The 21st century, in
particular between 2000-10, has been shaped by the increase in
mass-consumerism, mass advertising, a massive change in technology, political
affairs and the UK government, in addition to changes overseas affecting how we
live our daily lives. It has also affected the world of art. The negative
changes that have shaped the past decade have caused a backlash of street
artists to reflect, and demonstrated an opinion on the society, which they live
in and are exposed too. It is important to look at the context of which the
artwork is formed, as well as why. This newfound form of expressionist art has
responded to issues the world are exposed too, which thanks to lightening speed
digital communications, has been shared globally.
Developing responses
and opinions on issues has re-started a phenomenon; and street art is back with
defiance. Firstly this essay will explain the changes in the 21st century
proceeding to the changes in art in social media, by focusing on Banksy’s work,
before concluding that street art has inevitably adapted itself to the
institutionalized art industry, as well as how it has impacted society and
culture today. It seeks to determine the links between society, power and
culture through an art medium.
It is imperative to
understand how social networking, and increased digital technology has improved
the way information is captured and shared globally. Vast advances have been
made regarding the media, Internet, and communication shaping the world we live
in today. Increased terrorist and illegal activities have also been taken to
extreme levels in the past decade due to new technologies and political
differences, with examples such as the 9/11 bombings and the phone hacking
scandals. Due to these social and cultural issues, stemming from American
Imperialism, security has improved, and everything we do is monitored,
captured, analyzed and judged. However, on the contrary, we appear to be
dictated by the government, democracy, and our freedom of speech is repressed
to those who are willing to listen. Media conglomerates have enthralled the
creative advertising world, making the environment we live in a mass-consumer
driven canvas. As a nation, society attempts to direct us into living
collectively with the same views, the same opinions, and the same outlook on
life.
Freedom of speech has
become impossible, unless you think outside the box. The desire to stand up for
your views against the cultural and social issues of society, fighting against
the ‘system’ gives street artists a reason to paint and go against the norms
and conventions of society, articulating their views and raising their voice in
an institutionalized modern day culture. As Banksy once said; “A wall has
always been the best place to publish your work [and] graffiti is only
dangerous in the minds of three people; politicians, advertising executives and
graffiti writers” (Wall and Piece, 2006, p.8). Art has never been dictated; it
is self-expression, not oppression of thoughts and opinion.
Banksy has “stood up
anonymously in a western democracy and [called] for things no-one else believes
in, like peace and justice and freedom” (Banksy, Wall and Piece, 2006, p.29),
fighting through cleverly through out pieces of street art, often showing his
cheeky attitude, puns, pranks and slight aggression towards the controlling
world around us. Distance has never stopped Banksy making his mark, and has
taken extreme lengths to make a statement. For example, he travelled to the
Israeli Segregation Wall, painted 9 separate pieces of artwork on the
‘Palestine side’, causing controversy with locals, the security, and the world.
(Image 1) Each painting is almost a ‘window’ looking through to the other side
of wall. One particular painting shows a serene beach, which is undoubtedly the
opposite of the reality. His statement and irony behind the concept was clever
and eye catching, and the paintings told a thousand words - "The Israeli
government is building a wall surrounding the occupied Palestinian territories.
It stands three times the height of the Berlin Wall and will eventually run for
over 700km - the distance from London to Zurich. The wall is illegal under
international law and essentially turns Palestine into the world's largest open
prison" (Sam Jones, 2005, The Guardian). Holding the Palestine’s citizens
within the ‘prison’ gives the country power, which Noam Chomsky argues the US
are backing; “While there has been internal debate and some fluctuation in US
policy, much exaggerated in discussion here, it has been generally true that US
support for Israel's militarization and expansion reflected the estimate of its
power in the region.” (Chomsky, Good Reads). This says a lot about American
Imperialism and it’s impact on societies views of the world around us, however
the likes of Banksy who strive of rebellion are adamant to show their own
opinion, the truth and passion in order to make a statement.
The rise in world
affairs over the past decade gives street artists the perfect opportunity to
create a meaningful piece of art with a concept, meaning and a focused ideology
behind it. The idea of being confined within “the world’s largest open-air
prison” (Banksy, 2006, p.136) gives insight into the corruption of the world,
and the power it holds over people. This is something that has been reflected
in Banksy’s recent work. For example, Banksy’s ‘CCTV under one nation’ (Image
2) stencil tries to emphasis how ‘looked over’ society is as a nation in
regards to ‘big brother’ and the power of surveillance. Recently there has been
insight into the UK being “world leader in video and digital surveillance
(Liberty, B.Donegan), with more CCTV cameras per citizen than any other country
(Paul Lewis, 2009, quoted by B. Donegan) … There have been similar responses to
earlier widely circulated figures of one camera per 14 citizens in the UK, (Ch4
News, 2008 quoted by B. Donegan) and ‘300’ being the number of times a Londoner
appears on camera on a daily basis” (David Aaronovitch, 2009, quoted by B.
Donegan). This shows the intensity of our leaders, and the power which
politicians, the government and modern day society expose us too. It started
for security, and due to the increase in terrorism and political wars, citizens
are being oppressed. Together the British Empire and the American Imperialism
over time have caused the imbalance. This topic is something, which has been
frowned upon by artists but often disregarded by those who aren’t aware of such
intensive and intrusive behavior. In an official statement, Banksy clearly said
"I was offended when Westminster said my painting was an advertisement.
Advertising makes people feel inadequate and worthless. Graffiti doesn't do
that. Graffiti doesn't emotionally blackmail you, graffiti doesn't make you
feel fat and graffiti doesn't make you rush out and buy things." (Time,
2008)
Artists use their
artwork as a way of exploiting the system, fighting back whilst making the
public aware of such issues and mocking those who hold institutionalized power
over civilians. Street Artists are the voice of the nation, being the voice of
those who dare not speak for themselves.
Shepard Fairy is
another example of a street artist, who shows his audience through his work
that “power exists and works against you, [but] power is not terribly efficient
and it can and should be deceived”. (Wikipedia, Banksy)
Fairey came to the
height of this career in 2008, with the release of his Obama ‘HOPE’ poster for
the presidential election; just after Obama won. He has a very defined style of
work, which can only be described as “Andy Warhol meets Socialist Realism” (The
Norman Lear Centre, p.3, 2009). Similarly to Banksy, with unique ‘guerilla’
styles of art, Fairey’s craft is reflected through bold imagery, stencils and
sticker campaigns, with hidden socialist issues reflecting current affairs.
Combined, their works
make comment on the anarchic rebellion that still remains, but overlooking that
for the benefit of others and a more positive future, as well as touching on
racism and not letting that effect perceptions. It is unusual to witness a
rebellious street artist deferring from anti-political statements, to move the
exact opposite without motive. However, a simple image with a bold statement
leaves the viewer to choose what they take from the visual campaign. “The American
public is generally pretty superficial, so an image like that just allows them
to project whatever limited idea they have onto it.” (Shepard Fairey, Interview
Magazine) This philosophy also stands true in regards to Banksy’s work.
The established morals
of falling into a socialist trap prove that we obey advertising and
mass-consumerism, regardless of the topic. By allowing society to be open to a
concept or idea which can be left open to personal interpretation and meaning,
proves that Banksy is making a point about something we don’t even realize we
are unconsciously doing, yet is right in front of us. This is propaganda. Every
piece of his work produced is propaganda for a cause, just like the Palestine
Prison. There is no better way to raise a point than advertising it in a way
the entire world will see. Shepard Fairey’s work however, is heavily based on
propaganda also, and focuses on the aesthetics of Russian publicity posters,
which reigned throughout the revolution. Political issues shown through such
simple mediums, leave the message being perceived open to interpretation.
Banksy on the other hand focuses on stenciled art, controversial stunts, pranks
and installation relative to location, concept and message. Banksy aims to
shock and entertain the viewer, whilst causing stress to the target, i.e.
government, public or police, whilst Fairey is much more politically correct
throughout, however controversial the truth is.
Banksy’s most
controversial piece nevertheless, was a piece of installation placed in
Disneyland California in September 2006, whilst being filmed by Thierry Guetta.
His stunt consisted of placing a life size blow up doll, dressed in an orange
jumpsuit, identical to those detained in Guantanamo Bay behind the gates of the
‘Big Thunder Mountain Railroad ride. The doll was placed at the side of the
ride, visible to tourists and riders. Banksy’s spokeswoman made a statement
regarding his lucrative intentions, and claimed “Banksy said the stunt was
intended to highlight the plight of terror suspects at the controversial
detention center in Cuba.” (BBC, 2006). His ideology behind the stunt worked;
the park closed for 90 minutes until the installation was removed.
The vast array of
Banksy’s art shows he is passionate and committed to making a clear, bold
statement, regardless of the consequences, proving he is “hardly a typical
street graffiti artist working against the corporate establishment of
advertising and its colonization of the street.” (The Lear Centre, p.4). His
controversial and simple work has complex meanings of emotion, feeling,
politics and progression of society, which are underlying the surface. His
noticeable work turned viral during this decade due to mass-communication,
media and those who have ‘obeyed’ and therefore advertised, or even turned to
art themselves. The continued escalation of the campaigns have given street art
a new found credibility; anarchic, rebellious and revolutionary art work, making
‘outdoor galleries’ much more interesting and real to view than galleries.
“Street art began as
an underground, anarchic, in-your-face appropriation of public visual surfaces,
and has now become a major part of visual space.. a recognized art movement
crossing over into the museum and gallery system” (Irvine, The Work On the
Street, p.1) backing up the recent comeuppance of the art.
During the early 21st
century, artists were realizing that the street art phenomenon that has
captured the entire world, through message, passion and even more crucially –
Internet, the speed of data communication and social networking. Artists
developed work more people were becoming interested in, such as installation
and secret pop-up exhibitions not for the aesthetics, but for the meaning,
concept, and message being delivered. Artists began changing their trade due to
the ever-growing popularity and the desire for more.
In June 2009, Banksy
held his first exhibition in his hometown of Bristol, at the City Museum, which
validated his level of recognition and fame. Over 100 pieces of artwork,
including installations were displayed. Two pieces are still shown in the
museum and kept in their permanent collection, which are on show to the public.
As a prankster Banksy had previous placed pieces of his own work in the Tate
and Louvre to observe the reception of the viewers. The collection shown in
Bristol proved his popularity as an artist even though many view perceive him
as working in a technically illegal vandalistic trade. Hence his response to
his own top-secret exhibition; “This is the first show I've ever done where
taxpayers' money is being used to hang my pictures up rather than scrape them
off.” (BBC, 2006). He also stated after observing a piece of ‘pop-art’ he had
placed in the Museum of Modern Art in New York, that he “took five minutes to
watch what happened next. A sea of people walked up, stared and moved on
looking confused and slightly cheated. I felt like a true modern artist”
(Banksy, 2006, p.179). This very statement shows how museums and art galleries
can transform a once looked-down upon skill, as a new fascination, which has
suddenly become high culture, opposed to low culture regardless of it’s true
rebellious meaning and contradiction of becoming a ‘sell out’.
Due to the social and
cultural changes regarding the influences of street art in the previous decade,
“museum and gallery exhibitions and international media coverage have taken
Shepard Fairey, Banksy, Swoon, and many others to levels of recognition unknown
in the institutionally authorized art world” (Martin Irvine, Georgetown
University, 2012) opposed to making them ‘sell outs’, which is known to be the
general preconceived notion of these particular artists, due to their work
being commercially used and replicated for mass-media and mass-consumerism with
merchandise, books and ‘propaganda’. Having work in world-renowned galleries is
proof enough that people are being to see a change in the art world, and not
focus strictly on ‘fine arts’. The freedom of creativity has been praised and
unleashed for critique from the academics, art critics and celebrities, who are
willing to pay high prices for ‘an original Banksy’. For example, one of his
more unknown works ‘Insane clown’ which is simply a stenciled image spray
painting on hessian, sold at an auction house in 2009, for $320,000. In 2008,
Banksy’s ‘Vandalized Phone box’ installation, sold for $550,000 at Sotheby’s in
New York, whilst a defaced Damien Hurst ‘Spot Painting’ cleverly entitled ‘Keep
it Spotless’ sold for $1,700,000.
The argument between
whether street art is deserving of gallery walls is a popular discussion for
those in the art world. Terry Smith once said “In the context of art theory in
the institutional art world, street art and artists seem made-to-order for a
time when there is no acknowledged “period” identity for contemporary art”
(Irvine 2011) demonstrating how street-art has come alive at the appropriate
time. Street art has earned itself its own name and recognition; however, it
hasn’t become categorized yet, like photography has for example. This is backed
up by Irvine when he states that “it hasn’t been adopted as a category for
advancing art-institutional replication, the prime objective of the art
professions.. The street art movement embodies many of the anti-institutional
arguments elaborated in the art world of the past fifty years” (Irvine, 2011)
showing the mixed reception, however is still seen darted around galleries, and
through private gallery exhibitions.
By street art now
being institutionally acceptable, artists have started to bring their work from
the walls outside, to walls on the inside. They have had to adapt to the
ideology that street art no longer only appears on the streets outside the
galleries, but on the walls within it Over a decade ago, street art would not
be seen anywhere other than backstreet allies or known skate areas, whilst in
modern day and age, it has been the most successful, unorthodox, yet honest
medium of art there is, and it’s appreciated for that reason. Artists have had
to deal with the changes in society, culture and the change in public opinion,
and had to adapt to these needs of their audience whilst staying true to their
beliefs, ethics and views as an artist.
In the past,
post-modern movements such as Pop Art, and Hip Hop have influenced street art,
whilst in the past decade, no specific art movement or music genre has shaped
the industry. Street Art has shaped itself by the vast changes in society,
politics, ethics, humanity, terrorism, fear, national security, fraud and the
day-to-day culture and lifestyles which we live in. It has become a post-modern
phenomenon, due to the vast increase in media and technology.
The ever-growing
popularity of particular artists in recent years has made them pioneers of the
current street art world, and they’re also responsible for shaping the future.
Due to mass-consumerism and advertising, artists are creating a backlash
against society and it’s ethics. Mass advertising is a medium artists will
continue to fight against - “They have re-arranged the world to put [them] in
front of you. They never asked for your permission, don't even start asking for
theirs.” (Banksy)
Graffiti is now
fought for by the public in particular areas to be saved, re-touched or
preserved, with claims of enhancing the community and environment. Views are
changing on street art; by becoming popular, It has managed to break the mold
and the boundaries within fine art, graphic design and street art, as well as
the high and low cultures associated with galleries, museums and critics.
Regardless of Banksy and Fairey being called ‘sellouts’, this does not detract
from the work, the praise being received due to its enormity, or the message
being conveyed.
It is without a doubt
that the Internet and increased interest of commercialized art and merchandise,
combined with social networking, having given street art the credibility it has
needed and deserved for so long to receive such recognition from fine art
institutions. If it is in one of the best galleries in the world such as The
Museum of Modern Art in New York; something is going right. Both artists will
stay true to their unique styles and work, regardless of crossing over into the
institutionalized world of fine art. Street Art is becoming more recognizable
as a form of quality art, opposed to being labeled ‘vandalism’ or ‘graffiti’.
The truth, reality and prosperity shown through art, have made a point publicly
of raising awareness of issues normally dictated by leadership and
commercialism, and in the past decade has proven globally that street art is
not a phase, it’s a way of communicating a message to those looking for an
alternative to the system; those searching for an alternate train of thought
and furthermore truth, reality and rebellion. It’s here to stay; with a voice,
an attitude and a passion.
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