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Last night, three works by the infamous British street artist Banksy popped up in Greenpoint, Brooklyn, and the city’s street art scene have been clamoring to understand the meaning of these “sad clowns” that are spread around the north Brooklyn neighborhood.
“Everyone loves a clown,” coffee shop owner Rodrigo Bandes told me after I approached him for comment. “But why are they so sad?”
The imagery, which varies from a small two-color stencil on Franklin Avenue to a 12 foot high work on Wythe Avenue, depict clowns in contemplative and melancholic moods. The clowns seems atypical for an artist who normally includes political commentary in his work.
“Is Banksy depressed,” asked one onlooker, who stood in front of the large sad clown on Wythe, before he started to sob into his hands.
“Those are real Banksys?” Sira Sirivanis asked as she stopped to consider the stenciled work of a sad clown praying. “Even a clown needs God,” she said before falling to her knees to pray in front of the street art work.
Rumors are that the three identified works are part of a larger series of sad clowns that will be unveiled in the next few days in Greenpoint.
In a world delighted and entertained by displays of material excess, Diane Simpson shows that there is another possibility.
The animal carcass sculptures are gruesome yet their materials — the artist’s own discarded clothing — lend them some gentleness.
View work by over 40 experimental artists and collectives from throughout the Americas who contributed to New York’s art scene during the 1960s and ’70s.
Mr. Bernatowicz, in your introductory text you talk about the need for honesty, the disease of hypocrisy, overreaching governments. You do not fulfill a single one of your own ideals.
The biggest problem with turning Dune into a film is that the book appears increasingly derivative of generic sci-fi tropes.
This exhibition explores how images of the human body were used to provoke profound physical and emotional responses in viewers from the 15th through 18th centuries.
Ed Roberson’s motorcycle ride from Pittsburgh to the Pacific is a quest-romance, an exploration of American culture and American mythology.
The collaborative handmade paper- and printmaking center at the Pennsylvania Academy of the Fine Arts publishes new works by Liz Collins and Sarah McEneaney.
The legendary performer amassed a collection of about 10,000 rare books, posters, and artwork about all things esoteric.
The proceeds will benefit the BDC’s community-centered initiatives and exhibitions.