If you happen to walk by the famous bronze Charging Bull statue in New York’s financial district today you’ll discover a fantastic new addition: a small girl in a defiant and unflinching pose now stands just feet away from the tip of the wild bull’s horns. The bronze sculpture was installed on Tuesday morning as part of a joint effort between State Street Global Advisors (a $2.5 trillion asset manager) and city officials just ahead of International Women’s Day. The artwork is part of a campaign to pressure companies to add more women to their boards, but will surely speak more broadly as symbol of women’s rights and empowerment within society as a whole.
Lori Heinel, the deputy global chief investment officer at State Street shares with Business Insider:
“One of the most iconic images on Wall Street is the charging bull. So the idea of having a female sort of stand against the bull or stand up to the bull just struck us as a very clever but also creative and engaging way to make that statement. Even though it’s a little girl, her stance is one of determination, forwardness, and being willing to challenge and take on the status quo.”
The statue, officially titled The Fearless Girl, was created by Delaware-based bronze sculptor Kristen Visbal and will remain for at least a month. The piece is already drawing large crowds and extensive coverage in the press. Charging Bull was originally an act of guerrilla art by Arturo Di Modica, and only became permanent after its soaring popularity, leaving some to wonder if Visbal’s statue could follow the same story. You can watch a video about its creation below.
Designer Rafael Esquer of Alfalfa New York created this amazing print of New York inspired by patterns found in artworks by Austrian symbolist painter Gustav Klimt. Titled Iconic New York Illuminated, the piece incorporates more than 600 iconic destinations around the city rendered in a combination of gold and silver foils as well as metallic inks. You can pick up a limited edition print in their shop. (via Coudal)
Monuments and vaguely descriptive plaques are commonplace around cities and heavily trafficked tourist areas, giving just enough insight into an historic event or landmark. The Staten Island Ferry Disaster Memorial blends in with these weathered monuments, except for the fact that all details on the work are completely false. The monument, which is located in Battery Park, Manhattan, was created by artist Joe Reginella and honors the 400 victims who perished during a giant octopus attack of a Staten Island ferry named the Cornelius G. Kolff on November 22, 1963, the same day as the assassination of JFK.
The elaborate hoax was six months in the making, and is also seen by Reginella as a multimedia art project and social experiment. The website, and fliers distributed around Manhattan by his team, give a false location for a museum, ironically a place you must get to by ferry. You can see more tourist reactions and find real information about the fake event on the Staten Island Ferry Octopus Disaster Memorial Museum’s Facebook. (via Hi-Fructose)
On July 2, 1978 the New York Times made a significant technological leap when they scuttled the last of 60 manually-operated linotype machines to usher in the era of digital and photographic typesetting. When working at 100% efficiency with an experienced operator the Linotype machines could produce 14 lines per minute cast on the spot from hot lead. That number would increase to 1,000 lines per minute the very next day using an array of computers and digital storage.
Typesetter Carl Schlesinger and filmmaker David Loeb Weiss documented the last day of hot metal typesetting in a film called Farewell — ETAOIN SHRDLU (the obscure title is poignantly explained in the film). This amazing behind-the-scenes view not only captures the laborious effort to create a single page of printed type, but also the the emotions and thoughts of several New York Times employees as they candidly discuss their feelings about transitioning to a new technology. One man decides he’s not ready for the digital age and plans to retire on the spot after 49 years, while others seem to transition smoothly into the new methods of production.
This historically significant documentary was digitized in 2015 and made available online in HD from Linotype: The Film, another documentary about linotype printing that includes portions of Farewell. While I’ve always been somewhat familiar with the history of typesetting and printing, I didn’t fully grasp the absurd mechanical complexity and scale required to print a newspaper before the digital age. Each newspaper page was cast in a 40 lb. block of lead!? A huge number of employees were deaf!? If you’re a graphic design or typography professor, here’s a great way to spend 30 minutes.
Photographer and graphic designer Paolo Pettigiani recently took a stroll through New York’s Central Park armed with an infrared lens and took a number of fantastic shots that show the iconic park in a whole new light. The usual green grass and trees are transformed into a bright cotton candy pink which vividly contrasts with the aquamarine sky. The 24-year-old photographer moved to New York from Turin, Italy only two weeks ago and has been busy documenting his views of the city on Instagram. (via Behance, This Isn’t Happiness)
“NYC #19, oil on panel, 30 x 30 inches, all images via Jeremy Mann
Jeremy Mann (previously here and here) paints cityscapes set during the low-lit moments of the early morning or evening, just when natural light has begun to creep in or fade from a city’s car-lined streets. Using oil paints, Mann applies and wipes away areas of the canvas to recreate these hazy environments, adding layers of paint back on top of the slightly smeared works with more detailed strokes. This layered effects makes the works appear like double exposed images, two scenes gently blurring into one.
Mann’s work will be featured in an upcoming June 3 exhibition at John Pence Gallery in San Francisco which will run through July 9, 2016. You can view more of his cityscapes on his Instagram and Facebook.
“Market St., Midnight” (2016), oil on panel, 36 x 36 inches
“The Geary St. Storm” (2016), oil on panel, 48 x 48 inches
“Cityscape – Composed Form Study 13,” oil on panel, 6 x 6 in.
“NYC #20,” oil on panel, 48 x 48 inches.
“NYC #22,” oil on panel, 36 x 36 inches
“Morning Downpour on Market Street” (2016), oil on panel, 25 x 25 inches