1.0The Seattle Collegianhttps://seattlecollegian.comEloise Maguirehttps://seattlecollegian.com/author/eloisemaguire2004/rich600338<blockquote class="wp-embedded-content" data-secret="s9OR4APQDy"><a href="https://seattlecollegian.com/jason-sprinkle-and-the-forgotten-art-scene-of-seattle/">Jason Sprinkle and the forgotten art scene of Seattle</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://seattlecollegian.com/jason-sprinkle-and-the-forgotten-art-scene-of-seattle/embed/#?secret=s9OR4APQDy" width="600" height="338" title="“Jason Sprinkle and the forgotten art scene of Seattle” — The Seattle Collegian" data-secret="s9OR4APQDy" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script type="text/javascript"> /*! This file is auto-generated */ !function(c,l){"use strict";var e=!1,o=!1;if(l.querySelector)if(c.addEventListener)e=!0;if(c.wp=c.wp||{},c.wp.receiveEmbedMessage);else if(c.wp.receiveEmbedMessage=function(e){var t=e.data;if(!t);else if(!(t.secret||t.message||t.value));else if(/[^a-zA-Z0-9]/.test(t.secret));else{for(var r,s,a,i=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),n=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),o=0;o<n.length;o++)n[o].style.display="none";for(o=0;o<i.length;o++)if(r=i[o],e.source!==r.contentWindow);else{if(r.removeAttribute("style"),"height"===t.message){if(1e3<(s=parseInt(t.value,10)))s=1e3;else if(~~s<200)s=200;r.height=s}if("link"===t.message)if(s=l.createElement("a"),a=l.createElement("a"),s.href=r.getAttribute("src"),a.href=t.value,a.host===s.host)if(l.activeElement===r)c.top.location.href=t.value}}},e)c.addEventListener("message",c.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",t,!1),c.addEventListener("load",t,!1);function t(){if(o);else{o=!0;for(var e,t,r,s=-1!==navigator.appVersion.indexOf("MSIE 10"),a=!!navigator.userAgent.match(/Trident.*rv:11\./),i=l.querySelectorAll("iframe.wp-embedded-content"),n=0;n<i.length;n++){if(!(r=(t=i[n]).getAttribute("data-secret")))r=Math.random().toString(36).substr(2,10),t.src+="#?secret="+r,t.setAttribute("data-secret",r);if(s||a)(e=t.cloneNode(!0)).removeAttribute("security"),t.parentNode.replaceChild(e,t);t.contentWindow.postMessage({message:"ready",secret:r},"*")}}}}(window,document); </script> https://seattlecollegian.com/wp-content/uploads/9BAB3F77-EC4F-4175-B194-2F21EE0CA414.jpeg640439Labor Day, 1993. Jonathan Borovsky’s kinetic sculpture, Hammering Man, which resides outside the Seattle Art Museum (SAM), bore a new attachment: a seven hundred-pound, 19-foot circumference ball and chain, constructed of sheet metal and plate steel. Its cuff was lined with rubber, so as not to damage Hammering Man. There, the guerilla art piece stood for two days, a statement against working-class oppression, before it was removed on Sep. 8 by the Seattle Engineering Department. And as the attachment was detached, the legend was born.