Banksy’s website here.
Here’s what much of that ‘meta’ commentary on commerce and transgressive street-art might get you. Local thugs charging those Banksy groupies to see his art. Isn’t it ironic, don’t you think?:
‘The enormous interest his work arouses, disproportionate to its artistic merit, shows not that there is fashion in art, but that an adolescent sensibility is firmly entrenched in our culture. The New York Times reports that a lawyer, Ilyssa Fuchs, rushed from her desk the moment she heard about Banksy’s latest work and ran more than half a mile to see it. Would she have done so if a delicate fresco by Peiro della Francesca had been discovered in Grand Central Terminal? In the modern world, art and celebrity are one. And we are all Peter Pan now: We don’t want to grow up.’
Well, I certainly hadn’t noticed an adolescent sensibility at the NY Times. Certainly not.
An image of one of those Peiro della Francesca frescoes here.
Perhaps it’s worthwhile to view Banksy as a kind of poor man’s Damien Hirst: A ‘working-class’ British guy with some native talent but not too much in the way of formal training nor arguably lasting artistic achievement (perhaps in the ‘graffiti’ world). Instead of working as a gallery, mixed-media modern installation artist like Hirst, he’s followed the street-graffiti path leaving ‘transgressive’ messages on politics and ethics scrawled across the cityscape in anonymity. For all his irony, and the fact that he’s likely in on the joke, Banksy still finds himself subject to the larger forces at work where art, money, & fame are meeting.
As a girl in Seattle here mentioned to me at a party: ‘His work is a meta-commentary on art, commerce, greed, creativity and all that. His becoming a commodity is the ultimate irony.’
Deep, man, deep.
Yet, as to Dalrymple’s point, I could imagine an adult sneaking off to check out a Michaelangelo fresco with childlike anticipation, and maybe even a little childish or adolescent delight at being the first to arrive. Of course, I think that fresco tends to engender a much deeper and complex response than that of Banksy’s work and ‘social commentary’, but the desire for beauty, hope, and brief bursts of transcendence aren’t going anywhere. This reminds me of Richard Wilbur’s poem: ‘First Snow In Alsace.‘ which evokes the grim realities of war and suffering covered up by a beautiful snowfall.
Here are the last stanzas and line:
…You think: beyond the town a mile
Or two, this snowfall fills the eyes
Of soldiers dead a little while.
Persons and persons in disguise,
Walking the new air white and fine,
Trade glances quick with shared surprise.
At children’s windows, heaped, benign,
As always, winter shines the most,
And frost makes marvelous designs.
The night guard coming from his post,
Ten first-snows back in thought, walks slow
And warms him with a boyish boast:
He was the first to see the snow.
The worst war can bring is juxtaposed against our simple childlike wonder (and possibly childish) delight at that which is beautiful and mysterious in nature. Of course, such desires can help cause the destruction of war, too, but…hey. People love to be the first and the coolest. As Dalrymple argues above, these childish impulses are the ones that should not be so easily encouraged nor celebrated, especially by Banksy nor his reviewers at the NY Times. I pretty much agree.
Still, it’s probably more engaging than Tilda Swinton in a box.
Maybe Jeff Koons got there first, where marketing, money, and branding met pop art: A Reaction To Jeff Koons-For Commerce Or Contemplation?
***I’d currently argue that in a successful commercial culture such as ours, with such strong tensions between the individual artist and the demos, and such high and low-art available, and where we’re awash in pop culture, music & entertainment, it’s natural to have strong debate going as to what’s ‘cool’ and what’s good art. Clearly, religion and religious duties come into constant tension with both commerce and art. Clearly, that commercial culture has formed a celebrity culture which is also affecting our politics. Clearly, whether or not you’re an art snob, an aesthete, or a secularly or religiously moral person, you can easily see how that culture produces a lot of crap, and can arouse the base desires in people which can be as harmless as a crush, sexual longing, a desire for romantic love and/or the cult-like worship.
Here’s Robert Hughes being especially critical of an Andy Warhol modern art collector, and where money, marketing, art and fame meet:
Addition: I’ve gotten a few emails suggesting this is too negative. Bah. I like some of Banksy’s work for it’s cleverness and wit, and his experience in doing what he does. Beyond that, not too much and there’s way too much hype.
Related On This Site: Jay Z And Marina Abramovic Via Twitter: A Pop-Rap Art Marketing Performaganza
They designed a city in the heart of Brazil that really doesn’t work for people: Brasilia: A Planned City
No thanks to living in planned communities upon someone else’s overall vision.: Roger Scruton In The City Journal: Cities For Living–Is Modernism Dead?…Repost-Via Reason: ‘Salvador Allende’s Cybersocialist Command Center’…From Grist.Org Via The New Republic Via The A & L Daily: ‘Getting Past “Ruin Porn” In Detroit’… some people don’t want you to have the economic freedom to live in the suburbs: From Foreign Policy: ‘Urban Legends, Why Suburbs, Not Cities, Are The Answer’
A structure in the desert…not even a city Update On LACMA, Michael Heizer And The ‘Levitated Mass’-Modern Art And The Public;..where is modernism headed? Via Youtube: Justin, The Horse That Could Paint…
Denis Dutton suggested art could head towards Darwin (and may offer new direction from the troubles of the modern art aimlessness and shallow depth…the money and the fame) Review of Denis Dutton’s ‘The Art Instinct’