The Raft of the Medusa

Prompt: How does The Raft of the Medusa explain its Interpretation and legacy?

In its insistence on portraying an unpleasant truth, The Raft of the Medusa was a landmark in the emerging Romantic movement in French painting, and "laid the foundations of an aesthetic revolution" against the prevailing Neoclassical style.  Géricault's compositional structure and depiction of the figures are classical, but the contrasting turbulence of the subject represents a significant change in artistic direction and creates an important bridge between Neoclassical and Romantic styles. By 1815, Jacques-Louis David, then in exile in Brussels, was both the leading proponent of the popular history painting genre, which he had perfected, and a master of the Neoclassical style. In France, both history painting and the Neoclassical style continued through the work of Antoine-Jean Gros, Jean Auguste Dominique Ingres, François Gérard, Anne-Louis Girodet de Roussy-Trioson, Pierre-Narcisse Guérin—teacher of both Géricault and Delacroix—and other artists who remained committed to the artistic traditions of David and Nicolas Poussin.In his introduction to The Journal of Eugène Delacroix, Hubert Wellington wrote about Delacroix's opinion of the state of French painting just prior to the Salon of 1819. According to Wellington, "The curious blend of classic with realistic outlook which had been imposed by the discipline of David was now losing both animation and interest. The master himself was nearing his end, and exiled in Belgium. His most docile pupil, Girodet, a refined and cultivated classicist, was producing pictures of astonishing frigidity. Gérard, immensely successful painter of portraits under the Empire—some of them admirable—fell in with the new vogue for large pictures of history, but without enthusiasm."The Raft of the Medusa contains the gestures and grand scale of traditional history painting; however, it presents ordinary people, rather than heroes, reacting to the unfolding drama. Géricault's raft pointedly lacks a hero, and his painting presents no cause beyond sheer survival. The work represents, in the words of Christine Riding, "the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilised man into barbarism".The artist's abolitionist views are said to have been expressed in his decision to prominently feature at least two Black individuals, particularly the dominant figure seen waving a dark red handkerchief. According to scholars Klaus Berger and Diane Chalmers Johnson, Géricault made "him the focal point of the drama, the strongest and most perceptive of the survivors, in a sense, the 'hero of the scene.'" They argue that the artist's choice to do so was not a "last-minute" decision as evidenced by early sketches for the work, including a portrait study of the Haitian model Joseph, and point to Géricault's concerns regarding the "extreme cruelties" of illegal slave trade in the French colonies. Depicting a Black figure as a hero to convey an abolitionist message was uncommon at the time, as the official symbol of the French abolitionist group, the Société des amis des Noirs, was an emblem, originally created by Josiah Wedgewood, titled “Am I Not a Man and a Brother?” (or “Ne suis-je pas ton frere?”) that depicts a Black man begging on one knee for liberation. Scholar Susan Libby highlights how this trope of a helpless, subservient slave became commonplace in European art. Gericault’s choice to place the Black man as the active “hero” deviated from popular ideas about enslaved people. The subject of marine tragedy was undertaken by J. M. W. Turner (1775–1851), who, like many English artists, probably saw Géricault's painting when it was exhibited in London in 1820. His A Disaster at Sea (c. 1835) chronicled a similar incident, this time a British catastrophe, with a swamped vessel and dying figures also placed in the foreground. Placing a person of color in the centre of the drama was revisited by Turner, with similar abolitionist overtones, in his The Slave Ship (1840).The unblemished musculature of the central figure waving to the rescue ship is reminiscent of the Neoclassical, however the naturalism of light and shadow, the authenticity of the desperation shown by the survivors and the emotional character of the composition differentiate it from Neoclassical austerity. It was a further departure from the religious or classical themes of earlier works because it depicted contemporary events with ordinary and unheroic figures. Both the choice of subject matter and the heightened manner in which the dramatic moment is depicted are typical of Romantic painting—strong indications of the extent to which Géricault had moved from the prevalent Neoclassical movement.Hubert Wellington said that while Delacroix was a lifelong admirer of Gros, the dominating enthusiasm of his youth was for Géricault. The dramatic composition of Géricault, with its strong contrasts of tone and unconventional gestures, stimulated Delacroix to trust his own creative impulses on a large work. Delacroix said, "Géricault allowed me to see his Raft of Medusa while he was still working on it." The painting's influence is seen in Delacroix's The Barque of Dante (1822) and reappears as inspiration in Delacroix's later works, such as The Shipwreck of Don Juan (1840).According to Wellington, Delacroix's masterpiece of 1830, Liberty Leading the People, springs directly from Géricault's The Raft of the Medusa and Delacroix's own Massacre at Chios. Wellington wrote that "While Géricault carried his interest in actual detail to the point of searching for more survivors from the wreck as models, Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic figure of Republican Liberty which is one of his finest plastic inventions."The art historian Albert Elsen believed that The Raft of the Medusa and Delacroix's  Massacre at Chios provided the inspiration for the grandiose sweep of Auguste Rodin's monumental sculpture The Gates of Hell. He wrote that "Delacroix's Massacre at Chios and Géricault's Raft of the Medusa confronted Rodin on a heroic scale with the innocent nameless victims of political tragedies ... If Rodin was inspired to rival Michelangelo's Last Judgment, he had Géricault's Raft of the Medusa in front of him for encouragement."While Gustave Courbet (1819–1877) could be described as an anti-Romantic painter, his major works like A Burial at Ornans (1849–50) and The Artist's Studio (1855) owe a debt to The Raft of the Medusa. The influence is not only in Courbet's enormous scale, but in his willingness to portray ordinary people and current political events, and to record people, places and events in real, everyday surroundings. The 2004 exhibition at the Clark Art Institute,  Bonjour Monsieur Courbet: The Bruyas Collection from the Musee Fabre, Montpellier, sought to compare the 19th-century Realist painters Courbet, Honoré Daumier (1808–1879), and early Édouard Manet (1832–1883) with artists associated with Romanticism, including Géricault and Delacroix. Citing The Raft of the Medusa as an instrumental influence on Realism, the exhibition drew comparisons between all of the artists. The critic Michael Fried sees Manet directly borrowing the figure of the man cradling his son for the composition of Angels at the Tomb of Christ.The influence of The Raft of the Medusa was felt by artists beyond France. Francis Danby, a British painter born in Ireland, probably was inspired by Géricault's picture when he painted Sunset at Sea after a Storm in 1824, and wrote in 1829 that The Raft of the Medusa was "the finest and grandest historical picture I have ever seen".The Gulf Stream (1899), by the American artist Winslow Homer (1836–1910), replicates the composition of The Raft of the Medusa with a damaged vessel, ominously surrounded by sharks and threatened by a waterspout. Like Géricault, Homer makes a black man the pivotal figure in the scene, though here he is the vessel's sole occupant. A ship in the distance mirrors the Argus from Géricault's painting. The move from the drama of Romanticism to the new Realism is exemplified by the stoic resignation of Homer's figure. The man's condition, which in earlier works might have been characterised by hope or helplessness, has turned to "sullen rage".In the early 1990s, the American sculptor John Connell, in his Raft Project, a collaborative project with painter Eugene Newmann, recreated The Raft of the Medusa by making life-sized sculptures out of wood, paper and tar and placing them on a large wooden raft.Remarking on the contrast between the dying figures in the foreground and the figures in the mid-ground waving towards the approaching rescue ship, the French art historian Georges-Antoine Borias wrote that Géricault's painting represents, "on the one hand, desolation and death. On the other, hope and life."For Kenneth Clark, The Raft of the Medusa "remains the chief example of romantic pathos expressed through the nude; and that obsession with death, which drove Géricault to frequent mortuary chambers and places of public execution, gives truth to his figures of the dead and the dying. Their outlines may be taken from the classics, but they have been seen again with a craving for violent experience."Today, a bronze bas-relief of The Raft of the Medusa by Antoine Étex adorns Géricault's grave in Père Lachaise Cemetery in Paris.

File:The Medusa shown at the Louvre, in color.jpg

Detail of the crew member waving his handkerchief to draw the ship's attention

Géricault's ''Study for "The Raft of the Medusa"'', pen and brown ink, 17.6 cm × 24.5 cm, [[Palais des Beaux-Arts de Lille

1818-19}}, Getty Center. Joseph served as model for at least two Black individuals in the final version of the artist's representation of Medusa's raft.

Sailors of the ''Méduse'' detained by the British after the sinking. They were returned to France afterwards.{{sfn

File:Portrait Study by Théodore Géricault, c. 1818-19, Getty Center.JPG

File:Pierre-Paul Prud'hon - Justice and Divine Vengeance Pursuing Crime.JPG

File:Raft-of-the-Medusa-copy par Pierre-Désiré Guillemet et Étienne Antoine Eugène Ronjat.jpg

Louis Nicolas Philippe Auguste de Forbin

The main 16 colours used for the painting<ref name=christiansen/>

Bonaparte Visiting the Plague-Victims of Jaffa

Nicolas Sebastien Maillot's ''Raft of the Medusa shown in Salon Carré of the Louvre'', 1831, [[Louvre

Plan of the ''Medusa'''s raft at the moment of its crew's rescue<ref>Grigsby, Darcy Grimaldo. ''Extremities: Painting Empire in Post-Revolutionary France''. [[Yale University Press

Diagram showing the outline of the two pyramidal structures that form the basis of the work. The position of the Argus rescue vessel is indicated by the yellow dot.

In 1820, Géricault successfully exhibited the painting in the [[Egyptian Hall

École nationale supérieure d'arts et métiers

alt=darkly shaded painting of two winged angels chasing man who runs away from a fallen, naked body

File:Théodore Géricault - Le Radeau de la Méduse esquisse (salon de 1819).jpg

The Defeat of the Floating Batteries at Gibraltar, September 1782

Copy of the work by [[Pierre-Désiré Guillemet

File:Raft of Méduse-Alexandre Corréard-IMG 4788-cropped.JPG

''Portrait Study of Joseph'', oil on canvas painting by Théodore Géricault, {{Circa

Bonaparte Visiting the Plague Victims of Jaffa

Category:Paintings in the Louvre by French artists

File:Egyptian Hall, Piccadilly 1815 edited.jpg

Detail from the lower left corner of the canvas showing two dying figures

''Cannibalism on the Raft of the Medusa'', crayon, ink wash, and gouache on paper, 28 cm × 38 cm, [[Louvre

Category:Paintings by Théodore Géricault

File:Théodore Géricault "The raft of the Medusa".jpg

:File:Ugolino and his Sons Starving to Death in the Tower 1806 1a.jpg


The Raft of the Medusa

Prompt: In The Raft of the Medusa, how is the Interpretation and legacy discussed?

In its insistence on portraying an unpleasant truth, The Raft of the Medusa was a landmark in the emerging Romantic movement in French painting, and "laid the foundations of an aesthetic revolution" against the prevailing Neoclassical style.  Géricault's compositional structure and depiction of the figures are classical, but the contrasting turbulence of the subject represents a significant change in artistic direction and creates an important bridge between Neoclassical and Romantic styles. By 1815, Jacques-Louis David, then in exile in Brussels, was both the leading proponent of the popular history painting genre, which he had perfected, and a master of the Neoclassical style. In France, both history painting and the Neoclassical style continued through the work of Antoine-Jean Gros, Jean Auguste Dominique Ingres, François Gérard, Anne-Louis Girodet de Roussy-Trioson, Pierre-Narcisse Guérin—teacher of both Géricault and Delacroix—and other artists who remained committed to the artistic traditions of David and Nicolas Poussin.In his introduction to The Journal of Eugène Delacroix, Hubert Wellington wrote about Delacroix's opinion of the state of French painting just prior to the Salon of 1819. According to Wellington, "The curious blend of classic with realistic outlook which had been imposed by the discipline of David was now losing both animation and interest. The master himself was nearing his end, and exiled in Belgium. His most docile pupil, Girodet, a refined and cultivated classicist, was producing pictures of astonishing frigidity. Gérard, immensely successful painter of portraits under the Empire—some of them admirable—fell in with the new vogue for large pictures of history, but without enthusiasm."The Raft of the Medusa contains the gestures and grand scale of traditional history painting; however, it presents ordinary people, rather than heroes, reacting to the unfolding drama. Géricault's raft pointedly lacks a hero, and his painting presents no cause beyond sheer survival. The work represents, in the words of Christine Riding, "the fallacy of hope and pointless suffering, and at worst, the basic human instinct to survive, which had superseded all moral considerations and plunged civilised man into barbarism".The artist's abolitionist views are said to have been expressed in his decision to prominently feature at least two Black individuals, particularly the dominant figure seen waving a dark red handkerchief. According to scholars Klaus Berger and Diane Chalmers Johnson, Géricault made "him the focal point of the drama, the strongest and most perceptive of the survivors, in a sense, the 'hero of the scene.'" They argue that the artist's choice to do so was not a "last-minute" decision as evidenced by early sketches for the work, including a portrait study of the Haitian model Joseph, and point to Géricault's concerns regarding the "extreme cruelties" of illegal slave trade in the French colonies. Depicting a Black figure as a hero to convey an abolitionist message was uncommon at the time, as the official symbol of the French abolitionist group, the Société des amis des Noirs, was an emblem, originally created by Josiah Wedgewood, titled “Am I Not a Man and a Brother?” (or “Ne suis-je pas ton frere?”) that depicts a Black man begging on one knee for liberation. Scholar Susan Libby highlights how this trope of a helpless, subservient slave became commonplace in European art. Gericault’s choice to place the Black man as the active “hero” deviated from popular ideas about enslaved people. The subject of marine tragedy was undertaken by J. M. W. Turner (1775–1851), who, like many English artists, probably saw Géricault's painting when it was exhibited in London in 1820. His A Disaster at Sea (c. 1835) chronicled a similar incident, this time a British catastrophe, with a swamped vessel and dying figures also placed in the foreground. Placing a person of color in the centre of the drama was revisited by Turner, with similar abolitionist overtones, in his The Slave Ship (1840).The unblemished musculature of the central figure waving to the rescue ship is reminiscent of the Neoclassical, however the naturalism of light and shadow, the authenticity of the desperation shown by the survivors and the emotional character of the composition differentiate it from Neoclassical austerity. It was a further departure from the religious or classical themes of earlier works because it depicted contemporary events with ordinary and unheroic figures. Both the choice of subject matter and the heightened manner in which the dramatic moment is depicted are typical of Romantic painting—strong indications of the extent to which Géricault had moved from the prevalent Neoclassical movement.Hubert Wellington said that while Delacroix was a lifelong admirer of Gros, the dominating enthusiasm of his youth was for Géricault. The dramatic composition of Géricault, with its strong contrasts of tone and unconventional gestures, stimulated Delacroix to trust his own creative impulses on a large work. Delacroix said, "Géricault allowed me to see his Raft of Medusa while he was still working on it." The painting's influence is seen in Delacroix's The Barque of Dante (1822) and reappears as inspiration in Delacroix's later works, such as The Shipwreck of Don Juan (1840).According to Wellington, Delacroix's masterpiece of 1830, Liberty Leading the People, springs directly from Géricault's The Raft of the Medusa and Delacroix's own Massacre at Chios. Wellington wrote that "While Géricault carried his interest in actual detail to the point of searching for more survivors from the wreck as models, Delacroix felt his composition more vividly as a whole, thought of his figures and crowds as types, and dominated them by the symbolic figure of Republican Liberty which is one of his finest plastic inventions."The art historian Albert Elsen believed that The Raft of the Medusa and Delacroix's  Massacre at Chios provided the inspiration for the grandiose sweep of Auguste Rodin's monumental sculpture The Gates of Hell. He wrote that "Delacroix's Massacre at Chios and Géricault's Raft of the Medusa confronted Rodin on a heroic scale with the innocent nameless victims of political tragedies ... If Rodin was inspired to rival Michelangelo's Last Judgment, he had Géricault's Raft of the Medusa in front of him for encouragement."While Gustave Courbet (1819–1877) could be described as an anti-Romantic painter, his major works like A Burial at Ornans (1849–50) and The Artist's Studio (1855) owe a debt to The Raft of the Medusa. The influence is not only in Courbet's enormous scale, but in his willingness to portray ordinary people and current political events, and to record people, places and events in real, everyday surroundings. The 2004 exhibition at the Clark Art Institute,  Bonjour Monsieur Courbet: The Bruyas Collection from the Musee Fabre, Montpellier, sought to compare the 19th-century Realist painters Courbet, Honoré Daumier (1808–1879), and early Édouard Manet (1832–1883) with artists associated with Romanticism, including Géricault and Delacroix. Citing The Raft of the Medusa as an instrumental influence on Realism, the exhibition drew comparisons between all of the artists. The critic Michael Fried sees Manet directly borrowing the figure of the man cradling his son for the composition of Angels at the Tomb of Christ.The influence of The Raft of the Medusa was felt by artists beyond France. Francis Danby, a British painter born in Ireland, probably was inspired by Géricault's picture when he painted Sunset at Sea after a Storm in 1824, and wrote in 1829 that The Raft of the Medusa was "the finest and grandest historical picture I have ever seen".The Gulf Stream (1899), by the American artist Winslow Homer (1836–1910), replicates the composition of The Raft of the Medusa with a damaged vessel, ominously surrounded by sharks and threatened by a waterspout. Like Géricault, Homer makes a black man the pivotal figure in the scene, though here he is the vessel's sole occupant. A ship in the distance mirrors the Argus from Géricault's painting. The move from the drama of Romanticism to the new Realism is exemplified by the stoic resignation of Homer's figure. The man's condition, which in earlier works might have been characterised by hope or helplessness, has turned to "sullen rage".In the early 1990s, the American sculptor John Connell, in his Raft Project, a collaborative project with painter Eugene Newmann, recreated The Raft of the Medusa by making life-sized sculptures out of wood, paper and tar and placing them on a large wooden raft.Remarking on the contrast between the dying figures in the foreground and the figures in the mid-ground waving towards the approaching rescue ship, the French art historian Georges-Antoine Borias wrote that Géricault's painting represents, "on the one hand, desolation and death. On the other, hope and life."For Kenneth Clark, The Raft of the Medusa "remains the chief example of romantic pathos expressed through the nude; and that obsession with death, which drove Géricault to frequent mortuary chambers and places of public execution, gives truth to his figures of the dead and the dying. Their outlines may be taken from the classics, but they have been seen again with a craving for violent experience."Today, a bronze bas-relief of The Raft of the Medusa by Antoine Étex adorns Géricault's grave in Père Lachaise Cemetery in Paris.

File:The Medusa shown at the Louvre, in color.jpg

Detail of the crew member waving his handkerchief to draw the ship's attention

Géricault's ''Study for "The Raft of the Medusa"'', pen and brown ink, 17.6 cm × 24.5 cm, [[Palais des Beaux-Arts de Lille

1818-19}}, Getty Center. Joseph served as model for at least two Black individuals in the final version of the artist's representation of Medusa's raft.

Sailors of the ''Méduse'' detained by the British after the sinking. They were returned to France afterwards.{{sfn

File:Portrait Study by Théodore Géricault, c. 1818-19, Getty Center.JPG

File:Pierre-Paul Prud'hon - Justice and Divine Vengeance Pursuing Crime.JPG

File:Raft-of-the-Medusa-copy par Pierre-Désiré Guillemet et Étienne Antoine Eugène Ronjat.jpg

Louis Nicolas Philippe Auguste de Forbin

The main 16 colours used for the painting<ref name=christiansen/>

Bonaparte Visiting the Plague-Victims of Jaffa

Nicolas Sebastien Maillot's ''Raft of the Medusa shown in Salon Carré of the Louvre'', 1831, [[Louvre

Plan of the ''Medusa'''s raft at the moment of its crew's rescue<ref>Grigsby, Darcy Grimaldo. ''Extremities: Painting Empire in Post-Revolutionary France''. [[Yale University Press

Diagram showing the outline of the two pyramidal structures that form the basis of the work. The position of the Argus rescue vessel is indicated by the yellow dot.

In 1820, Géricault successfully exhibited the painting in the [[Egyptian Hall

École nationale supérieure d'arts et métiers

alt=darkly shaded painting of two winged angels chasing man who runs away from a fallen, naked body

File:Théodore Géricault - Le Radeau de la Méduse esquisse (salon de 1819).jpg

The Defeat of the Floating Batteries at Gibraltar, September 1782

Copy of the work by [[Pierre-Désiré Guillemet

File:Raft of Méduse-Alexandre Corréard-IMG 4788-cropped.JPG

''Portrait Study of Joseph'', oil on canvas painting by Théodore Géricault, {{Circa

Bonaparte Visiting the Plague Victims of Jaffa

Category:Paintings in the Louvre by French artists

File:Egyptian Hall, Piccadilly 1815 edited.jpg

Detail from the lower left corner of the canvas showing two dying figures

''Cannibalism on the Raft of the Medusa'', crayon, ink wash, and gouache on paper, 28 cm × 38 cm, [[Louvre

Category:Paintings by Théodore Géricault

File:Théodore Géricault "The raft of the Medusa".jpg

:File:Ugolino and his Sons Starving to Death in the Tower 1806 1a.jpg


Charging Bull

Prompt: Focus on Charging Bull and explain the abstract.

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the abstract of this artwork, Charging Bull.

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: How does Charging Bull explain its abstract?

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In Charging Bull, how is the abstract discussed?

Charging Bull (sometimes referred to as the Bull of Wall Street or the Bowling Green Bull) is a bronze sculpture that stands on Broadway just north of Bowling Green in the Financial District of Manhattan in New York City. The 7,100-pound (3,200 kg) bronze sculpture, standing 11 feet (3.4 m) tall and measuring 16 feet (4.9 m) long, depicts a bull, the symbol of financial optimism and prosperity. Charging Bull is a popular tourist destination that draws thousands of people a day, symbolizing Wall Street and the Financial District.The sculpture was created by Italian artist Arturo Di Modica in the wake of the 1987 Black Monday stock market crash. Late in the evening of Thursday, December 14, 1989, Di Modica arrived on Wall Street with Charging Bull on the back of a truck and illegally dropped the sculpture outside of the New York Stock Exchange Building. After being removed by the New York City Police Department later that day, Charging Bull was installed at Bowling Green on December 20, 1989. Despite initially having only a temporary permit to be located at Bowling Green, Charging Bull became a popular tourist attraction. Di Modica may have been influenced by a pair of huge metallic sculptures, a charging bull and a bear, placed in front of the Frankfurt, Germany Stock Exchange in 1985 as part of the 400th celebration of the exchange. Following the success of the original sculpture, Di Modica created a number of variations of the Charging Bull which have been sold to private collectors. Charging Bull has been a subject of criticism from an anti-capitalist perspective, such as in the Occupy Wall Street protests of 2011, and has also been compared to the biblical golden calf worshiped by the Israelites shortly after their Exodus from Egypt.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Focus on Charging Bull and explain the Description.

The 7,100-pound (3,200 kg) sculpture is in a cobblestone-paved traffic median of Broadway just north of Bowling Green. The sculpture is adjacent to 26 Broadway to the east and 25 Broadway to the west. It stands 11 feet (3.4 m) tall and measures 16 feet (4.9 m) long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon." Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The Bull's head is lowered, its nostrils flare, and its wickedly long, sharp horns are ready to gore; it's an angry, dangerous beast. The muscular body twists to one side, and the tail is curved like a lash: the Bull is also energetic and in motion.The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.Charging Bull, then, shows an aggressive or even belligerent force on the move, but unpredictably...[I]t's not far-fetched to say the theme is the energy, strength, and unpredictability of the stock market.Di Modica told the New York Daily News in 1998:That bull is one of an edition of five...I'm hoping the other four will be going to cities all over the world, whenever somebody buys them.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the Description of this artwork, Charging Bull.

The 7,100-pound (3,200 kg) sculpture is in a cobblestone-paved traffic median of Broadway just north of Bowling Green. The sculpture is adjacent to 26 Broadway to the east and 25 Broadway to the west. It stands 11 feet (3.4 m) tall and measures 16 feet (4.9 m) long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon." Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The Bull's head is lowered, its nostrils flare, and its wickedly long, sharp horns are ready to gore; it's an angry, dangerous beast. The muscular body twists to one side, and the tail is curved like a lash: the Bull is also energetic and in motion.The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.Charging Bull, then, shows an aggressive or even belligerent force on the move, but unpredictably...[I]t's not far-fetched to say the theme is the energy, strength, and unpredictability of the stock market.Di Modica told the New York Daily News in 1998:That bull is one of an edition of five...I'm hoping the other four will be going to cities all over the world, whenever somebody buys them.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: How does Charging Bull explain its Description?

The 7,100-pound (3,200 kg) sculpture is in a cobblestone-paved traffic median of Broadway just north of Bowling Green. The sculpture is adjacent to 26 Broadway to the east and 25 Broadway to the west. It stands 11 feet (3.4 m) tall and measures 16 feet (4.9 m) long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon." Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The Bull's head is lowered, its nostrils flare, and its wickedly long, sharp horns are ready to gore; it's an angry, dangerous beast. The muscular body twists to one side, and the tail is curved like a lash: the Bull is also energetic and in motion.The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.Charging Bull, then, shows an aggressive or even belligerent force on the move, but unpredictably...[I]t's not far-fetched to say the theme is the energy, strength, and unpredictability of the stock market.Di Modica told the New York Daily News in 1998:That bull is one of an edition of five...I'm hoping the other four will be going to cities all over the world, whenever somebody buys them.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In Charging Bull, how is the Description discussed?

The 7,100-pound (3,200 kg) sculpture is in a cobblestone-paved traffic median of Broadway just north of Bowling Green. The sculpture is adjacent to 26 Broadway to the east and 25 Broadway to the west. It stands 11 feet (3.4 m) tall and measures 16 feet (4.9 m) long. It depicts a bull, the symbol of financial optimism and prosperity, leaning back on its haunches and with its head lowered as if ready to charge. The sculpture is both a popular tourist destination, which draws thousands of people a day, as well as a symbol of Wall Street and the Financial District, being described as "one of the most iconic images of New York" and a "Wall Street icon." Children also frequently climb the sculpture.In Outdoor Monuments of Manhattan: A Historical Guide, Dianne Durante describes the sculpture:The Bull's head is lowered, its nostrils flare, and its wickedly long, sharp horns are ready to gore; it's an angry, dangerous beast. The muscular body twists to one side, and the tail is curved like a lash: the Bull is also energetic and in motion.The bronze color and hard, metallic texture of the sculpture's surface emphasize the brute force of the creature. The work was designed and placed so that viewers could walk around it, which also suggests the creature's own movement is unrestricted — a point reinforced by the twisting posture of the bull's body, according to Durante.Charging Bull, then, shows an aggressive or even belligerent force on the move, but unpredictably...[I]t's not far-fetched to say the theme is the energy, strength, and unpredictability of the stock market.Di Modica told the New York Daily News in 1998:That bull is one of an edition of five...I'm hoping the other four will be going to cities all over the world, whenever somebody buys them.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In the context of Charging Bull, explain the Construction and installation and the History.

The bull was cast by the Bedi-Makky Art Foundry in Greenpoint, Brooklyn. Di Modica spent $360,000 to create, cast, and install the sculpture following the 1987 stock market crash. The sculpture was Di Modica's idea. Having arrived penniless in the United States in 1970, Di Modica felt indebted to the nation for welcoming him and enabling his career as a successful sculptor. Charging Bull was intended to inspire each person who came into contact with it to carry on fighting through the hard times after the 1987 stock market crash. Di Modica later recounted to art writer Anthony Haden-Guest, "My point was to show people that if you want to do something in a moment things are very bad, you can do it. You can do it by yourself. My point was that you must be strong."Another artist, Domenico Ranieri, enlarged the model of the bull and worked with Di Modica to bring out the fine points of the sculpture. In an act of guerrilla art, Bedi-Makky Art Foundry and Di Modica trucked it to Lower Manhattan. Late in the evening of December 14, 1989, they installed it beneath a 60-foot (18 m) Christmas tree in the middle of Broad Street in front of the New York Stock Exchange Building as a Christmas gift to New Yorkers. That day, hundreds of onlookers stopped to see it as Di Modica handed out copies of a flier about his artwork.NYSE officials called police later that day, and the NYPD seized the sculpture and placed it into an impound lot. The ensuing public outcry led the New York City Department of Parks and Recreation to reinstall it two blocks south of the Exchange, in Bowling Green, facing up Broadway just north of Whitehall Street. Charging Bull was rededicated at its new location with a ceremony on December 21, 1989.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the Construction and installation about the History of this artwork, Charging Bull.

The bull was cast by the Bedi-Makky Art Foundry in Greenpoint, Brooklyn. Di Modica spent $360,000 to create, cast, and install the sculpture following the 1987 stock market crash. The sculpture was Di Modica's idea. Having arrived penniless in the United States in 1970, Di Modica felt indebted to the nation for welcoming him and enabling his career as a successful sculptor. Charging Bull was intended to inspire each person who came into contact with it to carry on fighting through the hard times after the 1987 stock market crash. Di Modica later recounted to art writer Anthony Haden-Guest, "My point was to show people that if you want to do something in a moment things are very bad, you can do it. You can do it by yourself. My point was that you must be strong."Another artist, Domenico Ranieri, enlarged the model of the bull and worked with Di Modica to bring out the fine points of the sculpture. In an act of guerrilla art, Bedi-Makky Art Foundry and Di Modica trucked it to Lower Manhattan. Late in the evening of December 14, 1989, they installed it beneath a 60-foot (18 m) Christmas tree in the middle of Broad Street in front of the New York Stock Exchange Building as a Christmas gift to New Yorkers. That day, hundreds of onlookers stopped to see it as Di Modica handed out copies of a flier about his artwork.NYSE officials called police later that day, and the NYPD seized the sculpture and placed it into an impound lot. The ensuing public outcry led the New York City Department of Parks and Recreation to reinstall it two blocks south of the Exchange, in Bowling Green, facing up Broadway just north of Whitehall Street. Charging Bull was rededicated at its new location with a ceremony on December 21, 1989.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In Charging Bull, how is the Construction and installation of the History explained?

The bull was cast by the Bedi-Makky Art Foundry in Greenpoint, Brooklyn. Di Modica spent $360,000 to create, cast, and install the sculpture following the 1987 stock market crash. The sculpture was Di Modica's idea. Having arrived penniless in the United States in 1970, Di Modica felt indebted to the nation for welcoming him and enabling his career as a successful sculptor. Charging Bull was intended to inspire each person who came into contact with it to carry on fighting through the hard times after the 1987 stock market crash. Di Modica later recounted to art writer Anthony Haden-Guest, "My point was to show people that if you want to do something in a moment things are very bad, you can do it. You can do it by yourself. My point was that you must be strong."Another artist, Domenico Ranieri, enlarged the model of the bull and worked with Di Modica to bring out the fine points of the sculpture. In an act of guerrilla art, Bedi-Makky Art Foundry and Di Modica trucked it to Lower Manhattan. Late in the evening of December 14, 1989, they installed it beneath a 60-foot (18 m) Christmas tree in the middle of Broad Street in front of the New York Stock Exchange Building as a Christmas gift to New Yorkers. That day, hundreds of onlookers stopped to see it as Di Modica handed out copies of a flier about his artwork.NYSE officials called police later that day, and the NYPD seized the sculpture and placed it into an impound lot. The ensuing public outcry led the New York City Department of Parks and Recreation to reinstall it two blocks south of the Exchange, in Bowling Green, facing up Broadway just north of Whitehall Street. Charging Bull was rededicated at its new location with a ceremony on December 21, 1989.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Describe the characteristics of the Construction and installation in Charging Bull's History.

The bull was cast by the Bedi-Makky Art Foundry in Greenpoint, Brooklyn. Di Modica spent $360,000 to create, cast, and install the sculpture following the 1987 stock market crash. The sculpture was Di Modica's idea. Having arrived penniless in the United States in 1970, Di Modica felt indebted to the nation for welcoming him and enabling his career as a successful sculptor. Charging Bull was intended to inspire each person who came into contact with it to carry on fighting through the hard times after the 1987 stock market crash. Di Modica later recounted to art writer Anthony Haden-Guest, "My point was to show people that if you want to do something in a moment things are very bad, you can do it. You can do it by yourself. My point was that you must be strong."Another artist, Domenico Ranieri, enlarged the model of the bull and worked with Di Modica to bring out the fine points of the sculpture. In an act of guerrilla art, Bedi-Makky Art Foundry and Di Modica trucked it to Lower Manhattan. Late in the evening of December 14, 1989, they installed it beneath a 60-foot (18 m) Christmas tree in the middle of Broad Street in front of the New York Stock Exchange Building as a Christmas gift to New Yorkers. That day, hundreds of onlookers stopped to see it as Di Modica handed out copies of a flier about his artwork.NYSE officials called police later that day, and the NYPD seized the sculpture and placed it into an impound lot. The ensuing public outcry led the New York City Department of Parks and Recreation to reinstall it two blocks south of the Exchange, in Bowling Green, facing up Broadway just north of Whitehall Street. Charging Bull was rededicated at its new location with a ceremony on December 21, 1989.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In the context of Charging Bull, explain the Ownership and the History.

The sculpture technically has a temporary permit allowing it to stand on city property since the city does not own the sculpture, but the temporary permission has lasted since 1989, when city officials said the new location would not be permanent. Art on loan is usually limited to a year's display, and although the city does not buy art, it does accept donations. By 1993, Di Modica wanted to sell the statue to recover the $320,000 cost of manufacturing it. However, there was only one major bid for the statue: a hotel in Las Vegas that offered $300,000.A writer in the New York Daily News wrote in 1998 that the statue's placement was "beginning to look a mite permanent." According to an article in Art Monthly, Di Modica, as well as officials and New Yorkers, "view it as a permanent feature of Lower Manhattan." In 2004, Di Modica announced that Charging Bull was for sale, on condition the buyer did not move it from its location. The sculpture remained unsold by 2008.Di Modica continued to own the artistic copyright to the statue, and filed several lawsuits against firms making replicas. For instance, Di Modica sued Wal-Mart and other companies in 2006 for selling replicas of the bull and using it in advertising campaigns. Three years later, Di Modica sued Random House for using a photo of the bull on the cover of a book discussing the collapse of financial services firm Lehman Brothers.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the Ownership about the History of this artwork, Charging Bull.

The sculpture technically has a temporary permit allowing it to stand on city property since the city does not own the sculpture, but the temporary permission has lasted since 1989, when city officials said the new location would not be permanent. Art on loan is usually limited to a year's display, and although the city does not buy art, it does accept donations. By 1993, Di Modica wanted to sell the statue to recover the $320,000 cost of manufacturing it. However, there was only one major bid for the statue: a hotel in Las Vegas that offered $300,000.A writer in the New York Daily News wrote in 1998 that the statue's placement was "beginning to look a mite permanent." According to an article in Art Monthly, Di Modica, as well as officials and New Yorkers, "view it as a permanent feature of Lower Manhattan." In 2004, Di Modica announced that Charging Bull was for sale, on condition the buyer did not move it from its location. The sculpture remained unsold by 2008.Di Modica continued to own the artistic copyright to the statue, and filed several lawsuits against firms making replicas. For instance, Di Modica sued Wal-Mart and other companies in 2006 for selling replicas of the bull and using it in advertising campaigns. Three years later, Di Modica sued Random House for using a photo of the bull on the cover of a book discussing the collapse of financial services firm Lehman Brothers.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In Charging Bull, how is the Ownership of the History explained?

The sculpture technically has a temporary permit allowing it to stand on city property since the city does not own the sculpture, but the temporary permission has lasted since 1989, when city officials said the new location would not be permanent. Art on loan is usually limited to a year's display, and although the city does not buy art, it does accept donations. By 1993, Di Modica wanted to sell the statue to recover the $320,000 cost of manufacturing it. However, there was only one major bid for the statue: a hotel in Las Vegas that offered $300,000.A writer in the New York Daily News wrote in 1998 that the statue's placement was "beginning to look a mite permanent." According to an article in Art Monthly, Di Modica, as well as officials and New Yorkers, "view it as a permanent feature of Lower Manhattan." In 2004, Di Modica announced that Charging Bull was for sale, on condition the buyer did not move it from its location. The sculpture remained unsold by 2008.Di Modica continued to own the artistic copyright to the statue, and filed several lawsuits against firms making replicas. For instance, Di Modica sued Wal-Mart and other companies in 2006 for selling replicas of the bull and using it in advertising campaigns. Three years later, Di Modica sued Random House for using a photo of the bull on the cover of a book discussing the collapse of financial services firm Lehman Brothers.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Describe the characteristics of the Ownership in Charging Bull's History.

The sculpture technically has a temporary permit allowing it to stand on city property since the city does not own the sculpture, but the temporary permission has lasted since 1989, when city officials said the new location would not be permanent. Art on loan is usually limited to a year's display, and although the city does not buy art, it does accept donations. By 1993, Di Modica wanted to sell the statue to recover the $320,000 cost of manufacturing it. However, there was only one major bid for the statue: a hotel in Las Vegas that offered $300,000.A writer in the New York Daily News wrote in 1998 that the statue's placement was "beginning to look a mite permanent." According to an article in Art Monthly, Di Modica, as well as officials and New Yorkers, "view it as a permanent feature of Lower Manhattan." In 2004, Di Modica announced that Charging Bull was for sale, on condition the buyer did not move it from its location. The sculpture remained unsold by 2008.Di Modica continued to own the artistic copyright to the statue, and filed several lawsuits against firms making replicas. For instance, Di Modica sued Wal-Mart and other companies in 2006 for selling replicas of the bull and using it in advertising campaigns. Three years later, Di Modica sued Random House for using a photo of the bull on the cover of a book discussing the collapse of financial services firm Lehman Brothers.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In the context of Charging Bull, explain the Evolution into tourist attraction and the History.

As soon as the sculpture was set up at Bowling Green, it became "an instant hit." One of the city's most photographed artworks, it has become a tourist destination in the Financial District. "Its popularity is beyond doubt," an article in The New York Times said of the artwork. "Visitors constantly pose for pictures around it." Henry J. Stern, the city parks commissioner when the statue first appeared in the Financial District, said in 1993: "People are crazy about the bull. It captured their imagination." Adrian Benepe, a later New York City parks commissioner, said in 2004, "It's become one of the most visited, most photographed and perhaps most loved and recognized statues in the city of New York. I would say it's right up there with the Statue of Liberty." A 2003 Bollywood film, Kal Ho Naa Ho, featured Charging Bull in a musical number, one visitor told a reporter that the bull's appearance in the film was a reason for his visit to New York City. Despite the financial crisis of 2007–2008, Charging Bull remained a popular tourist attraction.In addition to having their pictures taken at the front end of the bull, many tourists pose at the back of the bull, near the large testicles "for snapshots under an unmistakable symbol of its virility." According to a 2002 article in The Washington Post, "People on The Street say you've got to rub the nose, horns and testicles of the bull for good luck, tour guide Wayne McLeod would tell the group on the Baltimore bus, who would giddily oblige." A 2004 article in The New York Times said, "Passers-by have rubbed—to a bright gleam—its nose, horns and a part of its anatomy that, as Mr. Benepe put it gingerly, 'separates the bull from the steer.'" A 2007 newspaper account agreed that a "peculiar ritual" of handling the "shining orbs" of the statue's scrotum seems to have developed into a tradition.On March 7, 2017, a bronze sculpture by Kristen Visbal, Fearless Girl, was installed facing Charging Bull. It was commissioned to advertise for an index fund that comprises gender-diverse companies that have a relatively high percentage of women among their senior leadership and installed in anticipation of International Women's Day the following day. It depicts a girl four-foot (1.2 m) high, promoting female empowerment. After Di Modica filed complaints about Fearless Girl, it was removed in November 2018 and relocated to outside the New York Stock Exchange. A plaque with footprints was placed on the original site of Fearless Girl.In November 2019, city officials announced that they wished to move Charging Bull to a plaza outside the New York Stock Exchange due to safety concerns at Bowling Green. Officials stated that because Charging Bull is located on a traffic median with large crowds, it was vulnerable to terrorist attacks, citing examples such as the 2017 truck attack on the nearby West Side Highway. Local community group Downtown Alliance supported the relocation, but Di Modica opposed it. The New York City Department of Transportation (DOT) had filed an application with the New York City Public Design Commission (PDC) to relocate Charging Bull, but subsequently withdrew the application, which a city spokesperson said was due to uncertainty over the new location. Residents of Manhattan Community District 1, which includes the Financial District, expressed opposition to the relocation in a meeting with city officials in May 2020. At the time, updated plans called for Charging Bull to be located at the corner of Broad Street and Wall Street, north of Fearless Girl. The PDC declined to endorse relocation in June 2020.On October 18, 2021, a statue of Harambe, a gorilla, was placed facing the statue in a similar manner to Fearless Girl and thousands of bananas were placed under the bull's feet. The act was carried out by organizers promoting Sapien.Network, an in-development social media network.In fall 2021, artist Nelson Saiers placed a series of sculptures next to the Bull to comment on the Federal Reserve's monetary policy and inflation. The first, "Cheap Money is Out of Order," featured a gumball machine filled with $10 bills offered for 25 cents with an "Out of Order!" sign taped to its face.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the Evolution into tourist attraction about the History of this artwork, Charging Bull.

As soon as the sculpture was set up at Bowling Green, it became "an instant hit." One of the city's most photographed artworks, it has become a tourist destination in the Financial District. "Its popularity is beyond doubt," an article in The New York Times said of the artwork. "Visitors constantly pose for pictures around it." Henry J. Stern, the city parks commissioner when the statue first appeared in the Financial District, said in 1993: "People are crazy about the bull. It captured their imagination." Adrian Benepe, a later New York City parks commissioner, said in 2004, "It's become one of the most visited, most photographed and perhaps most loved and recognized statues in the city of New York. I would say it's right up there with the Statue of Liberty." A 2003 Bollywood film, Kal Ho Naa Ho, featured Charging Bull in a musical number, one visitor told a reporter that the bull's appearance in the film was a reason for his visit to New York City. Despite the financial crisis of 2007–2008, Charging Bull remained a popular tourist attraction.In addition to having their pictures taken at the front end of the bull, many tourists pose at the back of the bull, near the large testicles "for snapshots under an unmistakable symbol of its virility." According to a 2002 article in The Washington Post, "People on The Street say you've got to rub the nose, horns and testicles of the bull for good luck, tour guide Wayne McLeod would tell the group on the Baltimore bus, who would giddily oblige." A 2004 article in The New York Times said, "Passers-by have rubbed—to a bright gleam—its nose, horns and a part of its anatomy that, as Mr. Benepe put it gingerly, 'separates the bull from the steer.'" A 2007 newspaper account agreed that a "peculiar ritual" of handling the "shining orbs" of the statue's scrotum seems to have developed into a tradition.On March 7, 2017, a bronze sculpture by Kristen Visbal, Fearless Girl, was installed facing Charging Bull. It was commissioned to advertise for an index fund that comprises gender-diverse companies that have a relatively high percentage of women among their senior leadership and installed in anticipation of International Women's Day the following day. It depicts a girl four-foot (1.2 m) high, promoting female empowerment. After Di Modica filed complaints about Fearless Girl, it was removed in November 2018 and relocated to outside the New York Stock Exchange. A plaque with footprints was placed on the original site of Fearless Girl.In November 2019, city officials announced that they wished to move Charging Bull to a plaza outside the New York Stock Exchange due to safety concerns at Bowling Green. Officials stated that because Charging Bull is located on a traffic median with large crowds, it was vulnerable to terrorist attacks, citing examples such as the 2017 truck attack on the nearby West Side Highway. Local community group Downtown Alliance supported the relocation, but Di Modica opposed it. The New York City Department of Transportation (DOT) had filed an application with the New York City Public Design Commission (PDC) to relocate Charging Bull, but subsequently withdrew the application, which a city spokesperson said was due to uncertainty over the new location. Residents of Manhattan Community District 1, which includes the Financial District, expressed opposition to the relocation in a meeting with city officials in May 2020. At the time, updated plans called for Charging Bull to be located at the corner of Broad Street and Wall Street, north of Fearless Girl. The PDC declined to endorse relocation in June 2020.On October 18, 2021, a statue of Harambe, a gorilla, was placed facing the statue in a similar manner to Fearless Girl and thousands of bananas were placed under the bull's feet. The act was carried out by organizers promoting Sapien.Network, an in-development social media network.In fall 2021, artist Nelson Saiers placed a series of sculptures next to the Bull to comment on the Federal Reserve's monetary policy and inflation. The first, "Cheap Money is Out of Order," featured a gumball machine filled with $10 bills offered for 25 cents with an "Out of Order!" sign taped to its face.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: In Charging Bull, how is the Evolution into tourist attraction of the History explained?

As soon as the sculpture was set up at Bowling Green, it became "an instant hit." One of the city's most photographed artworks, it has become a tourist destination in the Financial District. "Its popularity is beyond doubt," an article in The New York Times said of the artwork. "Visitors constantly pose for pictures around it." Henry J. Stern, the city parks commissioner when the statue first appeared in the Financial District, said in 1993: "People are crazy about the bull. It captured their imagination." Adrian Benepe, a later New York City parks commissioner, said in 2004, "It's become one of the most visited, most photographed and perhaps most loved and recognized statues in the city of New York. I would say it's right up there with the Statue of Liberty." A 2003 Bollywood film, Kal Ho Naa Ho, featured Charging Bull in a musical number, one visitor told a reporter that the bull's appearance in the film was a reason for his visit to New York City. Despite the financial crisis of 2007–2008, Charging Bull remained a popular tourist attraction.In addition to having their pictures taken at the front end of the bull, many tourists pose at the back of the bull, near the large testicles "for snapshots under an unmistakable symbol of its virility." According to a 2002 article in The Washington Post, "People on The Street say you've got to rub the nose, horns and testicles of the bull for good luck, tour guide Wayne McLeod would tell the group on the Baltimore bus, who would giddily oblige." A 2004 article in The New York Times said, "Passers-by have rubbed—to a bright gleam—its nose, horns and a part of its anatomy that, as Mr. Benepe put it gingerly, 'separates the bull from the steer.'" A 2007 newspaper account agreed that a "peculiar ritual" of handling the "shining orbs" of the statue's scrotum seems to have developed into a tradition.On March 7, 2017, a bronze sculpture by Kristen Visbal, Fearless Girl, was installed facing Charging Bull. It was commissioned to advertise for an index fund that comprises gender-diverse companies that have a relatively high percentage of women among their senior leadership and installed in anticipation of International Women's Day the following day. It depicts a girl four-foot (1.2 m) high, promoting female empowerment. After Di Modica filed complaints about Fearless Girl, it was removed in November 2018 and relocated to outside the New York Stock Exchange. A plaque with footprints was placed on the original site of Fearless Girl.In November 2019, city officials announced that they wished to move Charging Bull to a plaza outside the New York Stock Exchange due to safety concerns at Bowling Green. Officials stated that because Charging Bull is located on a traffic median with large crowds, it was vulnerable to terrorist attacks, citing examples such as the 2017 truck attack on the nearby West Side Highway. Local community group Downtown Alliance supported the relocation, but Di Modica opposed it. The New York City Department of Transportation (DOT) had filed an application with the New York City Public Design Commission (PDC) to relocate Charging Bull, but subsequently withdrew the application, which a city spokesperson said was due to uncertainty over the new location. Residents of Manhattan Community District 1, which includes the Financial District, expressed opposition to the relocation in a meeting with city officials in May 2020. At the time, updated plans called for Charging Bull to be located at the corner of Broad Street and Wall Street, north of Fearless Girl. The PDC declined to endorse relocation in June 2020.On October 18, 2021, a statue of Harambe, a gorilla, was placed facing the statue in a similar manner to Fearless Girl and thousands of bananas were placed under the bull's feet. The act was carried out by organizers promoting Sapien.Network, an in-development social media network.In fall 2021, artist Nelson Saiers placed a series of sculptures next to the Bull to comment on the Federal Reserve's monetary policy and inflation. The first, "Cheap Money is Out of Order," featured a gumball machine filled with $10 bills offered for 25 cents with an "Out of Order!" sign taped to its face.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Describe the characteristics of the Evolution into tourist attraction in Charging Bull's History.

As soon as the sculpture was set up at Bowling Green, it became "an instant hit." One of the city's most photographed artworks, it has become a tourist destination in the Financial District. "Its popularity is beyond doubt," an article in The New York Times said of the artwork. "Visitors constantly pose for pictures around it." Henry J. Stern, the city parks commissioner when the statue first appeared in the Financial District, said in 1993: "People are crazy about the bull. It captured their imagination." Adrian Benepe, a later New York City parks commissioner, said in 2004, "It's become one of the most visited, most photographed and perhaps most loved and recognized statues in the city of New York. I would say it's right up there with the Statue of Liberty." A 2003 Bollywood film, Kal Ho Naa Ho, featured Charging Bull in a musical number, one visitor told a reporter that the bull's appearance in the film was a reason for his visit to New York City. Despite the financial crisis of 2007–2008, Charging Bull remained a popular tourist attraction.In addition to having their pictures taken at the front end of the bull, many tourists pose at the back of the bull, near the large testicles "for snapshots under an unmistakable symbol of its virility." According to a 2002 article in The Washington Post, "People on The Street say you've got to rub the nose, horns and testicles of the bull for good luck, tour guide Wayne McLeod would tell the group on the Baltimore bus, who would giddily oblige." A 2004 article in The New York Times said, "Passers-by have rubbed—to a bright gleam—its nose, horns and a part of its anatomy that, as Mr. Benepe put it gingerly, 'separates the bull from the steer.'" A 2007 newspaper account agreed that a "peculiar ritual" of handling the "shining orbs" of the statue's scrotum seems to have developed into a tradition.On March 7, 2017, a bronze sculpture by Kristen Visbal, Fearless Girl, was installed facing Charging Bull. It was commissioned to advertise for an index fund that comprises gender-diverse companies that have a relatively high percentage of women among their senior leadership and installed in anticipation of International Women's Day the following day. It depicts a girl four-foot (1.2 m) high, promoting female empowerment. After Di Modica filed complaints about Fearless Girl, it was removed in November 2018 and relocated to outside the New York Stock Exchange. A plaque with footprints was placed on the original site of Fearless Girl.In November 2019, city officials announced that they wished to move Charging Bull to a plaza outside the New York Stock Exchange due to safety concerns at Bowling Green. Officials stated that because Charging Bull is located on a traffic median with large crowds, it was vulnerable to terrorist attacks, citing examples such as the 2017 truck attack on the nearby West Side Highway. Local community group Downtown Alliance supported the relocation, but Di Modica opposed it. The New York City Department of Transportation (DOT) had filed an application with the New York City Public Design Commission (PDC) to relocate Charging Bull, but subsequently withdrew the application, which a city spokesperson said was due to uncertainty over the new location. Residents of Manhattan Community District 1, which includes the Financial District, expressed opposition to the relocation in a meeting with city officials in May 2020. At the time, updated plans called for Charging Bull to be located at the corner of Broad Street and Wall Street, north of Fearless Girl. The PDC declined to endorse relocation in June 2020.On October 18, 2021, a statue of Harambe, a gorilla, was placed facing the statue in a similar manner to Fearless Girl and thousands of bananas were placed under the bull's feet. The act was carried out by organizers promoting Sapien.Network, an in-development social media network.In fall 2021, artist Nelson Saiers placed a series of sculptures next to the Bull to comment on the Federal Reserve's monetary policy and inflation. The first, "Cheap Money is Out of Order," featured a gumball machine filled with $10 bills offered for 25 cents with an "Out of Order!" sign taped to its face.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Focus on Charging Bull and explain the Replicas.

In 2010, a similar Charging Bull sculpture by Di Modica was installed in Shanghai on commission by the Shanghai city authority; it is informally called the Bund Bull. Two years later, Di Modica unofficially installed another Charging Bull sculpture outside the Amsterdam Stock Exchange on Beursplein, Amsterdam.In 2019, Professional Bull Riders authorized Di Modica to craft a scaled replica of Charging Bull as the trophy for the champion of their annual Monster Energy PBR Unleash the Beast bull riding major event, the Monster Energy Buck Off at the Garden major.  It was first presented during the 2020 event to João Ricardo Vieira.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: Explain the Replicas of this artwork, Charging Bull.

In 2010, a similar Charging Bull sculpture by Di Modica was installed in Shanghai on commission by the Shanghai city authority; it is informally called the Bund Bull. Two years later, Di Modica unofficially installed another Charging Bull sculpture outside the Amsterdam Stock Exchange on Beursplein, Amsterdam.In 2019, Professional Bull Riders authorized Di Modica to craft a scaled replica of Charging Bull as the trophy for the champion of their annual Monster Energy PBR Unleash the Beast bull riding major event, the Monster Energy Buck Off at the Garden major.  It was first presented during the 2020 event to João Ricardo Vieira.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg


Charging Bull

Prompt: How does Charging Bull explain its Replicas?

In 2010, a similar Charging Bull sculpture by Di Modica was installed in Shanghai on commission by the Shanghai city authority; it is informally called the Bund Bull. Two years later, Di Modica unofficially installed another Charging Bull sculpture outside the Amsterdam Stock Exchange on Beursplein, Amsterdam.In 2019, Professional Bull Riders authorized Di Modica to craft a scaled replica of Charging Bull as the trophy for the champion of their annual Monster Energy PBR Unleash the Beast bull riding major event, the Monster Energy Buck Off at the Garden major.  It was first presented during the 2020 event to João Ricardo Vieira.

Category:Vandalized works of art in New York City

A poster showing a ballerina on the ''Charging Bull'' to promote the [[Occupy Wall Street

The ''Charging Bull''{{'}}s scrotum is noticeably lighter in color due to frequent rubbing.

Category:1989 establishments in New York City

Category:Outdoor sculptures in Manhattan

''Charging Bull'' covered in a blue tarp and surrounded by barricades in June 2020 during the [[George Floyd protests in New York City

File:DiModica working on Crosby St basement.png

Arturo Di Modica and his representative Jacob Harmer in Sicily, Italy, in 2017

New York City Department of Transportation

''Charging Bull'' is at the northern tip of Bowling Green.

File:Arturo Di Modica and his representative Jacob Harmer.png

Arturo Di Modica in 54 Crosby St studio where ''Charging Bull'' was conceived

United States withdrawal from the Paris Agreement

alt=Charging Bull covered in a blue tarp and surrounded by barricades to protect it from vandalism. This photo was taken in June 2020, during the George Floyd protests in New York City.

New York City Department of Parks and Recreation

File:Testicles of the Charging Bull statue in New York City.jpg