Ivanka Trump appeared rattled after an angry passenger accosted her on a commercial flight, telling her: "Your father is ruining the country."
JetBlue removed the passenger, lawyer Dan Goldstein, before the flight took off from New York's JFK Airport bound for Hawaii Thursday morning.
Ivanka was sitting coach and traveling with her husband, Jared Kushner, and other family members. Goldstein's spouse, college professor Matthew Lasner, tweeted a play by play of the confrontation:
“Ivanka and Jared at JFK flying commercial. My husband chasing them down to harass them,” he tweeted.
Then posted: “Ivanka and Jared on our flight. My husband expressed displeasure in a calm tone. JetBlue staff overheard and they kicked us off the plane.”
He also posted a photo of Ivanka with the caption: “Ivanka just before @jetblue kicked us off our flight when a flt (sic) attendant overheard my husband expressing displeasure about flying w/ Trumps.”
JetBlue said in a statement: “If the crew determines that a customer is causing conflict on the aircraft, the customer will be asked to deplane. In this instance, our team worked to re-accommodate the party on the next available flight.”
Earlier in the day, cameras caught Trump’s oldest daughter, in workout clothes, leaving her Manhattan apartment for the airport.
The president-elect's daughter is also under attack by artists whose work hangs on the walls of her apartment.
After she posted herself standing next to her art and images of the paintings she owned, the artists joined forces with the Halt Action Group to initiate a "Dear Ivanka" Instagram campaign to protest the president-elect, and have asked for their work to be taken off her walls.
Dear Ivanka, Fans of the Trump brand are threatening the lives and safety of artists who've expressed concern regarding the inclusion of their work in your collection. It must be difficult to collect the living. We're so unwieldy, aren't we? But that's the game, right? The collecting game? Buying 'cool' from people deemed 'cool' by culture and exploiting all that cool stuff as set dressing in your instamercial for cheap things and fraudulent poses. Objects become cool because the people who make them are iconoclasts. They live loudly. They work hard. They resist and embrace all the right things while infecting imaginations with pleasure and joy. They will neither acknowledge nor be silenced by the mud your supporters so fluently traffic in. Cool, Dear Ivanka, is not passive. Cool is active, and when you exploit, for social capital, a cool that is not yours, you will surely hear from those to whom it belongs. When you stand beside a canvas, snap an image, filter it and sprinkle your post with a dusting of hashtags, you are standing beside, snapping, filtering, and dusting an intimate extension of a living, working person; one who's right there beside you, and is so, so cool. But what's even cooler is having the agency to call the power of capital into question, to ask where all that money came from, who it serves, who it oppresses. What's cooler is resisting a destructive ideology bent on isolating America, placing power in the hands of a corporate elite, and denying transparency to, or interrogation by the public. Cool is telling you that what your family represents is quite literally fascism. And cool, Dear Ivanka, is never quiet.
Dear @ivankatrump, We know how much you like art history. So we made this collage for you. Picasso's Les Demoiselles d'Avignon is thought of as the painting that marks a decisive shift in art. It is also the work that strips painting itself from the burden of realistic representation. Every recognizable form is subject to an energy that is as palpable as it is terrifying—as if Picasso forced painting to stare into the abyss of its own future. We might call this – the birth of the Contemporary. Why did Picasso base the subject of this painting on a group of whores? Of women parading their contorted bodies for a viewer? Picasso intimately linked sex to the spectating of art. Exhibitionism and exhibiting entwined in this single “masterpiece.” Women in art history, especially when it comes to the depiction of the Madonna, were almost always depicted with a touch of modesty, eyes half closed or gazing downwards, there was the air of an intelligence, an interior space. Even Mary Magdalene—the Madonna’s sinful twin, the whore who wiped Jesus brow—is traditionally depicted as a contemplative, penitent subject. The world was a world and not simply an enclosed brothel. This brute reality is now a nakedness that looks at you, both an accusation and a desperation; where the requirements of the brothel stand: submit, give us your body and your silence. The art critic Leo Steinberg recalls Picasso having a discussion with Gertrude Stein about skyscrapers. Apparently he didn't know about elevators. “Good god,” he said, “imagine the pangs of jealousy as your lover has to climb all those stairs to get to your top floor apartment.” Even the skyscraper, Steinberg imagines, is forced to be a sexual witness. So the contemporary is a story of sexual real estate and the most vulgar power to strip all forms, especially forms of belief. This painting, as you well know, is in our hometown of New York. Enshrined at the MoMA. And you Ivanka have become our Demoiselle d'Avignon - greeting us as you usher us into the contemporary world enshrined at the pinnacle of Trump Tower. Love, @alisongingeras @baby_seal777 @permanentoedipalregression #ivanka #ivankatrump #dearivanka #fml
One artist wrote: “Dear @ivankatrump please get my work off of your walls. I am embarrassed to be seen with you.”
"Dear Ivanka, bigotry is not in style," wrote another.
Washington Post columnist Emily Heil told Inside Edition: “In some ways she's such a proxy for Donald Trump that when she goes out in public
"I think people take their emotions and their ire out on Ivanka Trump in a way that they might not for other daughters because she has served so much as his right hand.”