C. M. P. on 28 March 1984 Inscription on side of monument: "De Ting Come from England To Set We Free Now Lick And Lock-Up Done Wid Hurrah Fuh Jin-Jin. . ." Barbados Folk Song Medium The material or physical carrier of the resource. Bronze Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Source A related resource from which the described resource is derived Photograph: Daniel Berek, <a href="https://www.flickr.com/photos/dlberek/12711319014/in/photolist-knjstT-21ogW3e-2jEVqzG-knfQhE-2oiPipb-2h5Be8V-oVhsgN" target="_blank" rel="noopener">Flickr</a> Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Conduru, Roberto. "Transnational Counter-monuments: Anti-Slavery and Pro-Freedom Memorials." ReVista: Harvard Review of Latin America, July 30, 2021. Accessed January 28, 2026, https://revista.drclas.harvard.edu/transnational-counter-monuments/ Rights Information about rights held in and over the resource Division of Culture, Prime Minister's Office, Turners Hall, Saint Andrew, Barbados Contributor An entity responsible for making contributions to the resource Government of Barbados https://mail.slaverymonuments.org/files/original/dba00a4a2d4141fa8374689ebefa0f4f.jpg d9b95d4d7821c7e2144bf1330e878a10 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Black Abolitionists: Tubman, Douglass, Truth Creator An entity primarily responsible for making the resource Written by Grace Yasumura Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments and memorials in this collection commemorate the extraordinary achievements of three U.S. Black abolitionist and freedom seekers: Harriet Tubman, née Araminta Ross, (c. 1822-1913); Frederick Douglass (c. 1818-1895); and Sojourner Truth (1797-1883). Born into slavery on Maryland’s Eastern Shore, Harriet Tubman escaped to freedom in 1849. During the next ten years, she made approximately thirteen trips into Maryland to rescue other enslaved family members and friends. She provided instructions for escape to about 70 more enslaved people who were able to self-emancipate. During the Civil War, she served the United States Army as a spy, scout, nurse and cook. As one of the most famous conductors of the Underground Railroad, the monuments in this section often depict Tubman leading groups of freedom seekers on their journey northwards to freedom, such as Mario Chiodo’s <a href="https://www.slaverymonuments.org/items/show/3" target="_blank" rel="noopener">Unwavering Courage in the Pursuit of Freedom</a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener">Swing Low</a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people. One of the most brilliant orators of his generation, Frederick Douglass worked ceaselessly for the cause of abolition. Among his many achievements, Douglass became one of the early and important critical theorists of photography, a medium invented in 1839. In a series of lectures delivered between 1861-1865, Douglass argued that photography had the power to shape people’s understandings of race and as such could be deployed to resist distorted representations of African Americans. Douglass, who was exceptionally aware of the power of his own image, sat for a number of portraits over several decades, circulating his image widely. His photographic portraits serve as the basis for a number of the works in this collection, including Ivan Schwartz’s <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Frederick Douglass</a>, created for the New York Historical Society. Sojourner Truth was born into slavery in 1797 in Swartekill, New York. She emancipated herself, escaping to freedom in 1826. During her 30-year career, she became a formidable force in several 19th-century reform movements, linking the struggles for Black freedom with women’s suffrage. Truth capitalized on both the affecting power of photography and its reproducibility to support her activism. She created carte-de-visite portraits of herself, which she copyrighted, adding the caption “I Sell the Shadow to Support the Substance. Sojourner Truth.” As Darcy Grimaldo Grigsby explores in her book Enduring Truths: Sojourner’s Shadows and Substance (2015), Truth “made her photographic portrait worth money in order to end slavery—and also became the strategic author of her public self.” Commemorative works such as the <a href="https://www.slaverymonuments.org/files/original/1b9f9d28475430765059a059a43787b2.jpg" target="_blank" rel="noopener">Sojourner Truth Memorial</a> in Florence, Massachusetts, are based on the photographic portrait that Truth so carefully created and circulated. Updated January 26, 2026 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Sculpture Physical Dimensions The actual physical size of the original image 72 in. (182.88 cm) Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sojourner Truth (San Diego, California) Creator An entity primarily responsible for making the resource Brown, Manuelita, 1941- Subject The topic of the resource Subject (Topic) Antislavery movements--United States California--San Diego Freedom Public art Public sculpture Women--Suffrage Subject (Name) Truth, Sojourner, c. 1797-1883 Subject (Object Type) Commemorative sculpture Description An account of the resource Truth's body is modeled in contrapposto, an Italian art term that describes a classical body postion with a subject's weight shifted to one side to suggest liveliness and motion. In this statue, Truth steps forward with her body weight on the left leg. Her right knee is bent slightly, and her booted heel raised. Appearing contemplative with a slightly puckered brow, the abolitionist seems to be sorting an idea and/or thinking about her upcoming journey. She wears a deep copper-colored dress and a green-blue shawl; the artist used varied patinas on the bronze surface to highlight Truth's simple clothes. In her right hand she holds a Bible; in the left hand a carpet bag. Overall, the artist represents Truth as a modest, thoughtful, and faithful woman, moving gracefully in the world. RA, 2/13/26 Date A point or period of time associated with an event in the lifecycle of the resource January 22, 2015 Contributor An entity responsible for making contributions to the resource UC San Diego; Vice Chancellor of Resource Management and Planning; Vice Chancellor of Equity, Diversity and Inclusion; UCSD Alumni; the Black Resource Center Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Type The nature or genre of the resource Visual Arts-Sculpture Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Ridge Walk, Thurgood Marshall College Campus, University of California at San Diego, San Diego, California, 92161, United States Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque mounted on stone support reads: Sojourner Truth (1797-1883) Suffragist and Abolitionist I feel safe in the midst of my enemies, for the truth is powerful and will prevail. Sculpted by Manuelita Brown Extent The size or duration of the resource. 72 in. (182.88 cm) Medium The material or physical carrier of the resource. Bronze Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Johnson, Erika. "Marshall College Unveils New Sojourner Truth Statue." UC San Diego Today, January 29, 2015. Accessed November 4, 2019. https://ucsdnews.ucsd.edu/feature/marshall_college_unveils_new_sojourner_truth_statue. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Rights Information about rights held in and over the resource Thurgood Marshall College Campus, University of California at San Diego, San Diego, California, 92161, United States Source A related resource from which the described resource is derived Photograph: <a href="https://www.tsahaistudio.com/artpiece/sojourner-truth/" target="_blank" rel="noopener">Manuelita Brown</a> Bible bronze figurative portrait