Arturo Di Modica’s Charging Bull is imposing in scale. It is a model of muscular machismo and a popular tourist spot. It stands taller than most people in the middle of a very busy part of Manhattan, usually gleaming in the sun like a trophy of capitalist masculinity. Its scale is met with detail, as the Charging Bull features expressive eyes and eyebrows, a stance that exudes motion and energy, and a detailed musculature, from ribs to thighs. Very early Christmas morning (about three o’clock) in 2010, the artist Olek escaped from any potential sugar-plum fantasies and stole down to Wall Street to leave a Christmas gift for New York City. Olek had crocheted, by hand and without assistance, a covering for the Charging Bull, perhaps a sweater or a sort of “bull cozy” and installed it in the dead of night so as to avoid the authorities. She would later entitle this piece Project B (Wall Street Bull).
Ingrid Asplund received her bachelor’s degree in History of Art from Bryn Mawr College in 2014. In the several years following her undergraduate study, she served as a missionary for the Church of Jesus Christ of Latter-day Saints in Maryland, Virginia, and West Virginia. Ingrid is a Ph.D. student in the University of California, San Diego’s Art History, Theory, and Criticism program where she specializes in contemporary art, especially installations employing light,fiber art, and other experimental media. She enjoys volunteering as a doula, beekeeping, writing about faith and feminism, and trying out new shades of lipstick.