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Andrew Anglin
Daily Stormer
April 13, 2017
Women are incapable of grasping abstract concepts, also incapable of empathy for anyone other than their own children, and thus incapable of understanding or caring about art.
There is also ample evidence that they enjoy ruining the works of great men (or small men, for that matter), simply for sadistic pleasure.
With hopes of dispensing the “perfect antidote” to the stock market crash of 1987, Italian-born sculptor Arturo Di Modica spent two years welding a 7,000 pound bronze bull statue designed to capture the resilience of the American people.
Under the cover of night and without a permit, he installed his massive “Charging Bull” directly before the New York Stock Exchange, a gift New Yorkers loved but New York City initially hated. Authorities removed it, but later reinstalled it under pressure at a small public park in the financial district.
In the 18 years since, it has become an institution.
Then last month, on International Women’s Day, a new statue of a symbolically brave “Fearless Girl” stole its spotlight – and, Di Modica says, fundamentally corrupted the artistic integrity of his “Charging Bull.”
As “Fearless Girl” was heralded by many as a symbol for female empowerment, Di Modica doled out sharp criticism, casting the statue as not art, but a publicity stunt by the gender-oriented company that commissioned it.
He forcefully advocated against a global campaign to make “Fearless Girl” a permanent fixture, but fans persevered, persuading New York City Mayor Bill de Blasio to extend the statue’s permit through April 2018.
On behalf of his bull, Di Modica won’t back down.
The artist will hold a news conference Wednesday with attorney Norman Siegel, the former director of the New York Civil Liberties Union, to explain his plans to challenge the city officials who let “Fearless Girl” happen without asking his permission.
“We’re all for gender equality,” Siegel told The Washington Post Tuesday night. “But the questions are because there are other issues.”
The specific issues, Siegel told The Post, will be saved for the news conference, though he said they do not intend to file any lawsuits Wednesday.
“Fearless Girl” debuted on March 7, near the first anniversary of the Gender Diversity Index SHE, which tracks companies that are gender diverse and was created by investment firm State Street Global Advisors.
State Street commissioned Delaware-based artist Kristen Visbal to cast the four-foot bronze girl, who wears pigtails and a windblown dress, and, with hands on her hips, stares daringly at the beast before her.
“We were focusing on making a statement about the future of Wall Street,” Visbal told CNN Money last month. “We wanted this wonderful contrast.”
The project is about “girl power,” she said, a message to corporate boards on Wall Street with a dearth of women members “that we are here, that we are heard, that we are permanent.”
The bull represents a “bull market,” and was placed there during a time of economic hardship and meant to symbolize the strength of the American people, and Western civilization as a whole to rise up and overcome obstacles put in our way.
Liberated women look at anything powerful or creative as needing to be torn down, and that is their symbolism. The artist is protesting because he believes that this girl turns the bull into a negative force, when in fact it was meant to represent a creative force, the drive to accomplishment. But of course, women are opposed to the creative force, and seek to vanquish that flame of spiritual energy that men have kept lit since the beginning of time.
New York Times has more from the artist’s lawyers:
For his part, Mr. Di Modica became emotional, explaining later that when he had heard about “Fearless Girl,” his reaction was to go to the site in Lower Manhattan and try to do something to end the face-off between the two statues. “I said, ‘Now I’m going to turn around the bull myself,’” he recalled.
The lawyers said that “Fearless Girl” had subverted the bull’s meaning, which Mr. Di Modica defined as “freedom in the world, peace, strength, power and love.”
Because of “Fearless Girl,” Mr. Siegel said, “‘Charging Bull’ no longer carries a positive, optimistic message,” adding that Mr. Di Modica’s work “has been transformed into a negative force and a threat.”
Fearless Girl is indeed the perfect symbol of feminism. You have to give them that. They have truly captured the essence of the ideology of female empowerment.
This is what women do when you give them power.
They ruin things.
They ruin marriages, they ruin families, they ruin workplaces, they ruin civilizations.
They ruin political movements.
And they ruin art as well.
The reasoning is always the same: It makes them feel good.
