This week, Banky’s new film Exit Through the Gift Shop will hit theaters in the United States. For a complete theater listing, visit Wooster Collective, which has been acting as the official voice for all things Banksy. The movie premiere’s today in Los Angeles, so it’s no coincidence that these images hit the intertubes this past week to turn up the hype around a film that I was fortunate enough to see last week during a press preview. Expect my review to appear Wednesday morning.
I don’t want to be one of Banksy’s endless legions of fans who circulate images without critical comments, so I’ll add my two cents to his latest stencils to surface on the streets of Los Angeles.
Ok, these images are nice, but Banksy really hasn’t been able to move past the visual one-liner that is the essence of his stencils. His sculptures, on the other hand, tend to be more complex and interesting.
The Koons balloon dog piece in particular is cute, but frankly it doesn’t even make much sense. I would love to know if the context for this image (is it on a museum? a prison?) would help us figure out what he’s trying to get at. Feel free to offer your own interpretation.
Hat tip Unurth
UPDATE: Hyperallergic intern & contributor Tim McCool figured out Banksy’s joke in his Koons-related stencil:
There’s a Koons quote: “Abstraction and luxury are the guard dogs of the upper class.” So Banksy is accusing Koons’ work of being in the same category of unintelligible, abstract, and ludicrously expensive art. That’s as far as I am conceptually on this, haha.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.
Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
With her clay relief sculptures, Brie Ruais probes the exit wound and its deep psychological implications.
In Doomscrolling, Rob Swainston and Zorawar Sidhu assume the task Walter Benjamin set for the articulation of history — to “seize hold of the past as it flashes up at a moment of danger.”
Part of the university’s Artists on the Future series pairing renowned artists with cultural thought leaders, this online event is free and open to the public.
When we honor King publicly, as many in the art circle did on Monday, we use these moments to do more than just remember and pay tribute.
A study that reexamined Homo sapiens fossils found our species is 30,000 years older than previously believed.
As much as I appreciate the collective’s culture jamming initiatives, I don’t know that their putative premise ever bears meaningful fruit.
The banana’s dominance and ubiquity has had serious and far-reaching implications for the region, engendering exploitative labor systems, climate change, and migration.
Charles Dellheim’s study tells the tale of a small group of Jewish art dealers and collectors who played a key role in the changing art world of the 19th and 20th centuries.