Research Paper

 

The Implications of Authority on Public Art– From Mexican Muralists to Banksy

Art plays a crucial role in shaping the views that people have on government and society as a whole. Art is arguably the most underrated form of information flow to the public. From the Mexican Revolution to modern social movements, art is constantly in the background of conflicts, bending and molding to fit the new trends of society. During the Mexican revolution art played a critical role in the flow of information and how it was able to influence public sentiments. Present day society has modern versions of Mexican revolutionaries who influence the public in more informal ways. The core values of Mexican revolutionary art have inspired a new generation of modern day graffiti and street artists, who have used public walls to present their political statements about culture and society through their art. A key assumption of this study is that artwork is meant to be consumed and interpreted by viewers. “Los Tres Grandes”- Orozco, Rivera, and Siqueiros – were the revolutionaries of their time and painted many meaningful works, however they are very different than contemporary street artists. For the Mexican muralists there have been many times where their art has been manipulated by authority or even whitewashed if it was deemed too controversial. This is where the difference between the muralists and graffiti artists is obvious. When no one is commissioning you to create something, no one can dictate what message your final product sends. I contend that Banksy, a world famous street artist, is an authentic and modern day revolutionary. Almost all of Banksy’s pieces have an important message that he is attempting to shed light on and inform his audience about. His graffiti not only makes you look at mundane things in a different way, but also makes you look at everything in a different way. Banksy’s modern tactics and daring works of art demonstrate how he truly wanted to get his message out to the public no matter what, with fame and fortune clearly no incentive to his anonymous guise. I argue that the less control that power or government has on artists equates to more freedom of expression and social power the artist holds. I will analyze public works by comparing and contrasting the work of Banksy to the work of the Mexican revolutionary muralists, Los tres grandes. Finally, I will delve into the debate of who authorizes and owns public art works while analyzing the effects that public art has on society as a whole.

“Los Tres Grandes”, the group of Mexican muralists comprised of David Alfaro Siqueiros, Diego Rivera, and José Clemente Orozco, were highly influential artists during the time of the Mexican Revolution and in the decades following the Revolution (Rochfort, 30). Their murals were largely based on social and political developments in direct and sometimes indirect ways. Their revolutionary murals depicted the realities of the country from the perspective of the average citizen, branching away from what they had produced earlier in their respective careers. The stillness of their murals creates snapshots of what was truly going on at the time. These works are now frozen in history, embedded in the walls, telling the great epic of the Mexican Revolution from multiple perspectives. Many of the works depict the inequities of society that drive the need for change and their messages were instrumental in the development of the Revolution. The murals made political and social problems relevant and accessible to all, opening a gateway to educate the masses on what was going on in their country. Most of the Mexican revolutionary’s works were commissioned by the government, which in turn created a problem with what they were allowed to depict and what was considered “off limits” (Rochfort, 130). Art with political messages are inherently controversial, this was especially true in the volatile political atmosphere of 1930s that was marked by the emergence of communist powers. There were many times when art has been censored because it is controversial and challenges certain beliefs. I believe that the most notable demonstration of art censorship of Los Tres Grandes is Man at the Crossroads created by Diego Rivera, originally commissioned in 1932.  The mural theme was set by John D. Rockefeller to be “a eulogy to revolutionary socialism” (Rochfort, 131).

Rivera, however, had other ideas of what he wanted the mural to convey. It is essential to understand that at the time of painting he was faced with a great deal of criticism and judgement by fellow communist comrades for keeping his political views inconspicuous in his previous mural projects. In an effort to prove his commitment to the Marxist cause Rivera focused on dedicating the Rockefeller mural to his beliefs, stating that the mural would, “continue to have aesthetic and social value – when the building eventually passes from the hands of its temporary capitalist owners into those of the free commonwealth of all society” (Rochfort 131). Rivera’s vision was halted when rumors of his “red” mural featuring Lenin’s portrait began circulating. When Rockefeller heard this he ordered Rivera to remove any and all communist allusions from his mural right away. By disobeying these orders to preserve the integrity of the mural as well as his ideals, Rivera was commanded to stop immediately and the work was covered in a canvas and later chipped off the wall completely (Rochfort, 131). Through this prime example one can see how Rivera was not able convey his communist views and send what he thought was an important message to the public in Rockefeller center, because the people who were paying for it did not agree. When higher authority, such as the government or wealthy individuals, is in control of art, they hold the power of what gets out to the public and what does not. Rivera was bold to remain true to his views, however ultimately his art was destroyed at the hands of censorship.

The Mexican muralists were revolutionaries in the ways that they reassembled history, rediscovered lost stories, and outlined new paths for the future that energized audiences. Los Tres Grandes worked to create an intersection between art and politics that was widely available to citizens. In the beginning the muralists were focused on redefining Mexican culture,

and how Mexico’s mixed race history should be celebrated therefore, focusing on the mestizaje. The murals urged people to think and aimed to incite viewers into taking action and matters into their own hands concerning the history and future of Mexico (Rochfort, 205). Siqueiros created a three-dimensional arm emerging from his mural titled Dates in Mexican History/Right for Culture aimed at a book full of important years in Mexican history. Siqueiros insinuates the need for another historic moment in the near future.

The trend that is emerging from Mexican public art is a call to acknowledge their past and to create a vision of a future with prosperity for all. Mexican muralists depicted how the masses were liberated and how the country now deserves to be in the hands of the people. As the muralist movement went on the official art created by Los tres grandes started to become progressively more revolutionary and transitioned into an artistic glorification of communism. The goal became to radicalize the viewer through accessible art that was no longer constrained by an easel and housed in a museum or private institution.

Banksy, a revolutionary of our time parallels the Mexican muralists in the art that he creates and he is a bold street artist who creates graffiti art using cityscapes as his canvas. His art is temporary and unpredictable, sometimes it is even demolished during the same day. Banksy’s messages are direct and concise, what he is trying to tell his audience is easily grasped and the take away is instantaneous. Banksy says himself, “Graffiti is not the lowest form of art. Despite having to creep about at night and lie to your mum it’s actually the most honest art form available. There is no elitism or hype, it exhibits on some of the best walls a town has to offer, and nobody is put off by the price of admission” (Banksy). In his eyes he is creating art that is accessible and contemporary. When he creates a piece it may only be erect for a certain amount of time until someone whitewashes it away, making his message all the more powerful. The sheer power of his art lies in its unpredictability and uncensored nature.

Public art in the twenty first century is an expansive concept, and one where the lines are often blurred between what is truly art produced by and for the people, and what is authorized by the government. Sometimes these two ideas go hand in hand, however increasingly in modern day society unauthorized art has taken the main stage. I contend that unconventional public art, such as graffiti, has a greater impact on society than a work commissioned by the government. Through Banksy work he is able to tell important stories and sentiments that can resonate with people of all education and socioeconomic backgrounds (Ellsworth-Jones, 139). Banksy is particularly successful in the way that he creates art on issues and social norms that are applicable to a broad range of people. When you can relate to art it makes it more personal and in turn, more memorable. The context that art is presented in is crucial to the type of message that is being received. A canvas painting adorned in gold and famed carefully is very different from a stenciled picture on a rouge wall. Banksy’s art style is not only relatable to people; it is accessible to the people (Wright, 43). You don’t need anything more than to be in the right place at the right time in order to see his most of his creations.

Banksy does not hesitate when commenting on the way that humans interact with each other within the social confines of modern day society. With consumerism and capitalism glaringly becoming the face of the world we live in, it is not hard to see the problems we are faced with. Banksy is a master at pointing out the obvious in a way that speaks to a broad scope of people in an unassuming way. Banksy’s messages are usually obvious and straightforward, making his comments on society hard to disregard. When the art takes such a basic approach the problem becomes much more evident. In his piece “Mobile Lovers”, which is located on the back of a beat up door in the city of Bristol, he comments on the ironic nature of social media and showcase the disconnect that is rampant modern society.

 

This stark depiction of modern love is a clear critique on the tech-obsessed generation that we live in today. Banksy exhibits how human contact and physical love comes a close second to our handheld devices that we cling to constantly. Even in our most intimate moments we are absorbed in our devices, addicted to their glow and allure. The clear message from this is a call for society to wake up and connect with each other face to face. It is not out of the ordinary to see people fully absorbed in their devices while in the presence of others that they miss the world around them.

            A fair amount of Banksy’s work is politically driven, with critiques aimed at all aspects of the government realm. As an unauthorized figure he is able to act alone and create anything that he deems important and meaningful. One of his more prominent pieces was up for no longer than 90 minutes and still managed to make an impact. This particular instance took place in Disneyland, where Banksy managed to sneak into the park and erect a life-size dummy that resembled a Guantanamo Bay prisoner (Banksy). The dummy was perfectly positioned right where the ride “Big thunder Mountain Railroad” snapped a photo for the guests to purchase after the attraction. This stint created a media frenzy, and caused parts of the park to shut down temporarily while they dismantled his work.

Banksy was overtly commenting on the governments involvement and torture of prisoners and even though this work was only up for short amount of time his message to the public was received loud and clear.

Banksy has also been politically active through his art on the wall that divides Israel from Palestine, officially named the Israeli West Bank Barrier. The wall is a political symbol that also serves to divide people that are in conflict, however more people see it as a break between two contrasting forms of culture and religion (Ellsworth-Jones, 218). The wall was erected in 2002 after a disagreement and although most of it is fence, the ten present of the wall that is concrete creates the perfect canvas for Banksy’s powerful messages. By depicting children on this wall he is contrasting the tension that surrounds the area with the innocence of a young child.

This stencil is a subtle piece with a strong message. It is located strategically on a wall in the West Bank in Israel between Palestine and Israel. The image is idyllic in the way that it depicts a small child being lifted away, lighter than air and free of cares. The young girl is innocent and vulnerable in this representation and the way that she reaches for the balloons shows a strong desire to be able to float away, over the walls to somewhere else, perhaps dreaming of a place without conflict. One of the reasons that Banksy’s art is so powerful is due to the face that he gives extra care to where he places his art is half as powerful without context (Banksy). The West Bank wall is a prime public place for him to send a message as an artist and political activist.

The Israeli government is building a wall surrounding the occupied Palestinian territories, much of it illegal under international law. 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 (Banksy)

In this piece the innocent young girl is seen frisking the solider in a stark role reversal that is jarring at first sight. He specifically selected Bethlehem for this mural because it is known to be the birthplace of Jesus and the middle of human rights abuse claims. He uses irony in this representation to point out the barriers that constrain us from recognizing the humanity of others, especially those who have different views than us.

Banksy’s influence on society is so widespread and well known that there has even been a named coined for it, “The Banksy effect”. This term comes from the movement that Banksy has inspired throughout society (Wright, 66) . He has made art more accessible and cultivated a greater appreciation for public works than ever before simply by producing art for the people. He uses street art as an important aspect of current events and political commentary giving a greater relevance to his works. One could argue that if Banksy had to have authorization for most of his works, being that graffiti is illegal, a majority of them would not exist. The complete freedom of expression that graffiti artists and all street artists experience is unparalleled. They are free to create and send any message to the public candidly, using whole cities as their canvas; with the audience limited to no one. When art is contained in a museum or private institution the scope of its impact is lost, as Banksy says in his own words, “Nothing dispels enthusiasm like a small admission fee”.

Street art is the rawest form of art consumption. Nothing is altered and nothing is exchanged in order to see it, making it accessible to all and by no means exclusive. Banksy envisions a society where graffiti and other forms of illegitimate art are legal,

Imagine a city where graffiti wasn’t illegal, a city where everybody could draw wherever they liked. Where every street was awash with a million colours and little phrases. Where standing at a bus stop was never boring. A city that felt like a party where everyone was invited, not just the estate agents and barons of big business. Imagine a city like that… (Banksy)

his vision seems too romanticized to ever come to fruition, but we must ask ourselves why this is the case. Art when too controlled loses its true meaning and purpose. When one looks closer into who authorizes public art and deems which art is suitable for society it is evident that art is controlled by a small fraction of the population. The art that most people see is made by a highly selective group that produces, buys, promotes, showcases and decides who should receive the notoriety of the art world. Until it is examined closely it is easy to overlook how little power an individual possesses over art. Graffiti is not inherently evil and unlawful; it is almost always perpetrated in order to make a point or shed light on something that would otherwise go unnoticed (Ferrell, 106).

Unlike the mural artists and other artists in general, Banksy is not in it for fame. His anonymity is crucial to the amount of power his work commands. It is often hard to divorce what you think of someone from what they are saying. Since Banksy remains anonymous his statement stands alone, never mixed with the perception of who he is. Banksy reveals how he commands such authority, “in his book Existencilism: ‘If you want to say something and have people listen then you have to wear a mask’” (Wright, 68). The validity of this statement is proved by the amount of press and acclaim he receives. By revolutionizing the way we view art and making people realize that art does not have to be produced by a select few, what he does “…transforms your whole idea of how public spaces look, what is normal reality, what assumptions we make about what we see around us” (Wright, 77). By answering to no one and remaining anonymous Banksy creates art for the sake of art, becoming more influential than other muralist who are forced to bend and mold their work to fit the rules that authority creates. Banksy has effectively transformed the way that public art exists in society by making it impactful and though provoking.  Through Banksy’s thought provoking and impactful public works he has effectively transformed the way that people view street art, showing society that it is more than just mindless vandalism.

 

Annotated Bibliography

Banksy. Wall and Piece. London: Century, 2006. Print.

Banksy’s personal publication is a catalog of his inner thoughts to some extent. I used this source to show what he is thinking about his work compared to what society and the government thinks of what he does. I used this book to gather more information about the social implications that Banksy faces when creating his work in order to give a comprehensive picture of his life. The quotes that I use in my paper with the citation “(Banksy)” are from this source. I did not include page number because Banksy only had page numbers on several of his pages in a sporadic fashion.

Banksy. “The Walled Off Hotel.” The Walled Off Hotel. Web. 13 Mar. 2017.

I used Banksy’s website to browse his recent and past work. This was helpful to gain some more information about what he was creating and what types of work he focused on. In my paper I never referenced his website, it served more as a reference to what he has accomplished in a broader sense. This website helped me get a better idea of which specific pieces I wanted to focus on.

Ellsworth-Jones, Will. Banksy: The Man behind the Wall. New York, NY: St Martin’s, 2013. Print.

This source details graffiti art and Banksy’s elusive being. His persona and philosophies are discussed and the validity of his art is questioned in a way that helped me look at all sides of graffiti, not just the messages it can send but the ways that it can be harmful. I looked at specific chapters of this book including, “Graffiti Decoded” and “Anonymously Happy”.

Exit through the Gift Shop: 2010. Madman, 2010.

I used this documentary to understand the work of Banksy though his first person viewpoint. This documentary highlights his work and how he came to be popular in the street art sphere. It goes on to show his galleries as well as other projects he has done outside of the walls and streets of cities. It emphasis the way that when Banksy makes art he is commenting on society. This sentiment remains true from his spray paint stencils, to his formal works of art on an easel. The reason being is because he is not in it for the money or fame (he chooses to remain anonymous), because he is more than just artist. Banksy is a revolutionary social commentator that makes his opinions known to the public in accessible ways.

Ferrell, Jeff. Crimes of Style: Urban Graffiti and the Politics of Criminality. Boston, Ma: Northeastern U, 2004. Print.

This book focuses on the art of graffiti as whole and struggles with the question that asses the criminality of street art. I used this when talking about Banksy to go into greater detail of how street art and government are involved in many ways. This book helped me analyze the question of vandalism and what could be considered harmful art compared to art that benefits society.

Overstreet, S. Gray – not our springfield. Springfield News Leader. Sep 23, 2008. Print.

I used this source to explain the difference between public art that is commissioned and public art that is created without permission. This article shows how art enriches culture as well as the people who exist around the works. They can send messages and just aesthetically speaking can be visually pleasing. It explains how not all graffiti is bad, and how it is usually created with good intentions. This source helped the conclusion aspect of my argument.

Rochfort, Desmond. Mexican Muralists: Orozco, Rivera, Siqueiros. San Francisco: Chronicle, 1998. Print.

I used the Rochfort textbook for the first part of my paper to describe Los Tres Grandes and their work. Rochfort offers details and information on the authorization and history behind the murals that they created during the Mexican revolution. This source was helpful in providing a background on Rivera and the constraints that he had to follow when creating art.

Wright, Steve. Home Sweet Home: Banksy’s Bristol. NP: Tangent, March 12, 2013. Print.

This book included interviews from various street artists and their opinions on Banksy and his work. This source was helpful to get an inside look of the street art culture and the kind of respect that Banksy has earned in his field. I used quotes from this book that were Banksy’s and that were the authors in order to better describe what he does and what he aims to do.