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The Plantation, ca. 1825, courtesy of the Metropolitan Museum of Art. This painting by an unknown artist depicts fields for cultivating cash crops, a ship for exporting goods, and a large mansion, but enslaved laborers are notably absent from this representation of plantation life. The role of slavery in producing plantation wealth is often erased or romanticized in American popular culture, from during the time of slaveryinto the present.

The plantation home on Runnymede Plantation, photograph by Morton Brailsford Paine, Charleston, South Carolina, 1917, courtesy of the Charleston Museum.

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The plantation home at Seabrook Plantation, photograph by F.D. Kracke, Edisto Island, South Carolina, circa 1900, courtesy of the Charleston Museum.

Seabrook Plantation.jpg

The Parsonage Miss Izard's School Marker, photograph by Emily Pigott, Charleston, South Carolina, November 2015.

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The Nelson Monument at Exchange Flags, image by Mary Battle, Liverpool, England, 2014.

The Negro Travelers' Green Book, commonly known as "The Greenbook," New York, Victor H. Green & Co., 1961, courtesy of the Schomburg Center for Research in Black Culture.

Green Book 1961 cover.jpeg

The mural was painted by artists Ricardo Trejo and Samuel Agoitia during a rally in response to the shooting of the Emanuel Nine and the Confederate flag coming down, both represented in the mural, photograph by Armando Minjarez, July 2015, Wichita, Kansas.

Armando Minjarez_Instagram_Mural in Wichita.jpg

The Missionary Record, a weekly African American newspaper, Richard Harvey Cain, 1873, courtesy of the Library of Congress.

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The Missionary Record Title

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The Mills House hotel and a city block in ruins at the end of the Civil War, Charleston, South Carolina, c. 1865, courtesy of the National Archives.

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