At the end of the cardo, Maximus is a representation of Henry Ward Beecher, and in the median on Tillary street between Cadman Plaza is the newly installed public monument 'Unity' statue. Both these figurative objects are appropriate antique types. The two monuments have much value based on their aesthetic significance. Beecher plaid a critical role in the abolitionist movement and women's suffrage advocacy. For forty years, Beecher was a Senior Minister of Brooklyn's Plymouth Church, which contributed to the growth of Brooklyn. Beecher became a very popular preacher, and his sermons acted as social change barometer in the second half of the 19th Century. The public monument 'Unity' statue is Hank Willis's artwork. In his work, Willis strives for unity. The statue pays homage to the unique as well as the multifaceted character of Brooklyn. It depicts upward mobility as well as connection to the roots.
Both the Henry Ward Beecher and public monument 'Unity' statues communicate radically divergent as well as contested world views regarding Brooklyn's historical legacy and current political circumstances. In a conversation at the Brooklyn Historical Society, historians, activists as well as writers converge in a dialogue about the discriminatory housing practices through the present as well as the past. In the light of Steve Locke's insights and the conflicts about monuments recounted in the 2017 Vice video, the racists' denial of infrastructural and financial services improvements to the entire neighborhoods had an elaborate impact on Brooklyn as well the diverse communities. The redlining had profound effects that are felt to date. The redlining practice entailed turning down institutional support such as the insurance policy and mortgage because of the perceived financial risk of the neighborhood.
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