How can we categorize Banksy's work -graffiti or murals?

Research Banksy's work to attempt to answer this question.
What are some of the differing opinions about Banksy's work?
How does his work sit in relation to consumerism? Can his work be sold?
What are some of his attitudes to the sale of Art?
Who is Banksy? Do we know his true identity?
Upload 2-3 images of Banksy's work that you find interesting, and comment
on the ideas behind the work.

Well first of all to start off with. Wow. Just, wow. This is by far and above the most appealing artwork to me out of all the artwork we have had to research for this Blog. Perhaps it’s a generation thing and most of his works are still relevant, but wow Banksy’s work is incredible.

Banksy’s work is very political, featuring police men frolicking through fields of flowers, supreme courts filled with chimpanzees and cops protecting a donut van to name a few. They’re very thought provoking, offering an insight into the true going-ons of this modern age. His work consists mainly of graffiti art which I think is a very big part of the impact, randomly popping up in public as a display, almost as a protest against the things they depict. Because of their spontaneity and their vandalism nature they cannot be controlled in what they’re about, by that I mean they’re free to depict anyone or anything in any nature they please, true unconstrained artistic freedom. Banksy’s work is often satirical in nature, which is probably what makes it so appealing to myself. The work often pokes fun at its location or subject matter in a way that both deals seriously with its nature but is also humorous. This is best depicted I believe by the picture of the police men frolicking through a field of flowers.

In terms of consumerism, Banksy’s work is not for sale. It is often put onto t shirts and canvases by third parties but this is never endorsed nor profitised by Banksy themselves. A quote taken directly from Banksy’s website “Products not actually included, serving suggestion only. All images are made
available to download for personal
amusement only, thanks.

Banksy does not endorse or profit from
the sale of greeting cards, mugs, tshirts,
photo canvases etc. Banksy is not on Facebook, Myspace, Twitter or Gaydar.
Banksy is not represented by any form
of commercial art gallery.

Banksy does not do commissions and has never been given the keys to Kate Moss's house to paint her kitchen.”

This I believe helps to secure the anonymity of Banksy’s identity. While there has been much speculation as to the true identity on Banksy, an official quote on Banksy’s website stated “I am unable to comment on who may or may not be Banksy, but anyone described as being 'good at drawing' doesn't sound like Banksy to me.”

One of the ways Banksys art is often sold is through street auctions. Neither endorsed nor beneficial to the true mysterious Banksy, these works are often sold with the method of removing the work being left up to the buyer. A building in Liverpool, England reportedly sold for 114,000 pounds because a Banksy art was drawn on the side of it.

My 3 pictures I have chosen are

Riot Coppers, a scene depicting fully geared out Riot police frolicking through the flowers. This is a start contrast to what Riot squads actually do, sort of like this is what would happen in a perfect world.

Donut, A picture depicting police bikes surrounding and protecting a donut van. To me this piece says that the police only protect what is important to them, while I don’t necessarily agree with that, that’s what I see.

Flower Chucker, a picture of what seems to be a terrorist or rebel of some kind, taken mid throw of a rock or brick or glass bottle, but replacing the weaponry with a bouquet of flowers, this is similar to the Riot Coppers piece in that it’s a start contrast to what actually happens, sort of like an utopian view of the world.

http://www.banksy.co.uk/indoors/flowerchucker.html

http://www.banksy.co.uk/index.html

http://en.wikipedia.org/wiki/Banksy

http://whoisbanksy.co.uk/page/2

http://www.babelgum.com/4023670/banksy-robbo-its-war.html

http://www.google.com/images?q=banksy&um=1&hl=en&rlz=1C1CHMY_en-GBNZ353NZ353&tbs=isch:1&sa=N&start=18&ndsp=18

'Memorial Project Nha Trang, Vietnam'(2001)

'Memorial Project Nha Trang, Vietnam- 'Towards the Complex-For the Courageous, the Curious and the Cowards', (2001) is a video project by Jun Nguyen-Hatsushiba.

Research this project to identify the ideas behind the work. Can you connect some of the concepts and ideas from the renaissance, Enlightenment or Modernism with the work. Discuss your answer.

Discuss how do you think the title of the work reflects

the artists' intentions?

The ideas behind Jun Nguyen-Hatushiba’s ‘Memorial Project Nha Trang, Vietnam – ‘Towards the Complex- For the Courageous, the Curious and the Cowards’ (2001) are mainly centered around cyclo’s and their drivers. A cyclo is a sort of bicycle taxi that was once extremely popular in Vietnam. Today, cyclo’s are more of a tourist attraction than anything else as more and more streets are banning the use of cyclos, aswell as other forms of transportation such as taxi’s become more popular. Nguyen-Hatushiba seeks to capture the spirituality behind the cyclo, as several cyclo drivers make their way underwater to the pilgrimage site of several mosquito nets placed throughout a rocky, possibly coral reef.

Nguyen-Hatushiba has been interested in cyclo’s and their drivers since 1994, when they first arrived in Vietnam. The work was originally going to have Nguyen-Haushiba pulling a cyclo around a large watertank, however the work quickly evolved into the video work it finally became. As Nguyen-Hatushiba stated in an interview “Honestly, it happened by chance. I was planning to do a performance in which I was going to pull a cyclo suspended in a large water tank. To make a long story short, that idea developed into my directing and shooting this video [Memorial Project Nha Trang, Vietnam: Towards the Complex—For the Courageous, the Curious, and the Cowards] under the sea. It was the right medium to turn my idea into a reality.”

The work could almost be said to be about modernism, with the decline in the use of veitnams unique transportation device, the cyclo, Nguyen-Hatushiba seeks to immortalise the vehicle in their work. Like a statement against Modernism, saying that progress is not necessary in some cases and if it continues at this rate, Vietnam could lose an important cultural icon.

I think the title reflects the artists intentions of immortalising the cyclo, in the line “towards the complex” is a reference to the complexity of new technology compared to the simple cyclo. The Courageous, the Curious and the Cowards could also be a reference to the accessibility of the cyclo, and that anyone can use one. I think to Nguyen-Hatushiba, remembering the past is a very important thing, which is evident even within the artists name, as they said in an interview “I had two complete names: one in Japanese and another in Vietnamese. I decided to combine them to make things simple. Thus, two last names come from my two names. I decided to hyphenate to show who I am and to respect both of my backgrounds.

http://sites.asiasociety.org/arts/nh/excerpts.html

http://www.parish-without-borders.net/cditt/cambodia/dailylife/cyclo.jpg

http://sites.asiasociety.org/arts/nh/interview.html

'Untitled' (2002) Richard Misrach

Richard Misrach's photography reflects the concept of the Sublime, from the Enlightenment.

Research Misrach's work by reading about his intentions, and also by looking at the work. Then answer the following questions;

1. What and when was the Enlightenment?

A good definition of the enlightenment is “ 'The Enlightenment' has been given many differing definitions but it was, at its broadest, a philosophical movement of the eighteenth century which stressed human reasoning over blind faith or obedience and was thus in contrast with much of the religious and political order of the day, while also encouraging 'scientific' thinking.”(http://europeanhistory.about.com/od/referenceencyclopedia/g/glenlightenment.htm). The enlightenment was centered around the 18^th century.

2. Define the concept of the Sublime.

The theory of the “sublime” was defined in 1756 by the British statesman and political theorist Edmund Burke. Burkes belief was that “the life of feeling and spirit depended on a harmony within the larger order of the universe. The sublime therefore, was the ultimate experience of divinity, a mixture of awe, fear and enlightenment produced by the contemplation of a powerful terrifying nature.”

3. How did the concept of the Sublime come out of the Enlightenment thought?

Before the enlightenment, landscape paintings were not considered ‘true’ art, merely something to put in the background behind ‘real’ art. As mankinds knowledge expanded and the vastness of the world shrunk, the sheer size and formidability of nature became more apparent.

4. Discuss the subject matter, and aesthetic (look) of Misrach's work to identify the Sublime in his work. Add some more images.

Misrach’s work often has a political edge to it, showing pollution and other such scars mankind has inflicted on nature. One could also say it deals with technology in a similar light to how nature was once regarded; that the sheer vastness and potential is both awe and fear inspiring.

5. Identify some other artists or designers that work with ideas around the Sublime, from the Enlightenment era as well as contemporary artists.

Zaha Hadid deals with the ideas around the Sublime in her work, in that she creates big awe inspiring buildings made to look natural and lifelike, but at the sametime static. These giant structures are almost like a venture into the unknown in themselves, attracting people to visit simply to find out whats inside.

6. How does Misrach's photography make you feel? Does it appeal to your imagination?

Misrach’s work is both beautiful yet sometimes sad. The serene colours appeal very much to my imagination, almost like there is a story behind each image. Truly the work of a master photographer, Misrach's photos are almost unreal, showing the beauty of this world that's often overlooked.

7. Add a Sublime image of your choice to your blog, which can be Art or just a Sublime photograph.

I added “Wanderer in the Mists” (1818 – oil on canvas) by Caspar David Friedrich. Although it is in our handout, I do really love this image. The strong figure standing peering out over a serene landscape just waiting to be explored or conquered, the wonder of exploring the unknown which is somewhat lost in today's world with things like satellite imagery and GPS.

http://openlearn.open.ac.uk/mod/resource/view.php?id=353715

http://europeanhistory.about.com/od/referenceencyclopedia/g/glenlightenment.htm

http://en.wikipedia.org/wiki/Sublime_(philosophy)

http://www.edelmangallery.com/misrach.htm

Week 4- Damien Hirst and the diamond skull.

As we will be at Noho Marae at Awataha in week 4, this blog question is for week 4 and week 5.
Research the art work of Damien Hirst, in particular his work 'For the love of God'(2008), a diamond encrusted skull.

Discuss how Hirst's persona and work relate to the Renaissance concepts of Mercantillism and the (increased) status of the artist.

Born in Bristol in 1965, Damien Hirst is a very well known British Artist. His work (often controversial) deals with the ideas of mortality, which is seen clearly in his most famous series of work, "The Natural History", featuring various animals (including sheep, cows and a shark) preserved and suspended in formaldehyde in lifelike poses. His work 'The physical impossibility of Death in the mind of someone living' which features a 14m long Tiger Shark suspended in formaldehyde is considered the iconic work of 90's British art and the symbol of Britart world wide. His work also includes ‘spot’ paintings and ‘spin’ paintings.

One of the main controversies behind Hirst’s work is that he rarely does the work himself. Hirst has been quoted as saying "The real creative act is the conception and as progenitor of the idea, I am the artist."[1] Seemingly treating his artwork like that of a factory or brand, Hirst employs over 100 artists and fabricators to create artworks for him at a starting wage of just 9 pounds. Artists were reportedly paid around 600 pounds to create an artwork that would be sold for over 600,000, making Hirst almost like a mercantilist nation in his own right; importing resources such as paints and canvases, paying workers to create around his ideas, and then selling the creations for massive profit. This method of acquiring wealth through export and limited import has made him an extremely rich man, as of 2007 he was the richest living artist of all time.

The ultimate example of this is Hirst’s ‘For the love of god’, A 50 million pound platinum skull studded with diamonds. Created by London jewellers Bentley & Skinner out of 6 platinum plates shaped to look like the skull and 8601 diamonds, the estimated price of the jewels is said to be about 10 million pounds and it has been called the most ambitious piece of British jewellery since the crown jewels. The work reportedly got its name from Hirst’s mother, who once said to him “For the love of god, what’re you going to make next?”. The skull has received very mixed media, some calling it the most ambitious art piece of recent years, others labelling it an attempt at getting money, one things for sure, that’s one expensive artwork.

References: [1] http://www.thisislondon.co.uk/arts/article-23410356-inside-damien-hirsts-factory.do

http://www.artchive.com/artchive/H/hirst.html

http://en.wikipedia.org/wiki/Damien_Hirst

http://www.leninimports.com/damien_hirst.html

http://www.artnews.com/issues/article.asp?art_id=2367

http://www.thisislondon.co.uk/arts/article-23410356-inside-damien-hirsts-factory.do

http://www.youtube.com/watch?v=g49gGKV7Epc

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[1] http://www.thisislondon.co.uk/arts/article-23410356-inside-damien-hirsts-factory.do