There is often a collective amnesia in the North that suggests slavery was strictly a Southern evil, that the buying and selling of human bodies took place solely in states located on the wrong side of the Mason-Dixon. New York City, beacon of liberalism and diversity that it is today, could not have been home to such cruel and brutal injustices. But the ugly, hard-to-swallow truth is that New York — once the Dutch settlement of New Amsterdam — was the capital of American slavery for more than years. Save for the pair of high heels beneath her feet and a piece of broken black chain around her wrist, Faustine is completely nude in the images, a showing of solidarity with the women who stood in her place centuries before. Taken in broad daylight, the photos had to be snapped quickly, before drawing too much attention. In addition to the nudity, the images featured in the photographs are steeped in symbolism.
Andromeda — Women in Chains
Post Digital Network
Their long and treacherous journey across the Atlantic may have begun in Angola, historians say, believing that once they arrived, they were sold for food. Millions of African men, women and children were shipped across the Atlantic Ocean between the 16th and 19th centuries. Many died in horrific conditions. Those who survived were forced into servitude and worked on plantations. Ahead of the year anniversary, Reuters photographers visited museums in Ivory Coast, Nigeria, South Africa and Britain displaying items from the Africa to North America slave trade. They have produced a series of pictures depicting items such as chains, shackles, neck braces, whips and documents listing auctions and the treatment of slaves as well as punishment records.
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It was one of the best-known and critically acclaimed American artworks of the nineteenth century,  and is among the most popular American sculptures ever. Powers originally modeled the work in clay, in Florence, Italy , completing it on March 12, Five more full-sized versions of the statue in marble were mechanically reproduced for private patrons, based on Powers' original model, along with numerous smaller-scale versions. Copies of the statue were displayed in a number of venues around Great Britain and the United States; it quickly became one of Powers' most famous works, and held symbolic meaning for some American abolitionists, inspiring an outpouring of prose and poetry. The statue depicts a young woman, nude, bound in chains; in one hand she holds a small cross on a chain. Powers himself described the subject of the work thus:. The Slave has been taken from one of the Greek Islands by the Turks, in the time of the Greek revolution, the history of which is familiar to all. Her father and mother, and perhaps all her kindred, have been destroyed by her foes, and she alone preserved as a treasure too valuable to be thrown away.
The Caribbean slave woman has long been a figure of mystique and misrepresentation, from the works of 18thth-century European authors to recent historical texts about Caribbean slavery. Where she does appear, she is often shrouded in degrading stereotypes, the victim of projected fantasies and anxieties. While the most groundbreaking historical work on slave women has begun to uncover their quotidian realities, the sources utilized require significant decoding to move beyond the ideological constructs that governed the representation of African women during the period of Caribbean slavery. This exhibit will present such texts and images from the 18thth-century Caribbean basin, especially the Caribbean islands and the British, French, Spanish, and Dutch holdings on the northeast coast of South America. Many generalizations about the lives of slave women can be drawn about the countries in question because of their nearly universal development of sugar-based economies and the resulting implementation of a very specific regime of Caribbean slavery. Nevertheless, diverging legal codes and European cultures fostered different conditions for slave women and textual and pictorial representations of them. The John Hay and the John Carter Brown libraries have few illustrated sources on slave women in the Spanish-speaking Caribbean, and this exhibit thus focuses chiefly on the British, French, and Dutch possessions in the region. What do we know about the lives of slave women in the Caribbean basin? Most were field slaves, involved in grueling manual labor on plantations.