Yesterday’s New York Times features an article informing us that the sculptor of the Charging Bull is insulted by the presence of the statue of the Fearless Girl, the work of sculptor Kristen Visbal that was commissioned by State Street Global Advisors and installed in March of this year. Fearless Girl vs. Wall Street Bull
Background to The Charging Bull
The statue has attracted considerable attention since it was placed facing the Charging Bull in a posture of defiance, or, as one commentator has said, of finger wagging. The Charging Bull was placed in its current location in 1989, having been fabricated by its sculptor, Arturo Di Modica, at a cost estimated at over $3o0,000. The 3.5 ton Charging Bull was initially placed by the sculptor on Broad Street in front of the New York Stock Exchange with no permit and without permission from the city (The Charging Bull) as a symbol of Wall Street’s strength after the crash in 1987. It was impounded by the police and, after some outcry, placed in its current location just north of Bowling Green, with a temporary permit. Thirty years later, the statue seems quite permanent.
Some have argued that the temporary permit granted to the Fearless Girl statue should also be extended. The Charging Bull sculptor apparently feels that the presence of the Fearless Girl undermines the message of his statue, which, he states is one of freedom, peace, strength, power and love. He believes the Fearless Girl stands in opposition to the Charging Bull making its presence a negative one.
Art in Context
This argument raises some interesting questions. Since, as a legal matter, the Charging Bull’s presence is also subject to a temporary permit, it is not clear what rights the sculptor is asserting to the space surrounding his sculpture; or whether those rights are different from or greater than the rights enjoyed by the Fearless Girl sculpture and its sponsors. If the legal right is not the issue, perhaps the issue is more artistic in nature. Does the creator of art placed in a public place have any rights to assert a particular intended meaning? Perhaps, as a matter of information and context. It is not clear that any artist may insist on his or her understanding of a piece of art being of such importance that the context in which the art is located must remain undisturbed by anything that might, in the artist’s opinion, detract from that understanding.
Context is important, but meaning is surely subjective. Once placed in the public domain, any work of art may be subject to as many interpretations as there are viewers. The artist has, in large part, lost control.
The Fearless Girl: Friend or Foe?
It is interesting to reflect on the context of the Fearless Girl. State Street Global Advisors motivation in placing the statue on the eve of the International Women’s March was apparently to represent the power of women in leadership. Among the many comments made in the New York Times piece about whether the statue of the Fearless Girl should stay or go, two are, in the opinion of this author, noteworthy. The first invites an inclusive and contemplative reaction:
“Art is a dialogue. Invite the unexpected. The bull and the little girl, they are already friends. Quiet yourself and listen to what they have to say.”
— Landon Rose, 66, Brookline, Mass.
The second points out that history is forever changed by the juxtaposition of the two statues:
“As a lawyer, woman and minority, I believe that no matter what the outcome, demanding that ‘Fearless Girl’ be removed is a losing battle. If ‘Fearless Girl’ is removed, the bull will become even more representative of men trying to stop women from achieving equality.”
— Elizabeth Veit, 35, Alexandria, Va
Evolution of Meaning
To attempt to claim a continuity of meaning for the presence of the Charging Bull thirty years after its placement as guerilla art seems naïve. Wall Street has changed dramatically over this period. The culture has evolved, its shortcomings well documented in many movies and court cases and its daily routines reshaped by technology. The role of women in financial services and in the broader economy remains a work in process and falls well short of parity. The Fearless Girl suggests that change has occurred and is continuing. The Charging Bull is not humbled or disparaged:
“I do not see the bull in a negative way now that the ‘Fearless Girl’ has shown up. Rather, the bull is now confronted with a formidable counterpoint to an emerging vision of a new kind of power.”