The Statue of Liberty looks out on the lower Manhattan skyline, January 2014. (AP)
Instead of imploring the world to “give me your tired, your poor”, the Statue of Liberty’s welcoming message might well have been “as-salamu alaykum”, the Arabic greeting used by Muslims around the world.
That’s right, the world’s most recognized symbol of freedom and the American dream, was originally intended for Egypt, which ultimately rejected it for being too old fashioned.
The decision came as a disappointment to Lady Liberty’s creator, Frédéric Auguste Bartholdi, who’d envisioned the Suez Canal as the ideal venue for his mammoth harbor structure.
Statue of Liberty creator Frédéric Auguste Bartholdi’s original design for the mouth of the Suez Canal in Egypt.
“He was inspired by the Sphinx and the pyramids and the idea you could create something massive that could almost be eternal,” said Elizabeth Mitchell, who brings Bartholdi’s quest to life in her book Liberty’s Torch: The Great Adventure to Build the Statue of Liberty.
Mitchell was motivated to write the book after coming across Bartholdi’s diaries at the New York City Public Library. That’s when she first realized the iconic symbol wasn’t a gift from France as many Americans believe.
“In fact, the true story is more moving because what you have is this individual artist who had a vision and he really wanted to make this happen,” Mitchell said, “and he really had to go through every machination to get this thing built.”
After his failure in Egypt, the artist shifted his attention to America, which was prospering after the end of the Civil War.
“Maybe no other country at the time would understand the excitement and importance of having this bigger-than-life, colossal symbol,” Mitchell said.
The Chinese sculptor Wang Keping at the Ullens Center for Contemporary Art in Beijing.
BEIJING — A wood sculpture of a larger-than-life man’s head whose gaping mouth is stuffed with a plug — a piece of Chinese protest art from more than 30 years ago — was supposed to be a star attraction at a retrospective here.
The startling visage, called “Silence,” born as a cri de coeur against the censorship of the period after the Cultural Revolution in China, was shown briefly during an artistic spring in Beijing in 1979 and 1980, before being banished.
A work called “Silence” was supposed to be a star attraction, but the center did not submit it to the authorities for review, believing it would be rejected.
Even today, says the creator of the work, Wang Keping, who lives in exile in France, his signature sculpture is too hot. “Silence” is notably absent from the exhibition of his works from his years abroad at the Ullens Center for Contemporary Art in the fashionable 798 Art Zone in Beijing.
“If it were part of the exhibit, there would be no exhibit,” Mr. Wang said as he showed a visitor dozens of dark-wood abstract sculptures, some of them hinting at the bodies of men and women, made in his studio outside Paris.
These newer pieces, including two towering black sculptures that in style and shape faintly recall the heads on Easter Island, proved acceptable to the Beijing Municipal Bureau of Culture. The bureau must see in advance the number and subject of artworks imported for exhibits.
The Chinese authorities were in fact never given a chance to judge “Silence” anew.
The Progressive Democrat 
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