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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
Harriet Tubman Monuments
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
<div style="padding-right: 30%;">
<p>The monuments and memorials in the section commemorate the extraordinary achievements of the abolitionist and women’s rights activist <a href="https://www.harriettubmanmonuments.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman/tubman-bio" target="_blank" rel="noopener">Harriet Tubman</a>, née Araminta Ross, (c. 1822—1913). Born into slavery on Maryland’s Eastern Shore, she 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 <a href="https://www.harriettubmanmonuments.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman/tubman-ugrr/short-history-ugrr" target="_blank" rel="noopener">Underground Railroad</a>, 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"><em>Unwavering Courage in the Pursuit of Freedom</em></a>. In other works, such as Alison Saar’s <a href="https://www.harriettubmanmonuments.slaverymonuments.org/items/show/12" target="_blank" rel="noopener"><em>Swing Low</em></a>, Tubman is depicted alone, facing southward as she makes the perilous journey back to Maryland to free more enslaved people.</p>
</div>
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
156 x 96 x 132 in. (396.24 x 243.84 x 335.28 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
<em>Swing Low: Harriet Tubman Memorial</em> (New York City)
Subject
The topic of the resource
<p>Subject (Topic) <br />Abolitionists--United States<br />Anti-slavery movements--United States<br />New York--History<br />Northeastern United States <br />Public art <br />Public sculpture <br />Underground Railroad</p>
<p>Subject (Name) <br />Tubman, Harriet, 1822-1913</p>
<p>Subject (Object Type) <br />Commemorative sculpture</p>
Description
An account of the resource
Over-life size portrait sculpture of Harriet Tubman. Signed by the artist: A. Saar, 2006. Foundry stamp: DS/Decker Studios.
Creator
An entity primarily responsible for making the resource
Saar, Alison, 1956-
Source
A related resource from which the described resource is derived
Photographs by Renée Ater
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: November 13, 2008
Contributor
An entity responsible for making contributions to the resource
Quennell Rothschild & Partners, LLP (landscape architects), New York, New York; URS Corporation (engineering), New York, New York; City of New York; Manhattan Borough President’s Office; NYC Department of Cultural Affairs Percent for Art Program; NYC Department of Parks and Recreation; NYC Department of Design and Construction; and NYC Department of Transportation
Rights
Information about rights held in and over the resource
NYC Department of Cultural Affairs Percent for Art Program, 31 Chambers Street, 2nd Floor, New York, New York, 10007, 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
Harriet Tubman Plaza, St. Nicholas Avenue, West 122nd Street, and Frederick Douglass Boulevard, New York City, New York, 07062, United States
Alternative Title
An alternative name for the resource. The distinction between titles and alternative titles is application-specific.
<i>Harriet Tubman Memorial</i>; Harriet Tubman Triangle
Has Part
A related resource that is included either physically or logically in the described resource.
<p><em><strong>Inscripton on bronze plaque:</strong></em> <br />Harriet Tubman Memorial. <br />Alison Saar. Swing Low, 2007<br />Plaza Design in Collaboration with <br />Quennell Rothschild & Partners, LLP<br />Commissioned by the City of New York<br />Manhattan Borough President’s Office<br />NYC Department of Cultural Affairs, Percent for Art Program<br />NYC Department of Parks and Recreation<br />NYC Department of Transportation<br />NYC Department of Design and Construction</p>
<p><em><strong>Inscription on exterior granite wall:</strong> </em><br />“What a Beautiful Morning It Will Be! O Let My People Go.”</p>
<em><strong>Informational plaque:</strong> </em><br />Swing Low: Harriet Tubman Memorial<br />Harriet Tubman Triangle<br /><br />This larger-than-life bronze sculpture depicts abolitionist organizer and Underground Railroad leader Harriet Tubman (c. 1822-1913), and stands at the crossroads of St. Nicholas Avenue, West 122nd Street and Frederick Douglass Boulevard in Harlem. Douglass once said of Tubman that except for John Brown, he knew of "no one who has willingly encountered more perils and hardships to serve our enslaved people."<br /><br />Born into slavery in Maryland around 1822, Tubman escaped in 1849 via the Underground Railroad, the network of places and people dedicated to helping slaves find their way to freedom in non-slaveholding communities. Settling first in Philadelphia, then Canada, Tubman spent ten years returning to Maryland at great personal risk, to guide scores of friends and family members to freedom. Determined to end slavery, she later served the Union Army as a scout, spy and nurse in the Civil War. Settling in Auburn, New York after the war, she continued campaigning for equal rights for women and African-Americans. Her humanitarian work, including caring for the sick, homeless and disabled of all races, resulted in the establishment of the Harriet Tubman Home for the Aged in that community. She died in 1913 and was buried in Fort Hill Cemetery in Auburn with semi-military honors.<br /><br />The memorial, commissioned through the Department of Cultural Affairs' Percent for Art program, was created by African-American sculptor Alison Saar. The artist has depicted Tubman "not as the conductor of the Underground Railroad but as the train itself, an unstoppable locomotive," the roots of slavery pulled up in her wake. Saar designed stylized portraits of "anonymous passengers" of the Underground Railroad in Tubman's skirt, some of which were inspired by West African "passport masks." Around the granite base of the monument are bronze tiles alternately depicting events in Tubman's life and traditional quilting patterns.<br /><br />The multi-agency project included landscaping the formerly barren traffic triangle. Designed by Quennell Rothschild and constructed by URS, the renovated triangle features paving blocks and roughly hewn granite to create a natural setting. Plantings native to both New York and Tubman's home state of Maryland represent the woods and terrain traveled by Tubman and her Underground Railroad passengers, providing a contemplative space in which to consider Tubman's legacy.<br /><br />City of New York Parks & Recreation<br />www.nyc.gov/parks<br />October 2013
Extent
The size or duration of the resource.
156 x 96 x 132 in. (396.24 x 243.84 x 335.28 cm.)
Medium
The material or physical carrier of the resource.
Bronze; Chinese 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.
<p>Press Release. “Swing Low: Harriet Tubman Memorial Sculpture is Dedicated in Harlem.” NYC Parks. November 13, 2008. Accessed March 18, 2018, <a href="https://www.nycgovparks.org/news/press-releases?id=20772%20" target="_blank" rel="noreferrer noopener">https://www.nycgovparks.org/news/press-releases?id=20772%20</a>.</p>
<p>“Percent for Art Interview: Alison Saar.” NYC Department of Cultural Affairs. Accessed March 18, 2018, <a href="https://percentforartnyc.tumblr.com/post/77305087355/percent-for-art-interview-alison-saar" target="_blank" rel="noreferrer noopener">https://percentforartnyc.tumblr.com/post/77305087355/percent-for-art-interview-alison-saar</a>.</p>
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Relation
A related resource
<a href="https://www.youtube.com/watch?v=sYxY4hEECQY" target="_blank" rel="noreferrer noopener">“It’s My Park: Harriet Tubman Memorial,” NYC Parks, February 6, 2012</a>
References
A related resource that is referenced, cited, or otherwise pointed to by the described resource.
<a href="https://www.slaverymonuments.org/exhibits/show/commemorating-harriet-tubman" target="_blank" rel="noreferrer noopener">Monument and Myth: Commemorating Harriet Tubman and the Underground Railroad</a>
abolitionist
Alison Saar
anti-slavery
Harriet Tubman
New York City
Underground Railroad
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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
Cemeteries and Memorial Parks
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p>This collection is just a fraction of the burial sites dedicated to enslaved persons, "<a href="https://www.ncpedia.org/contrabands" target="_blank" rel="noopener">contrabands</a>," and freed persons. Many of these cemeteries and memorial parks have suffered greatly over the years--some have been desecrated and destroyed while others have been long ignored and fallen into disrepair. The monuments and memorials in this collection are part of local efforts to restore and recognize the importance of black life in death, including the <a href="https://www.slaverymonuments.org/items/show/1130" target="_blank" rel="noopener">Freedman's Cemetery Memorial</a> in Dallas, Texas, and the <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire.</p>
<p><strong>Further reading:</strong></p>
<p>Seth Freed Wesler, "Black Deaths Matter," The Nation, October 15, 2015, <a href="https://www.thenation.com/article/archive/black-deaths-matter/" target="_blank" rel="noopener">https://www.thenation.com/article/archive/black-deaths-matter/</a>.</p>
</div>
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
250 feet (76.2 meters)
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
<em>African Burial Ground National Monument</em> (New York City)
Subject
The topic of the resource
<p>Subject (Topic)<br />African Americans--New York<br />Cemeteries--New York<br />New York City--History<br />Northeastern United States<br />Public art<br />Public sculpture<br />Slave trade<br />Slavery--New York (State)</p>
<p>Subject (Object Type)<br />Commemorative sculpture</p>
Description
An account of the resource
<p>The memorial sits on .35 acres and includes seven distinct design features: Wall of Remembrance, Ancestral Re-Interment Grove, Memorial Wall, The Ancestral Chamber, Circle of the Diaspora, Spiral Processional Ramp, and The Ancestral Libation Court.<br /><br />The visitor is invited to walk through the monumental triangular structure known as “The Ancestral Chamber,” which represents the Middle Passage across the Atlantic Ocean. After passing through the chamber, the visitor encounters a spiral memorial wall featuring twenty religious symbols including a number of Adinkra symbols (Akan peoples, Ghana). The floor of the monument includes a world map centered on the West African coast with sun rays radiating towards North America, Brazil, Europe, and the Caribbean Islands.</p>
Creator
An entity primarily responsible for making the resource
Leon, Rodney, 1972-
Hollant-Denis, Nicole, 1965-
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedicated: October 5, 2007
Contributor
An entity responsible for making contributions to the resource
Monica Aliaga-Robles (project architect); Robert Silman Associates (structural engineer); Langan Engineering (civil engineer); Elizabeth Kennedy Landscape Architects; Domingo Gonzales Associates (lighting design); Dr. Gerald Palevsky (fountain); General Services Administration; Federal Steering Committee; African-American descendant community; and the National Park Service.
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
290 Broadway, New York, New York, 10007, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p>Description of the seven elements from Rodney Leon, “The Ancestral Libation Chamber: Memorial on the African Burial Ground National Memorial,” National Park Service, <a href="https://www.nps.gov/afbg/learn/historyculture/upload/Rodney-Leon-Memorial.pdf" target="_blank" rel="noopener">https://www.nps.gov/afbg/learn/historyculture/upload/Rodney-Leon-Memorial.pdf</a>.</p>
<p><strong>Wall of Remembrance </strong><br />As one happens by the north wall facing Duane Street you are immediately struck by the scale and detail of a highly polished wall of granite inscribed with following libation text.<br /><br /><em>For all those who were lost</em><br /><em>For all those who were stolen</em><br /><em>For all those who were left behind</em><br /><em>For all those who were not forgotten</em><br /><br /><em>The Wall of Remembrance</em> is intended to draw a person in, and thus begin the process of enlightenment and education.</p>
<p><strong>Ancestral Re-interment Grove </strong><br />A path extends itself north to south from Duane Street. Along this path are seven burial mounds marking the locations of the seven large sarcophagi containing the remains of the 419 African descendants that were re-interred in October of 2003. In addition, a grove of seven trees create a natural buffer and shelter between the re-interment zone and adjacent building. The burial mounds serve as markers and the trees as guardians for the entrance to the <em>Libation Chamber</em>. It is appropriate to place flowers and other offerings along the path in front of the burial mounds.</p>
<p><strong>Memorial Wall </strong><br />The Southern wall of the <em>Libation Chamber</em> shall be engraved with a map containing images and text describing the components of the African Burial Ground National Monument site in context of the burial ground's actual boundaries in lower Manhattan. This map will allow people to understand the extent and scope of the burial ground's actual size which extends significantly beyond the boundaries of the memorial site.</p>
<p><strong>The Ancestral Chamber </strong><br /><em>The Ancestral Chamber</em> is intended to reflect African cultural, spiritual and ancestral essence. This spiritual form rises out of the ground like an ancestral pillar and represents the soaring African spirit embracing and comforting all those who enter. <em>The Ancestral Chamber</em> is oriented towards the east and open to the sky above, allowing natural light to penetrate and illuminate the interior space. The interior of <em>The </em>Ancestral Chamber provides a sacred space for individual contemplation, reflection, meditation and prayer.</p>
<p><strong>Circle of the Diaspora </strong><br />Signs, symbols and images of the African Diaspora are engraved around the perimeter wall encircling the <em>Libation Court</em>. These symbols come from different areas and cultures throughout the Diaspora, especially Africa, Latin America and the Caribbean. Symbolic meaning is described below the image. As one circumambulates around the perimeter of the court and spirals down the processional ramp, these symbols present themselves as a reminder of the complexity and diversity of African culture's manifestation. They all come together to form a communal place and a reminder of the Burial Ground being an international center of gathering. For a complete list of the symbols, see <a href="https://www.nps.gov/afbg/learn/historyculture/adinkra-symbols.htm" target="_blank" rel="noopener">https://www.nps.gov/afbg/learn/historyculture/adinkra-symbols.htm</a>.</p>
<p><strong>Spiral Processional Ramp </strong><br /><em>The Spiral Processional Ramp</em> descends down 4’ below street level thereby bringing the visitor physically, psychologically and spiritually closer to the ancestors and original interment level. The ramp and stairs serve as bridges between the living and the spiritual realm. They symbolize the process of transcendence from physical to spiritual and passage from profane to sacred. The process will evolve from the public “secular” space of the city to the spiritual space of the <em>Libation Court</em> and culminate in the sacred space of <em>The Ancestral Chamber</em>.</p>
<p><strong>Ancestral Libation Court </strong><br /><em>The Ancestral Libation Court</em> is situated on axis with <em>The Ancestral Chamber</em>. It is located 4’ below street level, providing a physical and psychological separation from the public activity of the surrounding urban environment. The Libation Court is a communal gathering place where small to medium-scale public cultural ceremonies may occur. This spiritual space is where re- consecration of the African Burial Ground National Monument will continually take place during the libation or other ceremonial rituals. The sacred ceremonial ritual of “libation” is the act which will serve as an offering and an acknowledgement linking past, present and future generations in the spirit of Sankofa (an Adinkra symbol of West Africa meaning ‘learn from the past’).</p>
Extent
The size or duration of the resource.
250 feet (76.2 meters)
Medium
The material or physical carrier of the resource.
Black 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.
<p>“African Burial Ground.” The New York Preservation Archive Project. Accessed April 11, 2019, <a href="http://www.nypap.org/preservation-history/african-burial-ground/" target="_blank" rel="noopener">http://www.nypap.org/preservation-history/african-burial-ground/</a>.</p>
<p>Frohne, Andrea E. <em>The African Burial Ground in New York City: Memory, Spirituality, Space</em>. New York: Syracuse University Press, 2015.</p>
<p>"African Burial Ground : African Burial Ground National Monument, New York." Tourist Map, National Park Service, 2011. Accessed May 24, 2020, <a href="https://www.loc.gov/item/2011587283/" target="_blank" rel="noopener">https://www.loc.gov/item/2011587283/</a>.</p>
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: National Park Service, <a href="https://www.nps.gov/media/photo/gallery.htm?pg=3570929&id=19CBA11C-155D-451F-67AA7B78DDDCB3A4" target="_blank" rel="noopener">https://www.nps.gov/media/photo/gallery.htm?pg=3570929&id=19CBA11C-155D-451F-67AA7B78DDDCB3A4</a>
Date Created
Date of creation of the resource.
Groundbreaking: September 28, 2005
Rights
Information about rights held in and over the resource
National Park Service, U.S. Department of the Interior, 1849 C Street, NW, Washington, DC, 20240, United States
archaeology
black cemetery
New York City
Rodney Leon
slavery
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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 - Middle Passage Monuments
Contributor
An entity responsible for making contributions to the resource
Renée Ater
Description
An account of the resource
<div style="padding-right: 30%;">
<p class="p1"><span class="s1">This collection focuses on monuments and memorials dedicated to the <a href="https://www.slavevoyages.org/" target="_blank" rel="noopener"><span class="s2">Transatlantic Slave Trade </span></a>and the Middle Passage. Between the 16th and 19th centuries, between 10 million and 12 million enslaved Africans were forcibly taken across the Atlantic Ocean to the Americas. The Middle Passage refers to the Atlantic sea 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.</span><span class="s1"></span></p>
<p class="p1"><span class="s1">The works in this collection address the violence and trauma of the Transatlantic Slave Trade in various ways. Some monuments such as <a href="https://www.slaverymonuments.org/items/show/1137" target="_blank" rel="noopener"><span class="s2"><em>The Ark of Return </em></span></a>include the human figure, while others such as <a href="https://www.slaverymonuments.org/items/show/1135" target="_blank" rel="noopener"><span class="s2"><em>The Middle Passage Monument</em></span></a> use geometric forms (abstraction) to commemorate the victims of the Transatlantic Slave Trade.</span></p>
</div>
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.
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
<em>"Ark of Return": The Permanent Memorial at the United Nations in Honour of the Victims of Slavery and the Transatlantic Slave Trade</em> (New York City)
Subject
The topic of the resource
Subject (Topic)<br />Antislavery movements--United States<br />Transatlantic Slave Trade<br />Middle Passage<br />Northeastern United States<br />Public art<br />Public sculpture
Subject (Object Type) <br />Commemorative sculpture
Description
An account of the resource
<em>The Art of Return</em> asks visitors to reflect upon the legacy of the slave trade and the persistent problems of racism and bigotry. The ark includes three principal design elements. <br /><br />According to the artist: <br /><br />“The first element is a three-dimensional map inscribed on the interior of the memorial. This map highlights the African continent at its center and graphically depicts the global scale, complexity and impact of the triangular slave trade in "acknowledgment of the tragedy.<br /><br />The second element is a full-scale human figure lying horizontally in front of a wall inscribed with images of the interior of a slave ship. This is meant to communicate and educate visitors on the physical conditions endured by the millions of African people transported under extreme conditions during the middle passage. The visitors are provided the opportunity to seriously "consider the legacy" of slavery's impact upon humanity. <br /><br />The third element is a triangular reflecting pool which introduces water in a meditative, ritualistic and spiritual manner. Visitors are invited to pour libations or say a prayer in memory of the millions of souls that were lost "lest we forget" this monumental and historic tragedy.”
Creator
An entity primarily responsible for making the resource
Leon, Rodney
Date
A point or period of time associated with an event in the lifecycle of the resource
Public Unveiling: March 25, 2015
Contributor
An entity responsible for making contributions to the resource
UNESCO, the Permanent Memorial Committee of the United Nations; Member States of the United Nations
Relation
A related resource
To watch a video of the memorial unveiling, click <a href="https://www.un.org/en/events/slaveryremembranceday/memorial.shtml" target="_blank" rel="noopener">here.</a>
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
United Nations Visitors Plaza. 1st Avenue and 46th Street. New York, NY 10017, United States
Medium
The material or physical carrier of the resource.
Marble
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
Rodney Leon, "The Ark of Return,"<em> Rodney Leon Architects.</em> Accessed April 11, 2019, <a href="http://www.rodneyleon.com/the-ark-of-return" target="_blank" rel="noopener">http://www.rodneyleon.com/the-ark-of-return</a>
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 Renee Ater
anti-slavery
Middle Passage
New York City
Northeastern United States
Rodney Leon
Transatlantic Slave Trade
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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 Monuments
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
<div style="padding-right: 30%;">
<p><a href="https://www.nps.gov/frdo/learn/historyculture/frederickdouglass.htm" target="_blank" rel="noopener">Frederick Douglass</a> (c. February 1818—February 20, 1895), one of the most brilliant orators of his generation, 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 1861-865, 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 <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Ivan Schwartz’s <em>Frederick Douglass</em></a>, created for the New York Historical Society.</p>
</div>
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
96 in. (243.84 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
<em>Frederick Douglass Memorial</em> (New York City)
Creator
An entity primarily responsible for making the resource
Koren, Gabriel, 1947-
Miller, Algernon, 1945-
Subject
The topic of the resource
<p>Subject (Topic)<br />Abolitionists--United States<br />Antislavery movements--United States<br />Public art<br />Public sculpture<br />New York--History<br />Northeastern United States<br />Slavery--New York (State)</p>
<p>Subject (Name)<br />Douglass, Frederick, 1818-1895</p>
<p>Subject (Object Type)<br />Commemorative sculpture</p>
Description
An account of the resource
Standing to the right of a lectern, Gabriel Koren modeled Frederick Douglass is depicted as an elder statesman, with a furrowed brow and a deeply lined face. Resting his right hand atop the lectern, Douglass’ mouth is closed as he stares resolutely forward. Algernon Miller designed the granite seating and paving patterns, which are based on traditional African-American quilt motifs, as well as a bronze perimeter fence with a wagon wheel motif. Miller also created a bronze water wall that shows the Big Dipper constellation with the North Star. Quotations from Douglass embellish the site.
Source
A related resource from which the described resource is derived
Photographs by Renée Ater
Date
A point or period of time associated with an event in the lifecycle of the resource
Dedication: September 20, 2011
Contributor
An entity responsible for making contributions to the resource
NYC Percent for Art, NYC Department of Cultural Affairs; Mark Bunnell of Quenell Rothschild & Partners (landscape architects); and Polich-Tallix (foundry).
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
Central Park North and Frederick Douglass Boulevard, New York, New York, 10026, United States
Has Part
A related resource that is included either physically or logically in the described resource.
<p><em><strong>Inscription on granite block 1:</strong></em><br />Born Frederick Augustus Bailey, 1818, talbot county, Maryland.<br /><br /></p>
<p><em><strong>Inscription on granite block 2:</strong> </em><br />Married Anna Murray in 1838, who died in 1882.</p>
<p><em><strong>Inscription on granite block 3:</strong> </em><br />Married Helen Pitts in 1884.</p>
<p><em><strong>Inscription on granite block 4:</strong> </em><br />"Whatever may be said as to a division of duties and avocations, the rights of man and the rights of woman are one and inseparable, and stand upon the same indestructible basis." -1851</p>
<p><em><strong>Inscription on granite block 5:</strong></em> <br />"The flight was a bold and perilous one; but here I am, in the great city of new york, safe and sound, without the loss of blood or bone." -1855</p>
<p><em><strong>Inscription on granite block 6:</strong> </em><br />"Such is my detestation of slavery, that I would keep the merciless slaveholder profoundly ignorant of the means of flight adopted by the slave. he should be left to imagine himself surrounded by myriads of invisible tormentors..." -1855</p>
<p><em><strong>Inscription on granite block 7:</strong> </em><br />"Of my father I know nothing. Slavery had no recognition of fathers, as none of families." -1845</p>
<p><em><strong>Inscription on granite block 8:</strong> </em><br />"If there is no struggle there is no progress. Those who profess to favor freedom and yet deprecate agitation...Want crops without plowing up the ground...They want the ocean without the awful roar of its many waters...Power concedes nothing without a demand." -1857</p>
<p><em><strong>Inscription on pavement:</strong></em> <br />"Right is of no sex - truth is of no color - god is the father of us all, and we are all brethren" -Masthead of the North Star</p>
<p><em><strong>Inscription on north end of fountain.</strong></em><br />Frederick Douglass <br />1818-1895 <br /><br />Born into slavery in Maryland, Frederick Bailey found the way to freedom along the underground railroad in 1838. Disguised as a sailor, he traveled to manhattan by ship, and found shelter at the house of abolitionist David Ruggles on Lispenard Street. There, he awaited the arrival of his fiancee, Anna Murray, a free black woman from Maryland. They married, and together continued bailey's freedom journey to Massachusetts, where he changed his name to Douglass. Lauded for his oration, he became a prominent abolitionist and purchased his legal freedom from slavery. Publisher of the abolitionist journal the north star, he championed freedom for all Americans and endorsed women's suffrage. Douglass later held posts as assistant secretary of the Santo Domingo Commission (1871), Marshall of the District of Columbia (1877-1881) and U.S. Minister to Haiti (1889-1891). Following the death of his wife in 1884, Douglass married Helen Pitts. He died in Washington, D.C. On February 20, 1895.</p>
<p><em><strong>Inscription on south end of fountain:</strong> </em><br />Gabriel Koren, sculptor <br />Algernon Miller, site artist<br />December 2005</p>
<p><em><strong>Inscription across fountain with constellations:</strong></em><br />"The types of mankind are various. They differ like the waves, but they are one like the sea."<br /><br />". . . Under the flickering light of the north star behind some craggy hill or snow covered mountain, stood a doubtful freedom - half frozen - beckoning us to come and share its hospitality."</p>
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.
<p>"Frederick Douglass Memorial." Central Park, Monuments, New York City Department of Parks and Recreation. Accessed October 31, 2019,<a href="https://www.nycgovparks.org/parks/central-park/monuments/2098" target="_blank" rel="noopener"> https://www.nycgovparks.org/parks/central-park/monuments/2098</a>.</p>
<p>"Harlem Focus: Public Monuments: Art in Collaboration with Landscape Design." Cooper Hewett, Smithsonian Design Museum, May 9, 2013. Accessed May 23, 2020, <a href="https://www.cooperhewitt.org/tag/algernon-miller/" target="_blank" rel="noopener">https://www.cooperhewitt.org/tag/algernon-miller/</a> and <a href="https://www.youtube.com/watch?time_continue=4&v=5K_LVkcVq-g&feature=emb_logo" target="_blank" rel="noopener">https://www.youtube.com/watch?time_continue=4&v=5K_LVkcVq-g&feature=emb_logo</a>.</p>
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
NYC Parks, The Arsenal, Central Park, 830 Fifth Avenue, New York, New York, 10065, United States
Extent
The size or duration of the resource.
96 in. (243.84 cm.)
abolitionist
Algernon Miller
anti-slavery
Central Park
Frederick Douglass
Gabriel Koren
New York City
-
https://slaverymonuments.org/files/original/474e533a7610662348e0eae1b2135220.JPG
3d1967932fcf8cef81f9a2fcda7b445a
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 Monuments
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
<div style="padding-right: 30%;">
<p><a href="https://www.nps.gov/frdo/learn/historyculture/frederickdouglass.htm" target="_blank" rel="noopener">Frederick Douglass</a> (c. February 1818—February 20, 1895), one of the most brilliant orators of his generation, 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 1861-865, 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 <a href="https://www.slaverymonuments.org/items/show/1193" target="_blank" rel="noopener">Ivan Schwartz’s <em>Frederick Douglass</em></a>, created for the New York Historical Society.</p>
</div>
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
<em>Frederick Douglass</em> (New-York Historical Society)
Creator
An entity primarily responsible for making the resource
<a href="https://www.studioeis.com/" target="_blank" rel="noopener">StudioEIS</a>
Schwartz, Ivan, 1951
Subject
The topic of the resource
<p>Subject (Topic)<br />Abolitionists--United States<br />Anti-slavery movements--United States<br />Public art<br />Public sculpture<br />New York--History<br />Northeastern United States<br />Slavery--New York (State)</p>
<p>Subject (Name)<br />Douglass, Frederick, 1818-1895</p>
<p>Subject (Object Type)<br />Commemorative sculpture</p>
Description
An account of the resource
A life-size sculpture of the abolitionist Frederick Douglass stands atop the staircase at the West 77th Street entrance to the New-York Historical Society. Douglass gazes forward, holding a pair of books in his left hand, while his right arm rests downward. Fully bearded, Douglass stares off into the distance.
Source
A related resource from which the described resource is derived
Photograph: StudioEIS, <a href="https://www.studioeis.com/bronze-sculpture/xe37y3a83pko4kay2tmln13ps3urii" target="_blank" rel="noopener">https://www.studioeis.com/bronze-sculpture/xe37y3a83pko4kay2tmln13ps3urii</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
Unveiled: October 25, 2011
Contributor
An entity responsible for making contributions to the resource
New-York Historical Society
Rights
Information about rights held in and over the resource
New-York Historical Society, 170 Central Park West at West 77th Street, New York, New York, 10024, United States
Relation
A related resource
<a href="http://www.newyorktalkingstatues.com/hear-the-statues-talk.html" target="_blank" rel="noopener">Frederick Douglass, Hear the New York Statues Talk</a>
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
New-York Historical Society, 170 Central Park West at West 77th Street, New York, New York, 10024, United States
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.
<p>Dunlap, David, W. "No Debate: It’s Lincoln and Douglass." New York Times, November 1, 2011. Accessed October 31, 2019, <a href="https://cityroom.blogs.nytimes.com/2011/11/01/no-debate-its-lincoln-and-douglass/" target="_blank" rel="noopener">https://cityroom.blogs.nytimes.com/2011/11/01/no-debate-its-lincoln-and-douglass/March.</a></p>
<p>Saxena, Jaya. "Creating the Humanity in Bronze Statues." Behind the Scenes, New-York Historical Society, March 14, 2012. Accessed October 31, 2019, <a href="http://behindthescenes.nyhistory.org/creating-the-humanity-in-bronze-statues/" target="_blank" rel="noopener">http://behindthescenes.nyhistory.org/creating-the-humanity-in-bronze-statues/</a>.</p>
<p>"Meet Michael, the Living Historian Behind Our Frederick Douglass Statue (Part I)." History Detectives, New-York Historical Society, February 5, 2018. Accessed, May 24, 2020, <a href="http://historydetectives.nyhistory.org/2018/02/meet-living-historian-behind-new-york-historicals-frederick-douglass-statue-part-1/" target="_blank" rel="noopener">http://historydetectives.nyhistory.org/2018/02/meet-living-historian-behind-new-york-historicals-frederick-douglass-statue-part-1/</a>.</p>
<p>"Meet the Living Historian Behind Our Frederick Douglass Statue (Part II)." History Detectives, New-York Historical Society, February 26, 2018. Accessed, May 24, 2020, <a href="http://historydetectives.nyhistory.org/2018/02/meet-living-historian-behind-frederick-douglass-statue-part-ii/" target="_blank" rel="noopener">http://historydetectives.nyhistory.org/2018/02/meet-living-historian-behind-frederick-douglass-statue-part-ii/</a>.</p>
Rights Holder
A person or organization owning or managing rights over the resource.
Renée Ater
Extent
The size or duration of the resource.
Unknown
abolitionist
anti-slavery
Frederick Douglass
Ivan Schwartz
New York City
StudioEIS