Banksy - Biography and Legacy
British Graffiti Artist, Political Activist, and Film Director
Biography of Banksy
Very little is known of Banksy's youth, as he continues to keep his true identity a secret. It is reported that he played (as goalkeeper) with the Easton Cowboys football club during the 1990s and early 2000s. According to Will Simpson, another long-time member of the Easton Cowboys, Banksy went on tour with the team to Mexico in 2001 and painted a number of murals in the communities they played in, including one painting that was "raffled off to raise money for water projects in Chiapas in southwestern Mexico."
According to investigation of several alleged former schoolmates and associates, along with indication by the geographic locations of Banksy's work, the artist is believed to be Robin Gunningham, a former student at the public Bristol Cathedral School. There has also been speculation that rather than being a single person, Banksy is a team of seven artists.
Education and Early training
Because of his anonymity, not much can be surmised about Banksy's education or training in art. Yet, from very early on in his career we find a creative proficiency with using original imagery to develop his own unique voice - one that combined controversial and humorous visuals to create anti-war, anti-capitalism, and anti-establishment messages.
In the early 1990s, Banksy began working as a freehand graffiti artist with the DryBreadZ Crew (DBZ) in his hometown of Bristol. Around 1994, he turned to stencil art, inspired by fellow street artist 3D who later became a founding member of the band Massive Attack. Stencils are traditionally hand drawn or printed onto sheets of acetate or card stock, and then cut out by hand. The stencils are then affixed to a surface, such as a wall, and spray-painted. When the stencil is removed, the image remains. This first signature tool allowed Banksy to execute pieces on the fly. Like many street artists, he adopted common recurring motifs such as apes, policemen, soldiers, rioters, children, and the elderly to mark his stamp in public spaces, which quickly began to garner a following. By proliferating these iconic-stenciled images around Bristol and London, he rapidly gained the attention of the street art community and the general public.
The first large wall mural attributed to Banksy is The Mild Mild West, painted in 1997 over an advertisement for a solicitors' office on Stokes Croft in Bristol. Highlighting his activist streak, the mural depicted a teddy bear throwing a Molotov cocktail at three riot policemen and was made in response to the highly publicized violent police reaction to several underground raves at the time.
A prototypical street artist, Banksy justified his vandalism of public space, and his use of the city as canvas, as being a direct response to what he called "Brandalism," or, "any advertisement in public space that gives you no choice whether you see it or not...The people who truly deface our neighborhoods are the companies that scrawl giant slogans across buildings and buses trying to make us feel inadequate unless we buy their stuff. They expect to be able to shout their message in your face from every available surface but you're never allowed to answer back. Well, they started the fight and the wall is the weapon of choice to hit them back."
Banksy also frequently used rats in his art, as did his predecessor, the street artist Blek le Rat, who once stated, "I began to spray some small rats in the streets of Paris because rats are the only wild animals living in cities, and only rats will survive when the human race disappears and dies out." In Banksy's work, these nocturnal creatures (to most people associated with disease and infestation) can be understood as a sort of pseudonym or self-portrait of the artist who completes his illegal works under the cover of darkness. Rats are also a sign of resistance, tenacity, intelligence, and survival, as they live in constant conflict with men, under threat of extermination, much like street artists who constantly struggle to evade the authorities and erasure by government anti-graffiti programs. Banksy said, "If you feel dirty, insignificant, or unloved, then rats are a good role model. They exist without permission, they have no respect for the hierarchy of society, and they have sex 50 times a day." The word "rat" also serves as an anagram of "art," although Banksy has admitted that he painted rats for several years before someone made him aware of this fact.
In the 1990s he met Bristol photographer Steve Lazarides, who began photographing Banksy and his work, and then went on to become his agent until 2009. Lazarides recently stated, "When I first met this scruffy, grumpy guy back in 1997, I would have never guessed that 20 years on he would be the most famous artist of his generation, and that his work would be studied on school curriculums." He also says, "I worked with him [Banksy] for 11 glorious years, during which time we broke every rule in the art rule book along with a fair few laws. He has since gone on to become a global superstar and has retained his ability to shock and make people chuckle."
After Banksy's professional relationship with Lazarides ended, he created his own organization, Pest Control, which acts as sole representative and contact liaison for his work, in charge of verifying authorship of his pieces and issuing documents of provenance to buyers.
In the early 2000s, Banksy evolved from stenciling the streets to creating prankster projects, staging public interventions within well-established art institutions, and organizing exhibitions in addition to continuing with his unsanctioned public works, all the while retaining his carefully cloaked invisibility within the public eye. Much of these efforts poked fun at art as commodity, or made specific statements on the way we are force-fed popular culture through mainstream mass distribution, and challenged our common culpability in consuming marketing, political, or media messages as truth.
In 2004, Banksy produced £1,000,000 worth of fake British £10 notes, on which he replaced the picture of the Queen's head with that of Diana, Princess of Wales, and changed the text "Bank of England" to "Banksy of England." He threw several of these into a crowd at the Notting Hill Carnival that year, which some recipients attempted to spend in local shops.
In March 2005, he surreptitiously placed modified versions of artworks (such as a Warhol-esque painting of a discount soup can) in the Museum of Modern Art, the Metropolitan Museum of Art, the American Museum of Natural History in Manhattan, and the Brooklyn Museum in Brooklyn.
In August/September of 2006, Banksy placed approximately 500 copies of Paris Hilton's debut CD, Paris, in 48 record stores around the UK, modified with his own cover art (Photoshopped to show Hilton topless). Other versions featured: Paris with her Chihuahua, Paris with Tinkerbell's head replacing her own, or Paris stepping out of a luxury car amongst a group of homeless people, which included the caption "90% of success is just showing up." Music tracks were given titles such as "Why Am I Famous?" "What Have I Done?" and "What Am I For?" Members of the public purchased many copies of the guerilla CD before stores were able to remove them. The purchased copies went on to be sold for as much as £750 on online auction websites.
In September 2006, Banksy dressed an inflatable doll in an orange jumpsuit, black hood, and handcuffs in resemblance of a Guantanamo Bay detainment camp prisoner. He then placed the doll below the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California, where it remained for 90 minutes before the ride was shut down and the figure removed. By placing a harsh symbol of political reality within a noted escapist environment, Banksy was remarking on our propensity for keeping our eyes wide shut.
Also in September 2006, Banksy held an exhibition in Los Angeles titled Barely Legal, billed as a "three-day vandalized warehouse extravaganza," which drew a celebrity crowd that included Brad Pitt and Angelina Jolie. The exhibition featured a live 38-year-old female East Indian elephant named Tai, painted in the same red and gold floral pattern as the wallpaper behind it. According to pamphlets passed out at the exhibition, the "elephant in the room" was intended to draw attention to the issue of world poverty. The Los Angeles Animal Services Department had issued a permit for the elephant. However, following complaints from animal rights activists the elephant appeared unpainted on the final day of the show. Her handlers rejected claims of mistreatment, saying that she had done "many, many movies. She's used to makeup," and that she was well taken care of during the show.
In London, over the weekend of May 3-5, 2008, Banksy hosted an exhibition titled The Cans Festival (a play on words of the famous French film festival Cannes). Stencil artists from around the world (including Faile from Brooklyn, Bandit from the Netherlands, Run Don't Walk from Argentina, and James Dodd from Australia) were invited to paint their original artwork, as long as it did not cover or interfere with anyone else's. It took place in a road tunnel formerly used by Eurostar underneath the London Waterloo station. The location was kept secret while the works were completed, and only then revealed to the public. Eurostar agreed to leave the works intact for at least six months following the event.
In August 2008, three years after Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of work in New Orleans, Louisiana, mostly on buildings that had yet to be repaired. He said, "Three years after Katrina I wanted to make a statement about the state of the cleanup operation." He also painted on the rebuilt levee wall, which according to him offered "the best painting surface in the state of Louisiana."
On June 13, 2009, the Banksy vs. Bristol Museum exhibition opened at Bristol City Museum and Art Gallery. The show featured more than 100 artworks (78 of which were new works), including animatronics, sculptures, and installations. The show drew over 8,500 visitors on the first weekend, and over 300,000 over the course of twelve weeks.
In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included the phrase, "I don't believe in global warming," submerged in water.
At the London Zoo, Banksy climbed into the penguin enclosure and painted "We're bored of fish" in 7-foot-high letters. He also left the message "I want out. This place is too cold. Keeper smells. Boring, boring, boring." in the elephant enclosure.
In 2010, Banksy's oeuvre expanded into filmmaking after he employed aspiring street artist Thierry Guetta as an assistant and documentarian on several visits to Los Angeles. He encouraged Guetta to pursue making art, which he did, closely following Banksy's example to ultimately become the branded graffiti artist Mr. Brainwash. This journey became the focus of Banksy's 2010 documentary Exit Through the Gift Shop, which was nominated for an Oscar. Banksy released a statement about the nomination saying: "This is a big surprise... I don't agree with the concept of award ceremonies, but I'm prepared to make an exception for the ones I'm nominated for. The last time there was a naked man covered in gold paint in my house, it was me."
From August 21 through September 27, 2015, Banksy opened Dismaland in Weston-super Mare, United Kingdom. The large-scale group show, which included artists Damien Hirst and Jenny Holzer, was a dark and twisted take on Disneyland. The temporary theme park featured a gloomy castle and an overturned Cinderella's carriage.
The Legacy of Banksy
On May 21, 2007 Banksy was selected to receive an award for Greatest Living Briton. Along with other artists like Shepard Fairey, Zevs, D*Face, and Ron English, he is credited with transforming graffiti from the typical "bubble writing" style of the 1980s to the "narrative-driven street art" of today. This contemporary street art varies significantly in aesthetic and materials, from Banksy's stencils, to Swoon's wheat paste posters, to Zevs' "liquidated logos" technique, to Space Invader's tile art. Other street artists, such as his protégé Mr. Brainwash, have adopted Banksy's particular style of instantly recognizable images such as corporate mascots and famous historical paintings.
This "guerrilla art," also referred to as "post-graffiti art," which Banksy helped develop, often plays heavily upon location and context as part of the work, and seeks to regain power from stronger enemies (such as corporations and governments). These artists accomplish this by carrying out interventions in corporate and government spaces (such as billboards, storefronts, and barrier walls), and by co-opting corporate and government images (such as logos, mascots, political figures, and official currency). Banksy has also pioneered the use of alternative venues for the display of street art, as in his 2003 exhibition Turf War, which was staged in a warehouse on Kingsland Road in London's East End.
Moreover, his art has sold for extremely high prices at auction, with pieces being purchased by collectors and celebrities alike for millions of dollars, making Banksy one of the first street artists to become part of the commercial art market. However, this commercial success troubles the artist, who says that "Commercial success is a mark of failure for a graffiti artist," and "We're not supposed to be embraced in that way." He continues to believe that "When graffiti isn't criminal, it loses most of its innocence." This is an ongoing controversy in the art world, with many artists being seen as "sell-outs" when they embrace the mainstream art world success. Banksy's establishment of representatives and liaisons for points of sale of his work has furthered this controversy. However, many other street artists (including equally famous Shepard Fairey) argue that they use this legitimate income to fund further illicit, unsanctioned guerrilla art.
Banksy's reception on a universal scale has also legitimized graffiti as a viable form of public art, furthering debate between vandalism as criminal activity and vandalism as an artist's creative medium (in a way, becoming a symbol of freedom). Many of his works remain on buildings and other public spaces because of their contemporary value, even if at the time of their creation, they were seen as illegally concocted. In fact, many building owners have benefitted from becoming "owners" of an original Banksy.