I love Banksy‘s work most because of how it comments on the commodification of art. Here’s a world-renowned master who refuses to authenticate anything he’s done on the street—his canvas of choice. He does this as a stand for the form, for what graffiti has always been. The pieces he stencils are site-specific both in the sense of the wall and the country for which he’s commenting politically. They are simultaneously powerful and fleeting. They strike a chord internationally, spark conversation, provide a sense of awe and celebrity, and then disappear. Others tag over them. Owners cover them with paint. And both are okay considering they aren’t meant to be permanent. It’s less about beauty and aesthetics than emotion and context. They’re rendered immortal by their deaths.
Director Colin M. Day‘s documentary Saving Banksy seeks to approach the notion of artistic...
Director Colin M. Day‘s documentary Saving Banksy seeks to approach the notion of artistic...
- 1/17/2017
- by Jared Mobarak
- The Film Stage
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