Old Man Behind Brass-Balled Bull Is Confused and Offended by a Little Girl

Artists: they’re just like us! Today, the Italian sculptor behind “Charging Bull” is absolutely furious with the City of New York for allowing a little girl to stand in the way of the statue that he installed 30 years ago … illegally and without permission.

Lawyers representing Sicily-born Arturo Di Modica claim the city has “infringed on his own artistic copyright by changing the creative dynamic to include the other bold presence,” according to a report in The Guardian last night.

He wants the city to remove McCann’s “Fearless Girl” immediately, or else he will be SO MAD, YOU GUYS.

OK, but let’s rewind a bit. Back in March, Marketwatch ran a story under the HL “Wall Street Bull artist calls BS on ‘Fearless Girl’ statue.” In the interview, Di Modica called the classification of the work as a symbol of female empowerment “a mistake” and said, “That is not a symbol! That’s an advertising trick. My bull is a symbol for America. My bull is a symbol of prosperity and for strength.”

Hmm…so what was his project, again?

Di Modica spent $350,000 of his own money to create and install the bull in 1987, right after the stock market crashed as a way to express his confidence in American capitalism. He called it a Christmas gift to the people of New York—but the NYPD wasn’t so amused, because Di Modica had absolutely no permission to install it … so they impounded the sculpture and held it before reinstalling it a couple of blocks away due to public outrage.

Oh, also: the city does not own the bull, and its position is officially temporary … just like that of “Fearless Girl.” Di Modica does have a copyright, however, and he will sue your ass without blinking if you try to use it to make money. He already sued Walmart for using photos of the sculpture and took Random House to court over a book about Lehman Brothers that featured a cover image of the bull. While he initially planned a series of four or five bulls for different cities, he has to date installed only one other, very similar sculpture in Shanghai.

Before you ask: yes, everyone likes to play with the balls. It’s not just you. Here’s a fun quote from a 2007 piece on tourists’ fascination with the work:

“I’ve seen people do some crazy things to that bull,” souvenir vendor David Jefferson said, shaking his head. “At night sometimes, when people have been drinking, I’ve seen them do stuff to that bull that you couldn’t print in a newspaper.”

Di Modica plans to hold a press conference on the topic today, so we will need to update this post. No comment from McCann, which is understandably avoiding this one like Sean Spicer will avoid any mention of World War II for the next few weeks.

The results of this Marketwatch poll are also a little surprising.

marketwatch poll

Are these finance bros saying that Wall Street doesn’t have bigger problems?

And do you still wish you’d gone into fine art instead of advertising?

[Pic via]

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Content studio Big Block welcomes director Neil Abramson to their expanding roster of talent. The versatile Abramson is known for turning out compelling work across mediums and genres, including commercials, music videos, documentaries, feature films and still photography.

As a South African living in the United States since his teens, Abramson brings a global perspective to his work, and combines sensitivity with an unflinching eye. He’s driven to craft films that explore the human condition and psyche, whether it’s focusing on the quiet moments in life for a Subway commercial, or following a young Marine being deployed for active duty in his film American Son.

Abramson’s feature work, both scripted and documentary, highlights his desire to shine a light on important aspects of modern life. His evocative feature debut, Without Air, premiered at Sundance, and went on to win Most Promising Newcomer and landed Abramson on Daily Variety’s “10 To Watch” list.

Abramson’s gripping documentary Soldier Child, became a calling card for the issue, culminating in Amnesty International presenting the film at the United Nations to bring awareness to the plight of child soldiers in Northern Uganda and worldwide. A book of Abramson’s photographs taken in Uganda accompanied the film. After the success of Soldier Child, Abramson traveled to Sierra Leone with the UN to document the atrocities of the civil war there, with the film and his photographs being used to raise money for a refugee relief fund.

Abramson’s 2008 feature American Son, starring Nick Cannon, Matt O’Leary, Melonie Diaz, Tom Sizemore and Jay Hernandez, is a riveting statement of the times which garnered a glowing review from The Hollywood Reporter: “A front-and-center medal to Abramson for his exemplary direction, distilling a representative story though the power of the personal scope.”

Not content to only work in the dramatic space, Abramson also has an eye for the absurd. Bob Smith U.S.A., his most recent feature documentary, is a reflection on American society and culture shown in a uniquely poignant and often hilarious manner, as seen through the eyes of seven men named Bob Smith.

Abramson began directing after graduating from Art Center College of Design, helming music videos for acts like Deborah Harry, Dwight Yokum, and Mark Knoffler. He transitioned to the commercial side and was soon shooting motion/print campaigns for high-profile clients like Merrill Lynch, Nike, McDonald’s, Cadillac, Coca-Cola, United Airlines, and Toyota. Abramson’s fresh approach to advertising has been lauded by his industry peers, with his work earning awards including Clios and Cannes Lions.

On joining the ranks at Big Block, Abramson says: “Big Block is a progressive company that has their finger on the pulse of a new paradigm of production and media creation – not only commercials, but content of all types. Their offering is way beyond that of other shops…that’s what really got me excited about joining.”

Big Block Managing Director Kenny Solomon echoes the praise, saying: “I have been a fan of Neil’s for some time. He has that uncanny ability to evoke the human condition and unearth true emotion in all his work, across the mediums of branded content to feature films to his still photography. I even got a bit teary-eyed when I watched what he shot for Subway…now that’s good creative! ”

Adland: 

Kofax CMO Proves that in Marketing, United We Stand


If “every village has its idiot” had an antithesis, it would be “every community has its organizer.” In any group setting, he or she is that person who naturally brings together disparate individuals with a common bond and, most importantly, mobilizes them for action.

At Kofax, that person is Grant Johnson, chief marketing officer. The automation software company was acquired in 2015 by Lexmark, which had recently subsumed two additional software brands. As the new CMO, Johnson set out to unify the various marketing functions of the now-global brand.

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Kofax CMO Proves that in Marketing, United We Stand


If “every village has its idiot” had an antithesis, it would be “every community has its organizer.” In any group setting, he or she is that person who naturally brings together disparate individuals with a common bond and, most importantly, mobilizes them for action.

At Kofax, that person is Grant Johnson, chief marketing officer. The automation software company was acquired in 2015 by Lexmark, which had recently subsumed two additional software brands. As the new CMO, Johnson set out to unify the various marketing functions of the now-global brand.

Continue reading at AdAge.com