Bring us the head of Hans Christian Heg!

The Wisconsin State Journal reports: 

A criminal complaint charged Rodney A. Clendening, 34, of Beloit, with felony theft after police said they identified him as the driver of a car into which the head of the abolitionist statue was placed on June 23, after a group of people, using another vehicle to assist them, pulled down the statue of Heg during a destructive night Downtown. 

According to the complaint against Clendening.... He walked toward the Heg plinth, just out of the camera’s view, and came back into view alongside two other men who were carrying Heg’s head. One of the men put the head into the trunk of the Ford. After the trunk was closed, Clendening went back to the driver’s seat and drove off. The car was seen a short time later on video footage at John Nolen Drive and East Wilson Street. A man who appeared to be Clendening got out and ran toward South Blair and East Wilson streets. A short time later, he was seen standing near a man police say was the driver of the Nissan used to pull down the Heg statue....

Getting the head back is important, but they are already spending $51,600 to recast it, and the plan is to have the statue reinstalled by "the middle of the year." 

"A 33-metre reinforced concrete vagina has sparked a Bolsonarian backlash in Brazil..."

"... with supporters of the country’s far-right president clashing with leftwing art admirers over the installation. The handmade sculpture, entitled Diva, was unveiled by visual artist Juliana Notari on Saturday at a rural art park... In a Facebook post, Notari said the scarlet hillside vulva was intended to 'question the relationship between nature and culture in our phallocentric and anthropocentric western society' and provoke debate over the 'problematisation of gender.'...  Bolsonaro’s US-based political guru, the professional polemicist Olavo de Carvalho, weighed in with a customarily foul-mouthed tweet."

The Guardian reports.

The "foul-mouthed tweet" isn't quoted (in Portuguese or in translation), but I clicked through to Twitter and read: "Por que estão falando mal da buceta de 33 metros em vez de enfrentá-la com um pirocão?" And I have Google-translated it for you: "Why are they talking bad about the 33-meter pussy instead of facing it with a dick?" 

I guess he's suggesting that opponents of the hillside ought to devise a way to rape it, or no, maybe he's just calling for equality and would like another hillside with a sculpture representing male genitalia. Google translates "enfrentá" as "facing," but also as "confronting" or "encountering." 

Obviously, I am incapable of assessing the humor or hatefulness of a Portuguese tweet. One idea is to translate the responses at Twitter. For example: "Professor Olavo, you are a great intellectual and an exceptional teacher. But this compulsion for hostility and bad words related to sexual organs and waste are symptoms of psychiatric disorder. Try to treat yourself, your ideas will gain more strength!"

If you search for monumental constructions that represent genitalia, the vast majority of what you will find is male. Here's the Wikipedia article on "Phallic Architecture." There's no way feminist sculptors could ever carve enough concrete into hillsides even to begin to achieve equity. 

For another example of a monumental vagina sculpture, see "The Dirty Corner," a gigantic construction at Versailles, by Anish Kapoor, who described it as "the vagina of the queen coming into power." The article at the link — from BBC in 2015 — quotes a random German tourist: "It's confusing, a big vagina and a palace. It's one of the most famous places in Paris and I just wanted to see it and I saw this building, this statue, and I don't know what it is." That sculpture has been vandalized, and Kapoor, who is male, has denied calling it a vagina: "I never said vagina—I said ‘she sits here on the lawn’ or something to that effect."

Ah! The difficulties of translation!

"The statue by Thomas Ball depicts a Black man, shirtless and on his knees, in front of a clothed and standing Abraham Lincoln."

"In one hand, Lincoln holds a copy of the Emancipation Proclamation, while the other is stretched out over the Black man. Ball intended it to look as though the man were rising to freedom, but to many, it looks like he is bowing down or supplicating to Lincoln. Boston artist Tory Bullock, who started the petition, described it this way: 'I’ve been watching this man on his knees since I was a kid. It’s supposed to represent freedom but instead represents us still beneath someone else. I would always ask myself, "If he’s free, why is he still on his knees?"'"

From "Controversial Lincoln statue is removed in Boston, but remains in D.C." (WaP). There are 2 identical statues, the original in Washington and a replica that was in Boston. 

The original statue "was commissioned and paid for by a group of Black Americans, many of whom were formerly enslaved," but they "did not have a say in the design of the statue; that distinction went to an all-White committee and the artist, Ball, who was White." 

Frederick Douglass was present at the unveiling in 1876, and he criticized the statue in writing a few days later: "What I want to see before I die is a monument representing the negro, not couchant on his knees like a four-footed animal, but erect on his feet like a man." 

The question "If he’s free, why is he still on his knees?" is interesting. Whenever stationary art depicts an action, we see a stage of the action. We're in the middle of things. How do you make a statue of a person rising up? If you show him already fully standing, you might lose the expression of the action...

... you don't need to show this figure that close to the ground. And Lincoln looks still and lordly. It is a strange artifact. It's artwork from the past, never the greatest art, but carrying the weight of history, history that includes Frederick Douglass wanting to see a better image of a black man before he died.

***

I looked to see what year Douglass died. It was 1895. I clicked through on the name of his first wife, Anna Murray Douglass:

Anna Murray was... born free, her parents having been manumitted just a month before her birth. A resourceful young woman, by the age of 17 she had established herself as a laundress and housekeeper. Her laundry work took her to the docks, where she met Frederick Douglass, who was then working as a caulker. Murray's freedom made Douglass believe in the possibility of his own. When he decided to escape slavery in 1838, Murray encouraged and helped him by providing Douglass with some sailor's clothing her laundry work gave her access to. She also gave him part of her savings, which she augmented by selling one of her feather beds. 

After Douglass had made his way to Philadelphia and then New York, Murray followed him, bringing enough goods with her to be able to start a household.... She helped support the family financially, working as a laundress and learning to make shoes, as Douglass's income from his speeches was sporadic and the family was struggling. She also took an active role in the Boston Female Anti-Slavery Society and later prevailed upon her husband to train their sons as typesetters for his abolitionist newspaper, North Star. After the family moved to Rochester, New York, she established a headquarters for the Underground Railroad from her home, providing food, board and clean linen for fugitive slaves on their way to Canada. 

Murray Douglass received little mention in Douglass's three autobiographies. Henry Louis Gates has written that "Douglass had made his life story a sort of political diorama in which she had no role."