Banksy's Latest Installation
With another installation at the British Museum last week, Banksy is back in the headlines. This time he provided the museum with an artificial prehistoric rock with a figure pushing a shopping cart on it. Next to the rock was an accompanying label which read:
"This finely preserved example of primitive art dates from the Post-Catatonic era. The artist responsible is known to have created a substantial body of work across South East of England under the moniker Banksymus Maximus but little else is known about him. Most art of this type has unfortunately not survived. The majority is destroyed by zealous municipal officials who fail to recognise the artistic merit and historical value of daubing on walls."
The British Museum did not have nearly the response that New York museums had when they fell victim to Banksy's antics a few months ago. A spokeswoman for the museum indicated that the manner in which Banksy displayed the rock and label was particularly convincing because it was in keeping with the British Museum's installation design. The museum even went so far as to lend the work to the Outside Institute for Banksy's latest show, which opened in London last Friday (they are expecting it to be returned when the show closes).
Without reiterating my position on his art or the underlying purpose to his art, I will simply express my admiration of the British Museum. In addition to the refreshing institutional sense of humor, their response indicates an appreciation for contemporary art and recognizes that Banksy is not afterall just some loser vandal, but someone who has something to say and, most importantly, deserves to be heard.
"This finely preserved example of primitive art dates from the Post-Catatonic era. The artist responsible is known to have created a substantial body of work across South East of England under the moniker Banksymus Maximus but little else is known about him. Most art of this type has unfortunately not survived. The majority is destroyed by zealous municipal officials who fail to recognise the artistic merit and historical value of daubing on walls."
The British Museum did not have nearly the response that New York museums had when they fell victim to Banksy's antics a few months ago. A spokeswoman for the museum indicated that the manner in which Banksy displayed the rock and label was particularly convincing because it was in keeping with the British Museum's installation design. The museum even went so far as to lend the work to the Outside Institute for Banksy's latest show, which opened in London last Friday (they are expecting it to be returned when the show closes).
Without reiterating my position on his art or the underlying purpose to his art, I will simply express my admiration of the British Museum. In addition to the refreshing institutional sense of humor, their response indicates an appreciation for contemporary art and recognizes that Banksy is not afterall just some loser vandal, but someone who has something to say and, most importantly, deserves to be heard.
posted by Corey Wyckoff at 12:42 PM
2 Comments:
I definitely think that Banksy has more of a place in the art world than the Philistine Group, as his mode of operation tends to be to add things, rather than take away or deface other's works of art. I guess there are some exceptions, as he does put some of his graffiti on public works, which I must admit, makes me uneasy. Of course, I think that's part of his whole motive- to make people uneasy with the status quo of today's sociey. However, I'm not sure that I agree completely with his public art philosophy- that by people not being able to put their art anywhere on any building, etc. that the powers that be are repressing the art of the people. I'm also not sure if spray painting animals is a good idea.
I don't know if he is necessarily trying to make people uneasy as much as he is attempting to point out the problems with the status quo. By integrating works into pre-determined exhibitions or spaces, he successfully undermines the status quo in subtle and illuminating ways. I think any discomfort felt by an individual or society reflects more on them moreso than the artist.
As far as graffiti goes I'm pretty lenient, particularly since most of his "targets" are harmless and his messages are meaningful and usually quite humorous. The animals are a great example and so long as the paint doesn't harm them(which I don't think it does), I'm okay with it.
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