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KOLUMN Magazine

Tracing The Legacy of Slavery In America Through Sculpture

When Bryan Stevenson first saw artist Simone Leigh’s sculpture Brick House at the 2022 Venice Biennale in Italy, he saw his grandmother.

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Photo, Equal Justice Initiative ∕ Human Pictures

“The first thing I wanted to do was run and embrace it,” he says, recalling later to Leigh that he hadn’t known he was looking for his grandmother until he saw her piece. “Simone allowed me to find her in something big and Black and beautiful and bold—so I knew I wanted that at the beginning.”

Stevenson is executive director of the Equal Justice Intiative, a nonprofit committed to ending mass incarceration, which he founded in 1989 as an extension of his law practice representing people on death row. “The beginning” he is referencing is the entrance to the Freedom Monument Sculpture Park in Montgomery, Alabama, a 17-acre site that physically walks visitors through the United States’ history, from enslavement to emancipation, with sculpture, testimonials, and historical artifacts including 170-year-old plantation dwellings of enslaved people and life-size “last seen” ads in which Black people requested information about family members from whom they had been forcibly separated. The park, which opened March 27, is the third in a series of EJI spaces in Montgomery, following in the footsteps of the Legacy Museum—which traces slavery’s evolution across racial segregation, lynchings, and mass incarceration—and the National Memorial for Peace and Justice—which pays homage to the thousands of Black Americans who were victims of domestic terrorism by way of sanctioned, racial terror lynchings.

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