Banksy + 5: October 29th

Banksy in a thrift store window. Photo by Allan Molho.
Banksy in a thrift store window. Photo by Allan Molho.

When Banksy announced today’s Better Out Than In piece this afternoon, people began running to a little thrift store on 23rd Street in the hope of scoring the deal of a lifetime. I would have run with them if I were in town. But luckily the thrift store was tipped off to what was about to happen. Banksy had just donated a “crude oil” painting. His crude oil series involves him taking old paintings, in this case one that he bought from this thrift store, and adding his own touches. Two early street artists, John Fekner and Peter Kennard, experimented with similar pieces long before Banksy, but Banksy has really pushed the idea and made it his own thanks to his habit of inserting his modified paintings in places where the unmodified paintings might normally hang.

This crude oil painting, titled The Banality of the Banality of Evil, features the addition of a nazi officer to the idyllic landscape. It’s in a thrift store that benefits Housing Works, a charity fighting “to end the dual crises of homelessness and AIDS.” Housing Works have put the painting for sale in an online auction ending in the evening on October 31st. As of this posting, the bidding has reached $157,200. If you’ve looking for a new Banksy and have $200,000 or so to drop, you can bid here.

More info and photos over at Gothamist.

Another view of the piece. Photo by carnagenyc.
Another view of the painting. Photo by carnagenyc.

Today’s + 5 includes work by Labrona, Ray Johnson Fan Club, Wakuda, Saki&Bitches and Dscreet:

Labrona. Photo by Labrona.
Labrona. Photo by Labrona.
Ray Johnson Fan Club. Photo by Ray Johnson Fan Club.
Ray Johnson Fan Club. Photo by Ray Johnson Fan Club.
Wakuda in Seattle. Photo by Dustin Condley.
Wakuda in Seattle. Photo by Dustin Condley.
Saki&Bitches. Photo by Amy S. Rovig.
Saki&Bitches in London. Photo by Amy S. Rovig.
Dscreet in London. Photo by Alex Ellison.
Dscreet in London. Photo by Alex Ellison.

Photos by Allan Molho, carnagenyc, Labrona, Ray Johnson Fan Club, Dustin Condley, Amy S. Rovig and Alex Ellison

Banksy + 5: October 9th

Banksy. Photo by carnagenyc.
Banksy. Photo by carnagenyc.

First of all, I’ll quickly note that Banksy did an interview with The Village Voice and Banksy made two covers for the issue, both collaborations with Os Gêmeos.

On Wednesday, Banksy unveiled this installation on the Lower East Side, the latest from his Better Out Than In show/series. According to Hyperallergic, the area had been covered with a tarp recently, hiding any potential work Banksy was doing. It’s not Banksy’s best work from a technical standpoint, but hey, it’s a complicated piece that was presumably executed illegally. One thing that became very clear during our Illegal August experiment (in case it wasn’t clear before) is the pretty obvious point that a mural an artist can spend a week on is usually going to look more visually stunning and well-executed than something done illegally in the dark. Even with the tarp, this installation was risky. So I certainly can’t fault Banksy for the execution.

The piece reminds me of something like Goya’s The Disasters of War series, although maybe that’s just because horses make me think of classical painting… Anyway…

What really strikes me about this piece is the “audio description” component of this installation. Instead of the funny museum-style audio descriptions that have accompanied about half the works in Better Out Than In, today’s was just a snippet of the audio from the Collateral Murder video that was leaked by Chelsea Manning through Wikileaks in 2010. The video shows US Army airstrike that kill Reuters journalist Namir Noor-Eldeen, his driver Saeed Chmagh and at least others (the airstrike also wounded two children). Here is the full Collateral Murder video (warning: this video is quite graphic and potentially  disturbing):

A few days ago, I raised some questions about Banksy appropriating audio of an by Syrian rebels that brought down a Syrian military helicopter in his video where rebels shoot down Dumbo the elephant. I’m still not sure what to think of that appropriation, but I think here Banksy did a great job. He isn’t using death to make a joke (even if that joke has a serious point). This installation is a sort of anti-war memorial, and the Collateral Murder audio makes the piece even more powerful.For today’s + 5, we have work by stikman (whose show I just organized at the Mural Arts Program in Philadelphia), Jace, Saki and Bitches and two artists that I’m not sure about:

stikman in Philadelphia. Photo by Damon Landry.
stikman in Philadelphia. Photo by Damon Landry.
Jace in La Reunion. Photo by Philippe Vieux-Jeanton.
Jace in La Reunion. Photo by Philippe Vieux-Jeanton.
Saki and Bitches in London, UK. Photo by Chris Beckett.
Saki and Bitches in London, UK. Photo by Chris Beckett.
Unknown artist (Kame?) in Normandy, France. Photo by Michel Alessandrini.
Unknown artist (Kame?) in Normandy, France. Photo by Michel Alessandrini.
Unknown artist. Photo by Chris Christian.
Unknown artist (Vicky?) in NYC. Photo by Chris Christian.

Photos by carnagenyc, Michel Alessandrini, Chris Beckett, Philippe Vieux-Jeanton, Chris Christian and Damon Landry