5 10 134 https://slaverymonuments.org/files/original/d440d91b73ac14e0317dc799e4283a96.jpg 51365e7d4eb7a3323c5de0f77c39ba18 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 Frederick Douglass (New York, New York) Creator An entity primarily responsible for making the resource Schwartz, Ivan, 1951- Studio EIS Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom New York (State)--New York Public art Public sculpture Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture 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. 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: <a href="https://commons.wikimedia.org/wiki/File:Frederick_Douglass_Statue_at_the_NYHS_07.jpg" target="_blank" rel="noopener">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource October 25, 2011 Contributor An entity responsible for making contributions to the resource New-York Historical Society (now The New York Historical) Rights Information about rights held in and over the resource The New York Historical, 170 Central Park West at West 77th Street, New York, New York, 10024, 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 The New York Historical, 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. Dunlap, David, W. "No Debate: It’s Lincoln and Douglass." New York Times, November 1, 2011. Accessed October 31, 2019. https://cityroom.blogs.nytimes.com/2011/11/01/no-debate-its-lincoln-and-douglass/March. Saxena, Jaya. "Creating the Humanity in Bronze Statues." Behind the Scenes, New-York Historical Society, March 14, 2012. Accessed October 31, 2019. http://behindthescenes.nyhistory.org/creating-the-humanity-in-bronze-statues/. "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. http://historydetectives.nyhistory.org/2018/02/meet-living-historian-behind-new-york-historicals-frederick-douglass-statue-part-1/. "Meet the Living Historian Behind Our Frederick Douglass Statue (Part II)." History Detectives, New-York Historical Society, February 26, 2018. Accessed, May 24, 2020. http://historydetectives.nyhistory.org/2018/02/meet-living-historian-behind-frederick-douglass-statue-part-ii/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater bronze figurative portrait https://slaverymonuments.org/files/original/2d6dbf6b56bec62789c06c3380744772.jpeg 62459da73c6343c4a775547032b6c892 https://slaverymonuments.org/files/original/f3318a4aac9eb56e69b5d30b4b334c57.jpeg 54b899dc314c31a08f19189e7510ec25 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 80.4 in. (204.22 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 (Rochester, New York) Creator An entity primarily responsible for making the resource Kim, Olivia, 1979- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Enslaved persons--Emancipation Freedom New York (State)--Rochester Public art Public sculpture Subject (Name) Douglass, Frederick, 1818-1895 Subject (Object Type) Commemorative sculpture Description An account of the resource To mark the bicentennial of Frederick Douglass’ birth, the City of Rochester, NY, commissioned Olivia Kim to create thirteen live-size portraits of Douglass in 2018, placing them throughout the city at sites significant to Douglass’s life and work. Kim took inspiration from Stanley W. Edwards’ nineteenth-century statue of Douglass, originally erected in front of the old New York Central Train Station in Rochester, New York. Although the works are fiberglass, Kim recreated the patinated bronze of Edward’s original work.  Like Edward's original work, Douglass’ arms are slightly outstretched, his palms open upward. Kim used the hands of Kenneth B. Morris Jr., the great-great-great-grandson of Douglass, to create the hands of Douglass in her own work. In 2023, the City of Rochester acquired ten of the statues, which are undergoing repair and restoration. They will be placed in ten new indoor locations. The remaining three statues are in the care of RCTV, Rochester Educational Opportunity Center, and the University of Rochester. Date A point or period of time associated with an event in the lifecycle of the resource July 19, 2018 Contributor An entity responsible for making contributions to the resource Rochester Community Media Center (Carven Eison); Rochester Contemporary Art Center (Bleu Cease); Frederick Douglass Family Initiatives; Frederick Douglass Bicentennial Commemoration Committee 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 School 12: Anna Murray Douglass Academy, 999 South Avenue, Rochester, New York, 14620, United States Extent The size or duration of the resource. 80.4 in. (204.22 cm) Medium The material or physical carrier of the resource. Fiberglass 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 Renée Ater Relation A related resource <a href="https://www.slaverymonuments.org/items/show/1195" target="_blank" rel="noopener">Stanley W. Edwards, Frederick Douglass, 1899</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. Kiley, Rich. "Douglass Monuments Bring History to Life." Rochester Institute of Technology, July 23, 2018. Accessed October 31, 2019. https://www.rit.edu/news/douglass-monuments-bring-history-life. Bureau of Communications and Special Events, City of Rochester. "Frederick Douglass Statues." Accessed February 20, 2025. https://www.cityofrochester.gov/departments/communciations-and-special-events/frederick-douglass-statues. Has Version A related resource that is a version, edition, or adaptation of the described resource. The temporary locations of the thirteen Frederick Douglass statues in Rochester, New York in 2018: School 12: Anna Murray Douglass Academy (999 South Avenue) Hochstein School of Music and Dance (50 North Plymouth Avenue)   Talman Building (25 East Main Street).  42 Favor Street Central Avenue and St. Paul Street Corinthian Street at State Street Alexander Street near East Avenue Alexander Street and Tracy Street Kelsey’s Landing in Maplewood Park (89 Maplewood Drive) Mt. Hope Cemetery Washington Square Park Rochester Educational Opportunity Center (161 Chestnut Street) University of Rochester’s Rush Rhees Library, Rare Books and Special Collections Rights Information about rights held in and over the resource City of Rochester, Department of Environmental Services, 30 Church Street, Rochester, New York, 14614, United States fiberglass figurative portrait https://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://slaverymonuments.org/files/original/23343f5c1fdb34bbf0841f511c43ae13.jpg 83365b2673505582e3d0578824f21a12 https://slaverymonuments.org/files/original/97b3a70e0ebc6f2804d73eaa1b78c9d0.jpg 34cdf22721dadf589cda4df1fa8c6d30 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 Burial Grounds Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This collection is just a fraction of the burial grounds dedicated to enslaved persons, "contrabands," 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; <a href="https://www.slaverymonuments.org/items/show/1136" target="_blank" rel="noopener">African Burial Ground National Memorial </a>in New York City; <a href="https://www.slaverymonuments.org/items/show/1128" target="_blank" rel="noopener">African Burying Ground Memorial</a> in Portsmouth, New Hampshire; and <a href="https://www.slaverymonuments.org/items/show/2" target="_blank" rel="noopener">Contrabands and Freedmen Cemetery Memorial</a> in Alexandria, Virginia. As of 2026, the Black Cemetery Network (blackcemeterynetwork.org) has documented 201 Black cemeteries in New England, the Middle Atlantic, the South, and the Midwest. Some of these cemeteries are dedicated to enslaved persons such as the Enslaved Cemetery in Mahwah, New Jersey; Betton Hills Plantation Cemetery in Tallahassee, Florida; and the Enslaved Burial Ground in Old Round Rock Cemetery in Round Rock, Texas. In 2022, the African American Burial Grounds Preservation Program authorized the National Park Service to administer an annual grant program to assist in the preservation of historic Black burial grounds. See Congress.gov. "Text - H.R.6805 - 117th Congress (2021-2022): African-American Burial Grounds Preservation Act." April 28, 2022. https://www.congress.gov/bill/117th-congress/house-bill/6805/text. 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 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 Freedman’s Cemetery Memorial (Dallas, Texas) Subject The topic of the resource Subject (Topic) African Americans--History African American cemeteries Freed persons--Texas Public art Public sculpture Slavery--Texas Texas--Dallas Subject (Object Type) Commemorative sculpture Description An account of the resource The memorial is located in the Freedman Cemetery in Dallas, Texas. Established in 1861, it is one of the largest Freedman's cemeteries in the country. A Texas Red granite archway marks the entrance to the memorial. Two niches, located on either side of the arch, are adorned with life-size bronze figures (one in each niche). The free-standing figure on the left of the entrance, the so-called “Sentinel” or “Warrior,” is dressed in clothes inspired by the Benin culture of West Africa. He holds a large ceremonial machete with its blade pointed to the ground. His female counterpart, the “Prophetess,” holds a small harp to her chest with her left hand. On the other side of the arch within the memorial garden, two bronze figures occupy the niches. Unlike the free-standing works at the front of the archway, these works are bronze bas-reliefs. The figures emerge from a background that suggests the waves of an ocean. The female figure, the “Violated Soul,” whose wrists and feet are bound by iron manacles, covers her face with her hands. Her male counterpart, the “Struggling Soul,” is similarly shown with his wrists and feet bound by iron manacles; he covers his own scream with his bent left arm. Above each of the life-size bronze figures, in the top register of the arch, are twelve smaller bronze sculptures, suggestive of West African wood sculpture. Through the archway at the center of the memorial park, “Dream of Freedom,” sits atop a Texas Red granite circular plinth. The sculpture shows a newly emancipated couple. The male figure, whose shirtless torso is scarred by whip marks on his back, wraps his left arm around a kneeling woman. Directly behind “Dream of Freedom,” is a polished granite slab with Nia Akimbo’s poem, “Here.” Two remaining headstones from the original cemetery are embedded in the back of this granite slab. At the base of each statue, bronze plaques list the artist, title of the sculpture, and description of the work. Embedded in the interior arched wall are bronze plaques with poetry by ten children from local schools, who won a local poetry contest. In the lawn, several Texas Red granite blocks have bronze plaques attached to them, identifying the original riverbed and unmarked graves. Creator An entity primarily responsible for making the resource Newton, David S., 1967- Date A point or period of time associated with an event in the lifecycle of the resource June 19, 1999 Contributor An entity responsible for making contributions to the resource Black Dallas Remembered, Inc.; City of Dallas Office of Cultural Affairs; Dallas African American Museum; Dallas County Historical Commission; Freedman’s Foundation; Texas Department of Transportation; Mary Loving Blanchard (poet Nia Akimbo); and private donors. 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 Freedman’s Memorial Cemetery, 2525 N. Central Expressway, Dallas, Texas, 75204, United States Has Part A related resource that is included either physically or logically in the described resource. Historic marker: Freedman’s Cemetery This area of Dallas County was settled by former African American slaves shortly after the conclusion of the American Civil War. Freedman’s Cemetery, a graveyard for African Americans, was established in 1869 on one acre of land purchased by trustee Sam Eakins. Another three acres was acquired for cemetery purposes in 1879 by trustees A. Wilhite, Frank Read, A. Boyd, T. Watson, George English, Silas Pitman, and the Rev. A. R. Griggs, a former slave who later became a prominent local church leader and champion of early public education for the African American community. The community of churches, commercial enterprises, and residences that had developed in this area by the turn of the 20th century was by 1912 a part of the City of Dallas. Construction of the Central Expressway through here in the 1930s virtually eliminated all physical above-ground reminders of the cemetery. Descendants of persons buried here and the City of Dallas agreed in 1965 to establish the Freedman's Memorial Park and Cemetery at this site. Beginning in 1989 representatives of the community worked with the City of Dallas and the Texas Department of Transportation to preserve the historic Freedman’s Cemetery site prior to highway expansion. (1993) Bronze plaque: The Sentinel David Newton 1999 Symbolic guardian protecting site from disrespect or harm. His attire is based on Benin culture of West Africa. Bronze plaque: The Prophetess David Newton 1999 Symbolic of an African oral historian keeping the knowledge and memory of her ancestors alive. Bronze plaque: Violated Soul David Newton 1999 Symbolic of the violation of African women and the degrading nature of slavery, covered faces represents the loss of personal identity experienced by enslaved persons. Bronze plaque: The Struggling Soul David Newton 1999 Symbolic of the enslaved African’s resistance to slavery, and their constant struggle for freedom, the watery background represents the Atlantic Middle Passage unique to the American slave trade. Bronze plaque: Dream of Freedom David Newton 1999 Symbolic of a newly emancipated couple contemplating the death and suffering of their ancestors. Bronze plaque: Riverbed Symbolic of “Crossing Over” from the “Here” Monument to the “Afterlife” Cemetery Area Bronze plaque: Unmarked Graves Approximately 5,000 Unmarked Graves in This Area (Based on Arcaheological Report) Polished granite slab: “Here” by Nia Akimbo https://youtu.be/rua76I5Ptis Poetry bronze plaque: “Remembrance” The moment, once here, as of now bereft So many lives, all one by one taken, though Not to a sad place, for thorugh this unfair left They, in God’s glorious land, will awaken. Most now are gone, yet hardly forgotten- These treasured ancestors must live on In our spirits, we remain ever begotten And we shall never, from them, find ourselves gone. So much like a precious family heirloom Passed down through many generations Never to be lost or forgotten . . . too soon Yet to help us achieve our expectations We implore, please know, this is no morose fact Their dignity is returned to us at last. Olivia Linn 1995 Poetry bronze plaque: “Eulogy to an Unknown Freedman” We transient men of clay can well attest to The inherent frailty of the human frame. And do likewise confess that most of our names Are inevitably reduced to whispering ashes of fond recollections Scattering before the breath of the night wind That blows out the twilight our day; However, unlike this freedman, we can draw comfort from our nostalgic predilection To leave our moral names engraved in stone upon the sod, While he could only cling to the clarity of his perception That his name had been inscribed in the mind of God. Though anonymous here, the past deeds of this seemingly lost life of sorrows Still impacts our today and our tomorrows, For the complex fabric of our times is thickly interwoven With the sturdy cotton threads he spun his wheel of life. Yes, we’ve heard of this freedman-this “motherless” child of Africa Whose matchless paean(?), still echo here and do persuade us even now That we are, indeed, standing in an active valley of “them dry bones” With no need of rows upon rows of labeled stones, For it is certain that “on that great gettin up Mornin” This unidentified sleeping soul is going to stand up and us his name! Ramona Newton 1996 Poetry bronze plaque: “Undying Love” Black People, your minds is not fixed on grieving Yet to feel so much pain for so much time Many a soul wrecked; soon flees peace of mind- This hateful world still deceitful You toiled through sweat, suffering but believing Sometimes too hot, the sun above did shine Painful hearts pray for all to be fine Images of departure, enticing Spirits wandering though all those sad years Laid down a path for others, much like me Free, you strive to cleanse all the salty tears Working so that we would ever be free Your dearest love that that comforts all earthly fears Is reborn in this undying, watchful tree. Summer Allen 1995 Poetry bronze plaque: “A Life to Celebrate” Sweet sounding voices of our ancestors cry Oh, little black children, our own, please hear So you may know the weary-filled years Which set you here: Hope could not pass you by This life was hard so you, child, would apply To enjoy life, those things we hold so dear Not simply to toil, struggle and to fear: Offspring, learn now the road we had to buy Our spirits strong, living, rising like air Proud, Intelligent you are, and you are Celebrating life to show you care Never forget your past, those souls martyred For no one is promised sweet life is fair But unto all, the duty is to falter never. Remel Derrick 1995 Poetry bronze plaque: “Near This Place” Near here now sleep dead, though are they so cold? Let it be known, here warm breath resided In these lungs; under tragic struggle bold Steps these walked, yet their pain twas abided These simple lives unknown, until now Face here new meaning, and are not in vain. With death near, so much knowledge buried, how Many secrets are buried in these lives unchained? Yet lived these; lived boldly so and endured Yet knew pain, humanity they preserved As hate trod on, and true knowledge obscured While here Dignity, is kept, is honored This, never a cold vault of gloom, but here Is Peace, and a debt paid, this is now near. Jedidiah Anderson 1995 Poetry bronze plaque: “A Thread of Freedom” Opening the drawer to remove fresh cloth The stench of neglect infects pure air; The fabric worn from the work of a moth The texture haggard, from both time and wear, The history which lives with each thread, strong Every stitch brought together by brave souls Congregated to Fight against life’s Wrongs. They came from both sexes, the young and the old. I unfold the quilt to inhale beauty Different colors are combined with each other The passed down from those who value hard work and duty And would not live, property of another. Our inherited freedom, life’s treasure Simply belongs to all, without measure. Lysbet Musselwhite 1995 Poetry bronze plaque on brick wall: “The Post Oak” The Post Oak Tree stands remembering Black people remembering You! Jonathan Bailey 1995 Poetry bronze plaque on brick wall: “A Beginning” Birth Adventurous, fulfilling Beginning, crying, delivering New Experiences for yourself. Newness. Modesta Orono 1995 Poetry bronze plaque on brick wall: “Because I Was Free” I leaped in the air And shouted HALLELUJAH Because I Was Free. Tambre Kincade 1995 Poetry bronze plaque on brick wall: “A Celebration of Life” Living Pleasure, hurt now Ending, Moving, Pleasing To know my heritage. Venture. Alan Coleman 1995 Medium The material or physical carrier of the resource. Texas red granite; 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. Historic Preservation, Sustainable Development and Construction, City of Dallas. “Freedman’s Cemetery.” Accessed May 11, 2020. https://dallascityhall.com/departments/sustainabledevelopment/historicpreservation/Pages/freedman_s_cemetery.aspx. 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://texastimetravel.com/directory/freedmens-cemetery-memorial-tour/" title="Freedmen's Cemetery Memorial" target="_blank" rel="noopener">Texas Time Travel, Texas Historical Commission</a> Rights Information about rights held in and over the resource City of Dallas Office of Arts and Culture, Administrative Office, 1925 Elm Street, Suite 400, Dallas, Texas, 75201, United States archaeology bronze figurative granite poetry scourged back https://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://slaverymonuments.org/files/original/56e5254fa8996cb53478d3d1fba9abb5.jpg ae95b7e112502e2591b30dbe27643406 https://slaverymonuments.org/files/original/dec79cb901670083216ccd264a3014d1.jpg ec74fb87cb397aade350b7ebe0aa8249 https://slaverymonuments.org/files/original/c246d2f1c3bc80c8fadcb2fb86548099.jpg fb44018e5098a74e45f295c47a0fb7dc https://slaverymonuments.org/files/original/1ef7619aad0cc93ff94755289be82e11.jpg 3d941c1900d6b306143a74d37ec813c9 https://slaverymonuments.org/files/original/41ab9e139d4cc9c02e48e74b89a7c180.jpg 9ba6328e83fd985908786565754c15b6 https://slaverymonuments.org/files/original/57073ca3c32643c51dec4581a5e2415c.jpg e275ea1376111a7d7dedeb56c39495cb 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 Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. 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 Freedom Crossing Monument (Lewiston, New York) Creator An entity primarily responsible for making the resource Geissler, Susan, 1953- Date A point or period of time associated with an event in the lifecycle of the resource October 14, 2009 Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States  New York (State)--Lewiston Public art Public sculpture Underground Railroad Subject (Name) Tryon, Josiah, 1798-1886 Clark, Margaret Goff, 1913-2003 Subject (Object Type) Commemorative sculpture Description An account of the resource The monument consists of five bronze sculptures. The subjects are a family of freedom seekers including a father, mother and baby; Lewiston's Underground Railroad Station Master, Josiah Tryon; and the fictional heroine, Laura Eastman, from the Freedom Crossing book. A rowboat is at the center of the composition with the mother seated in the boat as Tryon hands her the baby. Two figures stand on rock meant to suggest the banks of the lower Niagara River. 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 Town of Lewiston Council; Village of Lewiston Board of Trustees; The Margaret L. Wendt Foundation; KeyBank Foundation; Niagara River Greenway Commission; New York State Power Authority; Historical Association of Lewiston, Inc. Rights Information about rights held in and over the resource Historical Association of Lewiston, Inc., 469 Plain Street, Lewiston, New York, 14092 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 Has Part A related resource that is included either physically or logically in the described resource. Bronze plaque on boulder at front of memorial: A tribute to the enslaved who sought a new life of freedom in Canada and to the local volunteers who helped them on their journey to cross the Niagara River. The Underground Railroad was a secret network of trails and safe homes that enslaved Africian-Americans from the southern United States used to escape to Canada in the 1800's. The British Empire, including Canada, abolished slavery in 1834. Lewiston was one of the final stops on the Underground Railroad and despite breaking the law, many local residents volunteered to help the escapees reach freedom in Canada. This monument depicts the moment in time when fugitive slaves saw Canada for the first time after traveling hundreds of treacherous miles, avoiding slave catchers who were paid to capture and return them to the south. Handing the baby to the fugitive mother is Josiah Tryon (1798-1886) Lewiston's volunteer "Station Master" for the Underground Railroad. A man of simple means, Tyron was quiet, humble and religious. By secretly escorting escaping slaves to freedom in his row boat under the cover of darkness, he gave them hope and became a champion of justice and equality. He truly had a rainbow heart, embracing people of all colors and creeds. With her outstretched arm pointing to Canada, Laura Eastman is the iconic heroine in the historical fiction book, Freedom Crossing, which is read by thousands of elementary students throughout the United States every year. Laura has become a symbol of the triumph of the human spirit over oppression. (Copyright 1986 by Margaret Goff Clark, by permission of Scholastic, Inc.) Historical Association of Lewiston, Inc. Dedicated October 14, 2009 Medium The material or physical carrier of the resource. Bronze; Stone 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. "NY State Network to Freedom: Freedom Crossing Monument, Lewiston." Renée Ater, On Monuments Blog. https://www.reneeater.com/on-monuments-blog/2019/10/31/ny-state-network-to-freedom-freedoms-crossing-monument-lewiston. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Lewiston Landing Park, North Water Street, Lewiston, New York, 14092, United States boat bronze figurative https://slaverymonuments.org/files/original/5f6378537d207a1cc73bf0137e10fa5c.jpeg 8569d239dc28d02956bcfef1e567c3a3 https://slaverymonuments.org/files/original/9afb9aa834b3a6b2f73112e710e15bdf.jpeg 461c001bd664900aaf6ae83f4f8d7e67 https://slaverymonuments.org/files/original/644459b72f60e76ba4cdacf17f558eb0.jpeg 733d1b934987e5c0301f4dabdd411922 https://slaverymonuments.org/files/original/b7e2e84058dd97d7aa48d31fa9c0fbab.jpeg 84576277d0910bf87205c504b3f1fee7 https://slaverymonuments.org/files/original/2de75cbfc675c3f6f221d1d8aadb0289.jpeg 8905b138c5bf106c4ac11c3c063dcc1a https://slaverymonuments.org/files/original/2265296b4d34d487c98e451c6f485e69.jpeg a46c3a14f752eb1941b1a174a5c19ecf 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 Universities and Slavery Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The monuments in this collection examine the intertwined histories of American universities and slavery. In his book, Ebony and Ivy: Race, Slavery, and the Troubled History of America’s Universities (2013), Craig Steven Wilder examines how universities and colleges were established and expanded because of the massive wealth they accrued from the transatlantic slave trade and slavery. Slave traders became the principal financiers of endowed faculty chairs and were appointed as university trustees, and colleges and universities made special efforts to recruit the sons of the slaveholding elite. Presidents of universities also held Black people in bondage, for example, Princeton’s first nine university presidents owned enslaved people. Universities and colleges such as the University of Virginia have recognized how enslaved people labored on their campuses, waiting on faculty and students and tending to their grounds. Just as importantly, the classes at many universities upheld the logic of racism foundational to American slavery. As researchers at Rutgers found, “The faculty and curriculum at Rutgers and other early American colleges reinforced the theological and scientific racism that provided the ideological and spiritual justification for the free labor of Africans, the absolute power of slave owners, and the separation of the races.” Often responding to pressure from students and activists, universities and colleges across the United States have begun to think more critically about how to address the complex, untold, and painful history of slavery and its ongoing legacy on their campuses. The memorials in this collection, such as the University of Virginia’s <a href="https://www.slaverymonuments.org/items/show/1127" target="_blank" rel="noopener" title="https://www.slaverymonuments.org/items/show/1127">Memorial to Enslaved Laborers</a> are intended as spaces for learning, healing, and reconciliation. In addition to building monuments, universities are also attempting to redress and repair their relationship with communities most affected by slavery. William and Mary’s Lemon Project, for example, focuses on “contributing to and encouraging scholarship on the 300-year relationship between African Americans and William and Mary, and building bridges between the university and Williamsburg and Greater Tidewater area.” 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 240 x 180 in. (609.6 x 457.2 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 From Absence to Presence, Commemorative to Enslaved Peoples of Southern Maryland (St. Mary's City, Maryland) Creator An entity primarily responsible for making the resource Allbritton, Shane, 1974- RE:site Studio Lee, Norman, 1972- RE:site Studio Baker, Quenton (poet), 1985- Subject The topic of the resource Subject (Topic) Enslaved persons Maryland--St. Mary's City Public art Public sculpture St. Mary's College of Maryland Slavery--Maryland Subject (Object Type) Commemorative sculpture Source A related resource from which the described resource is derived Photographs by Renée Ater<a href="https://www.smcm.edu/commemorative/%20" target="_blank" rel="noopener"></a> Date A point or period of time associated with an event in the lifecycle of the resource November 20, 2020 Contributor An entity responsible for making contributions to the resource METALAB (design optimization/management); Merge Studios (fabrication/installation); The Commemorative Selection Committee; St. Mary's College of Maryland; Governor Larry J. Hogan and the State of Maryland; Dr. Jeffrey J. Byrd and Mrs. Elizabeth A. Byrd; Maryland Heritage Areas Authority; Maryland State Arts Council; Southern Maryland Heritage Area Consortium Format The file format, physical medium, or dimensions of the resource JPEG Language A language of the resource English Description An account of the resource The installation is shaped to evoke the frame of a slave cabin, constructed from alternating horizontal rows of wooden clapboards and mirror-polished, stainless-steel panels. The reflective surfaces mirror the surrounding environment, while the hollow interior, which is inaccessible to the public, suggests a private space for reflection and introspection. Inscribed across the stainless-steel panels are redacted text from slave advertisements and runaway slave notices from Southern Maryland—erasure poetry by Quenton Baker—that extend across the walls and roof, weaving erased memory and acts of commemoration into the entire structure. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant 47777 Mattapany Road, St. Mary's City, Maryland, 20686, United States Rights Information about rights held in and over the resource St. Mary's College of Maryland, 47645 College Drive, St. Mary's City, Maryland, 20686, United States Type The nature or genre of the resource Building and Structures Visual Arts-Sculpture Medium The material or physical carrier of the resource. Steel frame; Polished mirror stainless steel; Tropical hardwood Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. St. Mary's College of Maryland. "About the Commemorative." Accessed May 3, 2021. https://www.smcm.edu/honoring-enslaved/about-commemorative/. SEGD. "From Absence to Presence, The Commemorative to Enslaved Peoples of Southern Maryland: Honor Award 2022." SEGD, Projects. Accessed February 10, 2026. https://segd.org/projects/from-absence-to-presence-commemorative-to-enslaved-peoples-of-southern-maryland/. King, Julia A. "Notice is Hereby Given: The Commemorative to Enslaved Peoples of Southern Maryland." In Grappling with Monuments of Oppression, eds. Christopher C. Fennell. 156-171. Routledge, 2025. 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. History of site information plaque: From Absence to Presence, Commemorative to Enslaved Peoples of Southern Maryland History of the Site Between 1750 and 1815, this field was home to three or four enslaved households. They labored for John Hicks and later John Mackall, both planters whose wealth was built on slave labor. Here along Mattapatty Road--then the main route into St. Mary's City--this housing compound, and another one across the road, would have been visible to all who passed by. In 2016, St. Mary's College of Maryland archaeologists unearthed fragments of brick, ceramics, tobacco pipes and bottle glass suggesting where these families' cabins once stood. The archaeologists believe the houses were probably of rough log construction with wooden chimneys and brick hearths. The cabins probably had few or no windows and dirt floors. Inside the cabins and out of sight of plantation surveillance, the families furnished their homes with both plain and decorated ceramics, possibly purchased with money made selling garden vegetables. Traces of garden features were found in this vicinity and documents show that enslaved families or nearby plantations sold their produce in the neighborhood. Although enlsaved, the families living here were probably able to travel to nearby farms, to church, and to the store in nearby St. Inigoes. In 1814, during the War of 1812, the British Navy issued a call to enslaved people in Southern Maryland to join against Americans and thereby earn their freedom. Nineteen men, women, and children enslaved by John Mackall heeded the call and joined the British. Based on the absence of artifacts after 1814, archaeologists suspect that some of these individuals may have come from this compound. A short three years later, on Easter Monday in 1817, the memory of those who had self-emancipated still fresh in everyone's minds, free and enslaved, a group of an estimated 150-200 enslaved men gathered at a dram shop, or tavern, near the store in St. Inigoes. When the local constable attempted to break up the gathering, the men resisted, a melee ensued, and some men were arrested for insurrection. No doubt men from the Mackall plantation were involved in the uprising, although their names were not among the arrested. By uncovering this hidden Black landscape, both here in St. Mary's City and throughout Southern Maryland, we can understand not only the unfinished work of the American Revolution, but the African American role in the struggle for freedom for all. Object information plaque: From Absence to Presence, Commemorative to Enslaved Peoples of Southern Maryland Activist Angela Davis described the sacredness of slave quarters in the lives of enslaved people as "the only space where they could truly experience themselves as human beings." This form is inspired by the 'ghost frame' architecture found on the site of Historic St. Mary's City. Rows of erasure poetry are cut from mirrored surfaces, creating an oscillation between legibility and illegibility. We experience the loss or un-speakability within fragment historical narratives of slavery. The words of archival documents, from St. Mary's County, of historical runaway slave advertisements are "redacted" by clapboards to reveal an emergent narrative of enslaved people. The reflective nature of the walls suggests that even as viewers of the present day, we are not to penetrate the sacred private space of the enslaved people who were once present at the site. The Commemoration creates a juxtaposition between the current site of a campus sports field with the past of a slave plantation field, causing us to reflect on how our lives are connected to the lives of the enslaved peoples throughout history. At night, the words of poetry are illuminated and projected upon the ground, recalling the starburst motif found on some of the stoneware artifacts discovered at the St. Barbara's site. Academics speculate the star form may symbolize Anansi, a character originating in Asante folklore who unites society against hostile outside forces. Anansi undermined the plantation system, resiting slavery through self-emancipation. The starburst form also evokes the North Star, which played a key role in helping enslaved peoples to find their way: a beacon to truth north and freedom. The illuminated structure appears as a beacon keeping eternal vigil to the memory and resilience of the enslaved peoples who once lived, loved, worked and resisted on the grounds of St. Mary's College. Artists: Shane Albritton and Norman Lee (RE:site) with poet Quenton Baker. Commissioning Agent: St. Mary's College of Maryland This project was made possible with funds from: The State of Maryland, St. Mary's College of Maryland, Maryland State Arts Council, Maryland Heritage Areas Authority, Southern Maryland Heritage Area Consortium, Elizabeth and Jeffry Byrd. Extent The size or duration of the resource. 240 x 180 in. (609.6 x 457.2 cm) https://slaverymonuments.org/files/original/8c6ffefb82885fe1cf6733f740146bc6.jpeg 0206afab2634ec4de8d93e3d5f6f2e8a 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 Underground Railroad Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource The memorial and monuments in this collection are dedicated to the Underground Railroad, an organized network of routes and safe houses that assisted freedom seekers [enslaved people] on their journeys northward. The Underground Railroad was part of the larger movement for the abolition of slavery in the United States. The movement to abolish slavery was a complicated political movement that, at its core, was driven by the resistance and activism of enslaved Black people and freedmen and women abolitionists. Historian Manisha Sinha explores the history of American abolition, including the Underground Railroad in The Slave's Cause: A History of Abolition (2016).  Although Harriet Tubman is the most famous conductor in the Underground Railroad, she is not the subject of the memorials featured in this collection (see the collection on this site, <a href="https://www.slaverymonuments.org/collections/show/1" target="_blank" rel="noopener">Black Abolitionists</a>, to view works specifically dedicated to her life and work). Rather the monuments and memorials featured here, such as Ed Dwight's <a href="https://www.slaverymonuments.org/items/show/1170" target="_blank" rel="noopener">Gateway to Freedom: International Memorial to the Underground Railroad</a>, highlight other prominent conductors, as well as celebrate the fortitude and bravery of the freedom seekers as they made the perilous journey north. 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 x 120 x 144 in. (304.8 x 304.8 x 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 Gateway to Freedom: International Memorial to the Underground Railroad (Detroit, Michigan) Subject The topic of the resource Subject (Topic) Antislavery movements--United States Freedom Fugitive slaves--United States Michigan--Detroit Public art Public sculpture Underground Railroad Subject (Object Type) Commemorative sculpture Description An account of the resource Two gateway pillars (approximately fifteen feet tall), topped with candles symbolizing the “Flame of Freedom,” flank Ed Dwight's memorial to the Underground Railroad. The work, which overlooks the Detroit River, includes a ten-by-twelve-foot sculptural group: eight freedom seekers and an Underground Railroad conductor, who gazes and points towards Canada. Dwight modeled the conductor after George DeBaptiste, a freeman from Virginia who migrated to Detroit in 1846. DeBaptiste was an active abolitionist, Underground Railroad operative, and leader of the Vigilant Committee of Detroit, a watchdog and legal advocacy group for the black community. Panels with engravings of quilt squares appear on either side of the figural group. Here, Dwight appears to be referencing one of the most popular myths surrounding the Underground Railroad: “Freedom Quilts,” objects said to have been created by passengers of the Underground Railroad and hung in windows as coded maps or guideposts for escapees on the run. The base of the sculpture is adorned with an engraving of a lantern set inside a windowsill. Creator An entity primarily responsible for making the resource Dwight, Ed, 1933- Date A point or period of time associated with an event in the lifecycle of the resource October 20, 2001 Contributor An entity responsible for making contributions to the resource Detroit 300; International Underground Railroad Monument Collaborative (now the Michigan Underground Railroad Exploratory Collective) Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Hart Plaza, 1 Hart Plaza, Detroit, Michigan, 48226, United States Has Part A related resource that is included either physically or logically in the described resource. Inscription on base: Until Emancipation, Detroit and the Detroit River community served as the gateway to freedom for thousands of African American people escaping enslavement. Detroit was one of the largest terminals of the Underground Railroad, a network of abolitionists aiding enslaved people seeking freedom. Detroit's Underground Railroad code name was Midnight. At first, Michigan was a destination for freedom seekers, but Canada became a safer sanctuary after slavery was abolished there in 1834. With passage of the Fugitive Slave Act in 1850, many runaways left their homes in Detroit and crossed the river to Canada to remain free. Some returned after Emancipation in 1863. The successful operation of Detroit's Underground Railroad was due to the effort and cooperation of diverse groups of people, including people of African descent, Whites, and North American Indians. This legacy of freedom is a vital part of Detroit and its history. Plaque on the back of the memorial: International Memorial to the Underground Railroad The Gateway to Freedom Ed Dwight- Sculptor Dedicated October 20, 2001 With companion work Tower of Freedom in the Civic Esplande, Windsor, Ontario, Canada A project of the Detroit 300 and the International Underground Railroad Monument Collaborative. Extent The size or duration of the resource. 120 x 120 x 144 in. (304.8 x 304.8 x 365.76 cm) Medium The material or physical carrier of the resource. Bronze; Pink 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. Faires, Nora. "Across the Border to Freedom: The International Underground Railroad Memorial and the Meanings of Migration." Journal of American Ethnic History 32, no. 2 (2013): 38-67. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater 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 Source A related resource from which the described resource is derived Photograph: <a href="https://www.waymarking.com/waymarks/WMHC02_Gateway_to_Freedom_Detroit_Michigan_USA" target="_blank" rel="noopener">Waymaking</a> Rights Information about rights held in and over the resource City of Detroit, 2 Woodward Avenue, Detroit, Michigan, 48226, United States bronze figurative granite lantern quilt squares https://slaverymonuments.org/files/original/37d22a59412fe26ba8bb488e0ef28b16.jpg 63c069dfa373297b6ce926c2191f8498 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 Abolition of Slavery Creator An entity primarily responsible for making the resource Written by Renée Ater Contributor An entity responsible for making contributions to the resource Renée Ater Description An account of the resource This grouping of commemorative works focus on the abolition of slavery in countries engaged with the slave trade including England, France, The Netherlands, and Spain. England enacted the Slave Trade Act of 1807, prohibiting the Atlantic slave trade in the British Empire. It did not abolish slavery in its colonies until the 1833 Slavery Abolition Act. France first abolished slavery on February 4, 1794, during the French Revolution. Napolean Bonaparte reinstituted slavery in France's colonies in 1802. Slavery was officially abolished in France with the Decree of the Abolition of Slavery of April 27, 1848. The Netherlands officially abolished slavery in its colonies (Suriname and the Dutch Caribbean) on July 1, 1863, but it was not until July 1, 1873, that enslaved persons were freed from state supervision on plantations. Spain abolished the slave trade in 1817 with a treaty with England, which was not enforced until 1820. However, slavery continued in its colonies. The Spanish National Assembly abolished slavery in Puerto Rico in 1863 and in Cuba in 1886. 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 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 Gilt of Cain (London, England) Subject The topic of the resource Subject (Topic) Abolition of slavery England--London Public art Public sculpture Transatlantic slave trade Subject (Object Type) Commemorative sculpture Description An account of the resource Located near St. Mary Woolnoth Church, where the abolitionist William Wilberforce heard the anti-slavery sermons of the Rev. John Newton, the monument consists of seventeen carved granite columns clustered around a granite podium. The curvilinear forms of the columns recall the growing stems of sugarcane. According to the artists, the position of the columns and podium are meant to suggest a group of people “gathered to listen to a speaker – perhaps the Rev. Newton preaching against slavery, perhaps a trader auctioning his slaves, perhaps William Wilberforce campaigning in front of an audience.” Excerpts from Lemn Sissay's poem, The Gilt of Cain, are etched on the columns. The words are inscribed in the same typography used in early abolitionist literature printed near the site. Creator An entity primarily responsible for making the resource Visocchi, Michael (sculptor), 1977- Sissay, Lemn (poet), 1967- Contributor An entity responsible for making contributions to the resource Black British Heritage; Parish of St Mary Woolnoth; City of London Corporation; British Land Company 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 120 Fenchurch Street, London, EC3M 5BA, England Has Part A related resource that is included either physically or logically in the described resource. Plaque: Gilt of Cain by Michael Visocchi & Lemn Sissay This powerful sculpture was unveiled by the Archbishop Emeritus Desmond Mpilo Tutu on 4th September 2008. The sculpture commemorates the abolition of the transatlantic slave trade in 1807, which began the process of the emancipation of slaves throughout the British Empire. Fen Court is the site of a churchyard formerly of St Gabriel’s Fenchurch St and now in the Parish of St Edmund the King and St Mary Woolnoth, Lombard St. The latter has a strong historical connection with the abolitionist movement of the 18th and 19th centuries. The Rev John Newton, a slave-trader turned preacher and abolitionist, was rector of St Mary Woolnoth from 1780 – 1807. Newton worked closely alongside the famous abolitionist William Wilberforce. The granite sculpture is composed of a group of columns surrounding a podium. The podium calls to mind an ecclesiastical pulpit or slave auctioneer’s stance, whilst the columns evoke stems of sugar cane and are positioned to suggest an anonymous crowd or congregation gathered to listen to a speaker. The artwork is the result of a collaboration between sculptor Michael Visocchi and poet Lemn Sissay. Extracts from Lemn Sissay’s poem, ‘Gilt of Cain’, are engraved into the granite. The poem skilfully weaves the coded language of the City’s stock exchange trading floor with biblical Old Testament references. Poem inscribed on work: "The Gilt of Cain By Lemn Sissay, 2007 Here is the ask price on the closed position, History is no inherent acquisition For here the Technical Correction upon the act, A merger of truth and in actual fact On the spot, on the money – the spread. The dealer lied when the dealer said The bull was charging the bear was dead, The market must calculate per capita, not head. And great traders acting in concert, arms rise As the actuals frought on the sea of franchise Thrown overboard into the exchange to drown In distressed brokers disconsolate frown. In accounting liquidity is a mounting morbidity But raising the arms with such rigid rapidity, Oh the reaping the raping rapacious fluidity, The violence the vicious and vexed volatility. The roaring trade floor rises above crashing waves: The traders buy ships, beneath the slaves. Sway machete back, sway machete again Cut back the sugar rush, Cain. The whipsaw it’s all and the whip saw it all The rising market and the cargo fall Who’ll enter “Jerusalem” make the margin call for Abel? Who will kick over the stall and turn the table? Cain gathers cane as gilt-gift to his land But whose sword of truth shall not sleep in hand? Who shall unlock the stocks and share? Break the bond the bind unbound - lay bare The truth. Cash flow runs deep but spirit deeper You ask Am I my brothers keeper? I answer by nature by spirit by rightful laws My name, my brother, Wilberforce. This project was initiated by Black British Heritage and the Parish of St Mary Woolnoth and was commissioned by the City of London Corporation in partnership with the British Land Company. 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 Source A related resource from which the described resource is derived Photograph: <a href="https://commons.wikimedia.org/wiki/File:Fen_Court_and_%22Gilt_of_Cain%22_Sculpture_(geograph_3302507).jpg" title="Gilt of Cain" target="_blank" rel="noopener">Wikimedia Commons</a><a href="https://futurecity.co.uk/portfolio/gilt-of-cain/" target="_blank" rel="noopener"></a> Date A point or period of time associated with an event in the lifecycle of the resource September 4, 2008 Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. <a href="https://www.londonremembers.com/memorials/gilt-of-cain-slave-trade" target="_blank" rel="noopener"></a>London Remembers. "Gilt of Cain-Slave Trade." Accessed February 15, 2025. https://www.londonremembers.com/memorials/gilt-of-cain-slave-trade. Rice, Alan. "Chapter One, Tracing Slavery's Routes and Looking Inside the Invisible: The Monumental Landscape and the African Atlantic." In Creating Memorials, Building Identities: The Politics of Memory in the Black Atlantic, 1-31. Liverpool University Press, 2010. Rights Information about rights held in and over the resource Art UK, c/o Staffordshire University Incubator Unit, 2nd Floor, Mellor Building, College Road, Stoke-on-Trent, ST4 2DE, England abstract columns granite inscription poetry https://slaverymonuments.org/files/original/19c814fb78284a827ddf5de2c1d1b5fb.jpg dafe75eab288e1b9572d94c662430506 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 180 in. (457.2 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 Graffiti Harriet (ephemeral) Creator An entity primarily responsible for making the resource Scott, Joyce J., 1948- Subject The topic of the resource Subject (Topic) Antislavery movements--United States Ephemeral art New Jersey--Hamilton Public art Public sculpture Underground Railroad Subject (Name) Tubman, Harriet, 1822-1913 Subject (Object Type) Commemorative sculpture Description An account of the resource A monumental sculpture of Harriet Tubman made of soil, clay, and straw, is scrawled with the words from Frederick Douglass. The sculpture was made from perishable materials, meant to dissolve over the winter. The artist Joyce Scott designed the sculpture so that only the beaded patchwork and gun would remain after the winter weather. The sculpture was installed at the Grounds for Sculpture from October 20, 2017-April 1, 2018. Source A related resource from which the described resource is derived Photograph: <a href="https://www.baltimoremagazine.com/section/artsentertainment/towering-figure-macarthur-fellowship-winner-joyce-j-scott-charts-new-artistic-territory/" target="_blank" rel="noopener">Mike Morgan</a> for Baltimore Magazine Date A point or period of time associated with an event in the lifecycle of the resource October 20, 2017 Rights Information about rights held in and over the resource Grounds for Sculpture, 80 Sculptors Way, Hamilton, New Jersey, 08619, 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 Grounds for Sculpture, 80 Sculptors Way, Hamilton, New Jersey, 08619, United States Extent The size or duration of the resource. 180 in. (457.2 cm) Medium The material or physical carrier of the resource. Soil; Clay; Straw; Resin gun with beads; Found objects Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Princethal, Nancy. "Inspired by Harriet Tubman: An Artist Takes Glass to Extremes." New York Times, January 4, 2018. Accessed April 1, 2018. https://www.nytimes.com/2018/01/04/arts/design/joyce-j-scott-grounds-for-sculpture-harriet-tubman.html. Dube, Ilene. "I Was an Artist in Vitro": Joyce J. Scott and Her Darkly Beautiful Art. Hyperallergic, January 30, 2018. Accessed April 1, 2018. https://hyperallergic.com/423894/i-was-an-artist-in-vitro-joyce-j-scott-and-her-darkly-beautiful-art/. Sims, Lowery Stokes and Patterson Sims. Joyce J. Scott: Harriet Tubman and Other Truths. Exh. cat. Hamilton, NJ: Grounds for Sculpture, 2018. Souza, Gabriella. "Towering Figure: After Winning a McArthur Fellowship, Joyce J. Scott Charts New Artistic Territory." Baltimore Magazine, 2018. Accessed April 1, 2018. https://www.baltimoremagazine.com/section/artsentertainment/towering-figure-macarthur-fellowship-winner-joyce-j-scott-charts-new-artistic-territory/. Rights Holder A person or organization owning or managing rights over the resource. Renée Ater Relation A related resource <a href="https://www.slaverymonuments.org/items/show/14" target="_blank" rel="noreferrer noopener">Araminta With Rifle and Veve, Grounds for Sculpture</a> 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 Contributor An entity responsible for making contributions to the resource Grounds for Sculpture; Lowery Stokes Sims; Patterson Sims; Seph Rodney; Robbye D. and Kevin Apperson; Jacqueline and Rene Copeland; Mike De Paola; Gordon and Lulie Gund; Greg Kucera and Larry Yocum; Barbara Lawrence and Allen Laskin; Martha Macks-Kahn; Henry Thaggert; Alan White; Clifford Ward (resident artist Grounds for Sculpture); Jeff Capes (contractor); Jason Wright; The Seward Johnson Atelier (Hamilton, NJ); John Lash and the Digital Atelier (Mercerville, NJ); and Tim McFadden and McFadden Art Glass (Baltimore, MD) beads figurative found objects