There’s a ‘typo’ on the Lincoln Memorial.
The full texts of The Gettysburg
Address and Lincoln’s Second Inaugural
Address were hand-carved, and the
engraver accidentally inscribed the
word EUTURE instead of FUTURE on the
north wall. The base line of the E was
filled in, but the repair is obvious
to the naked eye. SourceSource 2Source 3
CHINA, KAIFENG : This photo taken on January 4, 2016 shows a
huge statue of Chairman Mao Zedong under construction in Tongxu county
in Kaifeng, central China’s Henan province. The statue reportedly
measures 120 feet (36.6meters) in height and is located in Zhushigang
village. AFP PHOTO
Tony Matelli Doesn’t Believe His ‘Sleepwalker’ Statue Is Terrorizing Wellesley College
He stands at about 5'9’’ with his eyes closed, and he wears nothing besides underwear. He is known as the Sleepwalker, and he’s disturbing the student body at the all-girls Wellesley College. I’m not referring to the main character in a Neil Gaiman comic. I’m referring to artist Tony Matelli’s outdoor, bronze sculpture that’s part of the New Gravity exhibit at Wellesley’s Davis Museum.
This week, a Wellesley College junior wrote a petition for the college to remove the sculpture, because she believed it had the potential to trigger sexual assault survivors’ traumatic memories. The uproar surprised Tony, and it didn’t stop the museum from showcasing his art. Davis Museum director Lisa Fischman stood by Tony’s decision to place the sculpture where it is, saying that it provokes dialogue in a meaningful manner.
“Matelli’s Sleepwalker—considered up close—is a man in deep sleep. Arms outstretched, eyes closed, he appears vulnerable and unaware against the snowy backdrop of the space around him. He is not naked,” Lisa said in response to the petition.
The day before the exhibit’s debut, I spoke to Tony to hear his side of the story and see how he felt about the fervor his work has created on Wellesley’s campus.
VICE: What did you think of the petition when you read it? Tony Matelli: No one made the claim that it was triggering. No first-person account came forward to say, “I am fearful of this sculpture.” It was a speculative petition signed on behalf of some speculative victim. The petition said a bunch of other things about art and where art should be. I guess people are focusing on this triggering idea, which I’m sympathetic to. I have some empathy towards that, and I can even understand that position. I can’t put myself into someone else’s head and imagine what scares them and what doesn’t.
What was your original intention for Sleepwalker? This is not the first time that I’ve made a sculpture similar to this. I’ve made a couple other sleepwalkers. One was a sculpture of a woman, and one was a sculpture of a much younger man. When I was planning for this show, I knew that I was going to do the ground floor, and I knew that I was going to do the top floor. I thought it would be cool to do something outside also. Typically when you think of outdoor sculpture, you think of big, blocky, kind-of-alien, modern artwork that feels like a real exertion of machismo—like a real exertion of corporate identity. I wanted to make something that felt really vulnerable outside and felt very lost and fragile, because outdoor sculptures never ever do that.
Fifty years ago on October 3, 1965, at the base of the Statue of Liberty, President Lyndon B. Johnson signed the Immigration Act of 1965 into law.
The act was an important milestone in American immigration history. It was a significant improvement from the National Origins Act of 1924, which barred Asian immigrants, limited Latin American immigrants, and established rigid immigration quotas for European countries.
These quotas, established in an era of post–World War I isolationism and xenophobia, lasted from 1924 through 1965:
Great Britain and Northern Ireland: 34,007
Irish Free State: 28,567
Aliens needed to apply for spots on the quota in their country of birth, regardless of where they and their family lived. Some quota waiting lists were a dozen years long, while others were not filled.
The Immigration Act of 1965 abolished this quota system and eliminated the formally racial character of immigration to the United States. The act aimed for immigration law to distinguish between hemispheres of origin, instead of discriminating on the basis of ethnicity or race. It also prioritized keeping families together, and put a preference on skilled workers.
The National Archives holds many records related to the history of immigration. The Records of Rights exhibit at the National Archives in Washington, DC, includes a compelling section on American immigration.