Banksy
Radar Rat , 2002
Aerosol spray on blue mdf.
59 x 42 x 1 cm
23 1/4 x 16 1/2 x 3/8 in
23 1/4 x 16 1/2 x 3/8 in
Copyright The Artist
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A very special work with a unique history to it´s becoming. This work is not for sale. When is a Banksy a Banksy? The inevitable question will sooner or later...
A very special work with a unique history to it´s becoming.
This work is not for sale.
When is a Banksy a Banksy?
The inevitable question will sooner or later arise. When is a Banksy a Banksy? Does it necessarily have to be the artist himself wielding the spray can, cutting the accompanying stencil, or conceiving the artistic idea or concept?
The question is difficult. And there will be many opinions. The artist himself seems to be largely indifferent. Previous statements such as "we placed hundreds of rats that night when we bombed Bristol. I have no idea who did which and how many we did, and besides, we were all on a delightful mix of euphoric substances..."
Already, room for interpretation has been created. The word "we" alone indicates that there are others using Banksy's stencils (and does he cut them all himself?).
Here in Denmark, we have only been blessed with a few Banksy Street Works. Just a few kilometers from here, on Frederiksberg, a couple of "parachute rats" that "Banksy" placed in 2003 in connection with the exhibition at V1. Small, splendid works that have long since gone down in history as genuine Banksy works, which they indeed are. The problem is that Banksy himself never came to Copenhagen in connection with the exhibition and therefore cannot have sprayed the works himself. He got someone else to do it (we know who it was).
Another artist whose physical process is difficult to define is Warhol. Warhol preferred others to execute his works. Art should be democratic and mass-produced. Who made it and who signed the works didn't matter. The artist delegated the responsibility to others. After the artist's death, there has been much disagreement about that indifference. Because when is a Warhol a Warhol? The Andy Warhol Foundation established a committee to define the criteria. First, the artist must have had the intention. He must have been physically present during the production of the works and other less important criteria. But already here the committee's criteria fail. Because Warhol was often not present. The tasks were outsourced to print shops and the artist often did not even see the works he "executed" himself.
And right here it gets complicated with Banksy. Firstly, we don't know who he is. Secondly, he refuses to verify works unless they are prints or the rather sterile studio works that the artist himself calls souvenirs for wealthy collectors. The real works are not studio works, as the artist has stated on several occasions. Most recently in his Cut and Run book.
And when the artist states that these works are what it's all about, it is, of course, those works that are the most important. And the works that posterity will most desire. For now, however, we have a few parameters we can rely on. The artist's intention and perhaps most importantly, the provenance. Where does the work come from? Who has owned it? Is it someone who has demonstrably been close to Banksy? Can this be proven? And there are of course other parameters.
I think I will actually write a book on the subject.
This work is not for sale.
When is a Banksy a Banksy?
The inevitable question will sooner or later arise. When is a Banksy a Banksy? Does it necessarily have to be the artist himself wielding the spray can, cutting the accompanying stencil, or conceiving the artistic idea or concept?
The question is difficult. And there will be many opinions. The artist himself seems to be largely indifferent. Previous statements such as "we placed hundreds of rats that night when we bombed Bristol. I have no idea who did which and how many we did, and besides, we were all on a delightful mix of euphoric substances..."
Already, room for interpretation has been created. The word "we" alone indicates that there are others using Banksy's stencils (and does he cut them all himself?).
Here in Denmark, we have only been blessed with a few Banksy Street Works. Just a few kilometers from here, on Frederiksberg, a couple of "parachute rats" that "Banksy" placed in 2003 in connection with the exhibition at V1. Small, splendid works that have long since gone down in history as genuine Banksy works, which they indeed are. The problem is that Banksy himself never came to Copenhagen in connection with the exhibition and therefore cannot have sprayed the works himself. He got someone else to do it (we know who it was).
Another artist whose physical process is difficult to define is Warhol. Warhol preferred others to execute his works. Art should be democratic and mass-produced. Who made it and who signed the works didn't matter. The artist delegated the responsibility to others. After the artist's death, there has been much disagreement about that indifference. Because when is a Warhol a Warhol? The Andy Warhol Foundation established a committee to define the criteria. First, the artist must have had the intention. He must have been physically present during the production of the works and other less important criteria. But already here the committee's criteria fail. Because Warhol was often not present. The tasks were outsourced to print shops and the artist often did not even see the works he "executed" himself.
And right here it gets complicated with Banksy. Firstly, we don't know who he is. Secondly, he refuses to verify works unless they are prints or the rather sterile studio works that the artist himself calls souvenirs for wealthy collectors. The real works are not studio works, as the artist has stated on several occasions. Most recently in his Cut and Run book.
And when the artist states that these works are what it's all about, it is, of course, those works that are the most important. And the works that posterity will most desire. For now, however, we have a few parameters we can rely on. The artist's intention and perhaps most importantly, the provenance. Where does the work come from? Who has owned it? Is it someone who has demonstrably been close to Banksy? Can this be proven? And there are of course other parameters.
I think I will actually write a book on the subject.
Exhibitions
Exhibited MACA Museum Copenhagen“Banksy & Street Art The Early Years”.
May 1st 2024 - 2027.