Happy Friday, and welcome to another edition of the public art news roundup.
This week stole some great artists from us, both too early at 69. Art, theater, movie, music, and pop culture fans continue to reel, and I’m sure I can’t say anything here that hasn’t already been said better somewhere else. So let me focus on something important that this week gave us: recognition for the singular they. Last Friday, in a landslide vote, the American Dialect Society chose 2015’s Word of the Year: the singular “they.” As in, “any grammar fascist who is offended by this decision can go fuck themself.” The singular they is a gender neutral pronoun that we use all the time, and also makes numerous appearances in any English major’s basic coursework dating back to Chaucer. Beyond the significant fact that the singular they doesn’t alienate subjects who aren’t male or female, for example many trans or intersex people, it’s also just a lot better than the alternatives. “He or she” is clunky, “(s)he” is annoying to read, “she” alone is charged with extra meaning I might not always intend in some random Tweet or whatever, and “he” alone is just rude. In the Word of the Year vote, the singular they beat out the runner up – “thanks, Obama” – by more than 100 votes. Here’s the full vote breakdown for all categories.
Now to the roundup:
And a back and forth over a contemporary monument.
A Florida town’s public art program has a hitch when it comes to gated communities.
A Tony Matelli sculpture that was vandalized and sparked a petition at Wellesley College will come to Manhattan’s High Line in as part of a group show this year.
Street artist Jamie Hef is suing singer Kiesza for appropriating his work in a music video.
Last days for “Love Letter to Brooklyn.”
This “Cinderella-like high heeled-shaped house of god” was built to attract female worshippers, jesus fucking christ.