Emma Venter Writing & Rhetoric Research Paper Little is known about the British graffiti artist Banksy

despite the notoriety of his work. Though Banksys true identity is unknown, his work is internationally recognized. He has painted from Bethlehem to L.A., and everywhere in between. From his humble beginnings as a free hand artist tagging the streets of Bristol, Banksy has graduated from stenciling the streets and has begun showing his work in warehouses all over the world. His popularity increased after his art caught the eyes of celebrities such as Brad Pitt, Angelina Jolie, and Christina Aguilera, and his pieces frequently sell for six or seven figures. Despite his newfound fame, Banksy continues painting the streets with the same critical imagery that first caught the attention of the public, and he shows no signs of stopping. Instead, Banksy's work continues to evolve into louder social commentary as his career continues. The increasingly inflammatory nature of Banksy's work conveys his frustration with society. This frustration is expressed in all aspects of Banksys work, from his choice in location, media, and subject matter, to the statements he chooses to express. Like other graffiti artists, most of the canvases that Banksy chooses to paint are often less than legal. To be more specific, most of his work is technically illegal with the exception of Banksys warehouse exhibits. This is especially true with regards to the beginning of Banksys career, when he exclusively tagged walls. The Tower Hamlets Council of London has labeled his work as vandalism, but despite the criminal nature of his art, Banksy stands by his work. Banksy does not argue with the laws that call his art graffiti and vandalism. Instead, he disagrees with the negative feeling and social stigmas that are attached to these words, as he

Venter 2 expresses in one of his books. Graffiti is not the lowest form of art. Despite having to creep about at night and lie to your mum its actually the most honest art form available. There is no elitism or hype, it exhibits on some of the best walls a town has to offer, and nobody is put off by the price of admission (Banksy, 8). As his career progressed, Banksy explored different locations for his work. In 2005, he tagged a wall in Palestine. However, this was not just any wall. Banksys choice in location for his work was the Palestinian side of The Segregation Wall. The Segregation Wall is a controversial barrier built by Israeli army to separate their country from Palestine. Authorities in Israel claim the walls purpose is to protect the country from suicide bombers. However, the International Court of Justice reports that this wall violates international law ("Art Prankster sprays Israeli wall"). In a statement made through his spokesperson, Banksy condemned the construction of the wall but described it as the ultimate activity holiday destination for graffiti writers (Banksy, 110). Banksy s work on this wall attracted international media attention as news networks from the British Broadcasting Corporation (BBC) to the Palestine News Network covered the story. Still, the reaction to his work was not all positive. After watching Banksy complete the mural, a Palestinian told him, You make [the wall] look beautiful. We don't want it to be beautiful. We hate the wall. Go home (Banksy, 113). Despite the negative reactions, Banksy stands by his work. As he posted on his website shortly after returning from Palestine, Is it wrong to vandalize a wall if the wall is illegal in the first place? (Banksy, 110). Tagging the Segregation Wall was far more dangerous for Banksy than tagging his usual haunts in Britain. While painting a mural on the wall, Banksy was forced to dodge bullets fired by the Israeli army. By choosing what may be the most famous barrier since the

Venter 3 Berlin Wall, Banksy attracts the public's attention and keeps it with his social and political message this wall should not be built. Banksy treated this infamous wall just like any other wall as a canvas. Banksys choice of location earned the attention of the media again in 2006 when he tagged Disneyland a location that may seem to be irregular or trivial for a street artist such as Banksy. Whereas his previous street art was created illegally, it was not entirely out of place in its environment. However, one would not expect to see street art at Disneyland, a place that is commonly touted as the happiest place on Earth. Banksy chose to target Disneyland specifically, and his piece there caused a considerable uproar. His work went unnoticed for an hour and a half, after which the entire park was evacuated and temporarily closed. Though Banksy was not caught, his cameraman Thierry Guetta was detained when the Disney security team saw him filming and photographing the installation. Guetta was held and interrogated for almost five hours, demonstrating just how seriously Disneyland took this prank of Banksys (Banksy, Exit Through The Gift Shop). Taking advantage of the public locations he chose to work in, Banksy further expressed his frustration through his choice of media. Early in his career, Banksy worked almost exclusively in stencils. These stencils have become the signature of an artist who rarely signs his work. Quicker and easier than freehand graffiti, these stencils could be constructed before the actual application of the work. Using stencils cut down on the time spent painting the graffiti, undoubtedly saving Banksy from some uncomfortable conversations with the police (Banksy, 12). Furthermore, by using stencils, Banksy could recreate the same image hundreds of times all across a city in only a few hours.

Venter 4 As he used his stencils to further his career in street art, Banksy also explored other varieties of media, some of which is rather atypical for a graffiti artist. In an unusual choice for an illegal artist, Banksy explored different and legal media. Perhaps one of the strangest and most publicized of Banksy's works occurred in 2010 when Banksy created an introduction to The Simpsons. Typically, the opening credits of this well-known cartoon are another place for the writers to insert another joke. On occasion, other artists are invited to contribute to the credits. In October of 2010, Banksy was one of these artists. Though this new medium was not illegal, it communicated Banksys art to a new and different audience. Instead of attracting the attention of those who watch the news, viewers who might have seen his work in Palestine, Banksy attracted the attention of those who watch The Simpsons. Banksy took the opportunity to expand his audience and express his critiques to an audience that might be ignorant of his work. By choosing the audience that watches The Simpsons, Banksy also chose an audience that might relate to his work. This was an audience that, like Banksys supporters, appreciates humorous and satirical critiques of society that can often be found in Banksys work. In the years that Banksy has been decorating streets all over the world, he has dabbled in many different locations and media. Anther ever-changing facet of his work is the subject matter. Banksy has a keen sense of humor often displayed in his choice of subject matter. Looking at a Banksy piece, it is just as likely to make one laugh as make one ashamed of oneself. Though it is difficult to limit Banksy to a few subjects, he has adopted certain themes that often appear in his work. Perhaps the most famous of these themes are his monkeys and rats. Banksys monkey theme is well known. Though Banksys undisguised face has never been seen on CCTV, he

Venter 5 often appears wearing a monkey mask while applying his art. This mask guarantees his anonymity, but also dehumanizes him. Banksy also brings this theme of monkeys into his stencils. A sequence of Banksys monkeys first appeared when he stenciled a series of them on a subway train in London (Banksy, 12). These rather forlorn looking apes carry signs on which Banksy writes various sayings and slogans, typically about the distressing state of the world. As one of mans closest relatives, the monkeys are used by Banksy as an opportunity to deride the human race or show baser and more instinctual sides of humankind. Another of Banksys more common subjects is a rat. Banksy has been using images of rats (a clever anagram of art) in his graffiti since the late 90s (Banksy, 16). As he continues to stencil these creatures, Banksys rats have begun to take over cities all over the world. The rats are meant to portray the truly ugly side of the human race. Though often disgusting or filthy looking, Banksys rats are often clothed as humans or are carrying man made objects. In his book, Wall and Piece, Banksy explains why he loves to paint rats. They exist without permission. They live in quiet desperation amongst the filth. And yet they are capable of bringing entire civilisations to their knees. If you are dirty, insignificant, and unloved, then rats are the ultimate role model (Banksy, 83). Banksys choice in subject matter has garnered much criticism over the years. Perhaps the critique heard the most often is that Banksys work is derivative of Blek le Rat (real name Xavier Prou), a Parisian street artist who has been active since the 1960s ("The Insider: Blek le Rat"). Both Blek and Banksy have a penchant for achromatic stencils more specifically, stencils of rats. Indeed, Blek le Rat is thought to be one of the first street artists to popularize the use of stencils when he began

Venter 6 stenciling images of rats in Paris. However, Banksy does not pretend to be ignorant of the similarities between his own work and that of Blek. Every time I think Ive painted something slightly original, I find out that Blek le Rat has done it as well. Only twenty years earlier ("The Insider: Blek le Rat"). Surely then, Banksy cannot be blamed for the ignorance of others. Banksy has never claimed to be an entirely original artist. He has never claimed direct credit for his ideas. Occasionally, he draws images or ideas from films and photos, but his stencils are his own and he creatively creates the vast majority of them. Perhaps did borrow the rat theme from Blek le Rat. However, Blek doesnt really seem to mind, as he proved in an interview with Nylon Magazine. I think [Banksys] the only true artist on the streets in England now (The Insider: Blek le Rat). Location, media, and subject matter are all technical aspects of Banksys work. However, Banksys art goes beyond its superficial qualities. His paintings, stencils, and other art pieces frequently address serious social issues. These issues are addressed in the statement Banksy communicates through his work. In an untitled image painted in 2004, Banksy conveys his dissatisfaction with the fierce competitiveness of society through the image of a rat painting the words Its [sic] not a race. Banksy utilizes one of his signature stencils to condemn a society often viewed as a rat race. Through this image of society, Banksy points out the absurdity of competing in something that is not winnable. However, it is clear that Banksys thoughts on the rat race run much deeper than this work reveals. He writes in his book, Wall and Piece, You can win the rat race but youre still a rat. The human race is an unfair and stupid competition. Some runners don't even get decent sneakers or clean drinking water. What this race needs is a lot more streakers (Banksy, 91).

Venter 7 Instead of aiming for shock value, this piece is a more subtle criticism of human interaction in society. This work is milder than later works by the artist, but still communicates Banksy's contempt for the state of society and the way humans behave. In one of Banksys most recent works, he has created a statement that mocks him and the entire world of art. In his Oscar-nominated documentary Exit Through the Gift Shop, Banksy has created what may be his most infamous work to date. Exit Through the Gift Shop tells the story of Thierry Guetta, a man with a passion for preserving street art through film. In the beginning, Guetta acted as a cameraman for Banksy and other street artists, recording the creation of street art and the publics reaction to it. Eventually, as exhibited in Banksys film, his passion spirals downward into his own attempts to create art - or just plaster the world with meaningless images under the adopted pseudonym Mr. Brainwash, stylized as MBW. Banksy said of Thierry, Warhol repeated iconic images until they became meaningless, but there was still something iconic about them. Thierry really makes them meaningless (Banksy, Exit Through The Gift Shop). Shockingly, MBWs assistants have reported that he rarely creates any of his art himself. Instead, he locates an image he wants to create or change, then hires other artists to actually construct the sculptures or digitally alter the image (Banksy, Exit Through The Gift Shop). Despite Thierrys controversial art style, Mr. Brainwash exploded on to the street art scene, selling works for thousands of dollars in his very first art show. Since the release of the film, there has been much debate about the veracity of the story Banksy tells. Though both Banksy and MBW insist the film is accurate and true, many believe that MBW is simply a creation of Banksys. Ultimately, it

Venter 8 doesnt seem to matter too much whether the story told in Exit Through the Gift Shop is honest or not. If true, then the film is the story of a strange character that shows Banksy that his art may be a joke. If fake, Banksy is making a point the entire art world might just be a sham. Regardless of the veracity of the story, the power of this film seems to lie in the hype itself. Though Banksy had exposure to a worldwide audience before, none of his work had ever garnered as much attention. In his first film, Banksy took his criticism of society a step further, and criticized the very world in which he works. If Banksy is Mr. Brainwash, he is mocking both his own work and those who appreciate it by pointing out just how arbitrary and meaningless art truly can be. If not, isnt the same point ultimately communicated? If Mr. Brainwash, who puts little to no thought in his art, can sell his work for hundreds of thousands of dollars, what does that say about the art industry? Since appearing on the graffiti scene, Banksy has been catching society's attention with his shocking social imagery. Coming far from his modest beginnings, Banksy is now an internationally famous street artist whose works hang in collectors galleries with Picassos (Banksy, Exit Through The Gift Shop). Love him or hate him, Banksy has received an undeniably large amount of media attention. Banksy achieved this well-deserved attention by viewing the world with a critical eye and putting his art on the streets where viewers are forced to face that criticism. His newfound fame has not stopped Banksy from criticizing society in new and provocative ways. Instead, his criticism of society has grown louder as his audience has grown larger. This criticism culminated recently in his explosive documentary, Exit Through The Gift Shop, in which he criticizes the art world and bites the very hand that feeds him. Yet, it is controversies like these that have made Banksy into

Venter 9 both a household name and a legitimate artist.

Bibliography

Venter 10 "Art Prankster sprays Israeli wall." BBC News. BBC News, 2005. Web. 8 Apr 2012. <http://news.bbc.co.uk/2/hi/entertainment/4748063.stm>. Banksy, Dir. Exit Through the Gift Shop. Dir. Banksy." Oscilloscope Laboratories: 2010, Film. Banksy, Moneybart. The Simpsons. 2010. Web. 8 Apr 2012. <http://www.youtube.com/watch?v=DX1iplQQJTo>. Banksy. Wall and Piece. London, England: Random House, 2005. Print. Deitch, Jeffrey, Roger Gastman, and Aaron Rose. Art in the Streets. New York, NY: Skira Rizzoli, 2011. Print. Hattenstone, Simon. "Something to Spray." The Guardian. 6/17/2003. Web. 8 May 2011. <http://www.guardian.co.uk/artanddesign/2003/jul/17/art.artsfeatures>. "The Insider: Blek le Rat." Nylon. N.p., 2008. Web. 12 Apr 2012. <http://www.nylonmag.com/?section=article&parid=1212>. Itzkoff, Dave. "The Simpsons" Explains Its Button-Pushing Banksy Opening." New York Times. 10 Oct. 2010: n. pag. Web. 17 May 2011. <http://artsbeat.blogs.nytimes.com/2010/10/11/the-simpsons-explains-itsbutton-pushing-banksy-opening/#>. Specific Works Mentioned Untitled (Its [sic] Not A Race) Spray paint on cement Demolished, formerly in Brantford, England Untitled (Children In Palestine) Spray paint on cement West Bank Barrier, Palestine Untitled (Guantanamo Detainee) Inflatable doll Removed, formerly in Disneyland, CA Untitled (The Simpsons Introduction) Pencil and paper N/A