Street art photographer Luna Park spotted this new Banksy a day before it was officially announced on Banksy’s website.
The new day brought with it a second Banksy, but now the amusing audio guide hotline appears to be down, and overnight the first piece went through a graffiti metamorphosis of its own.
Celebrated career criminal Banksy has apparently begun a monthlong residency in New York City as part of an exhibition his website is calling Better Out Than In, “an entire show on the streets of New York.”
CHICAGO — I didn’t want to go to the art fair. I never do. A lot of stuff at art fairs is the same-ish, and galleries are trying their best to sell the most. Yet the art fairs keep coming, and as the market has proven Chicago is no exception.
To paraphrase Thomas Jefferson, the tree of blogging must be refreshed from time to time with the blood of morose critics. And although here at Hyperallergic we believe that it’s better to dwell on the redeeming features of the written word, we do appreciate a good hate-read now and then.
I’m finding it a little hard to feel upset at the Banksy “exhibition” that was on display in Art Miami and its sister fair Context this past week. Others have found reasons to boycott the affair, and Marc and Sara Schiller, two street art aficionados I respect, wrote on Wooster Collective that they are calling out the Miami Art Fair for letting all this happen: “Knowing that Banksy has condemned the show, they could have easily rejected the exhibition and not legitimized the stolen artwork. But they didn’t. And this tells you a lot about what their motivations are.”
Banksy is celebrating Her Majesty The Queen Elizabeth II’s Diamond Jubilee with a bit of art.
This week, new Banksy, artists/writers design money, early Christian art, talking to Gabriel Orozco, catalogue raisonnés, modern art toilets, globalizing art history, design criticism and political photo trends.
This week, Occupy art, Picasso abodes, an artist on Iraq, UK art blogs, lo-fi pics and working as a culture industry serf.
Just over two weeks ago, a story about an excavated Banksy in Berlin ricocheted across the global media. Most of the coverage featured closely cropped smiley faced riot police and the name “Banksy” screamed in the media coverage. From the tone of the coverage and the emphasis on the discovery of a lost Banksy most people probably assumed it was another case of an opportunist commercial gallery swiping a street art work and displaying it in order to make a potential profit. What many people — and news outlets — didn’t realize was that the glimpse of the Banksy was only part of a much larger work by artist Brad Downey.
Evacuated from my Lower Manhattan apartment and hiding from Hurricane Irene, I find myself thinking about anonymous street art and what it means to art-viewing practices. Different from traditional art and even graffiti, the anonymous works that are found on construction walls, corners of the street and shop grates pose a difficult yet exciting problem for the street art or historian enthusiast that comes across them.
If LA’s Museum of Contemporary Art thought street art was a panacea to all its attendance wooes they may want to think again. Sure, there were often lines around the block for the show but the LA Times‘s Culture Monster blog crunched the numbers and came up with this …