Jennifer Olvera 1
Seminar in Art History Aesthetics
October 8, 2013
Research Proposal
Banksy

From what we know now graffiti can be said to have dated as far back as ancient history. From the existence of the first prehistoric cave paintings to the
Egyptian hieroglyphics, an identity to the way of living that existed in those periods of time was discovered. Now in the modern era the artistic form of graffiti has changed its style once more. In the late 1980s and early 1990s a new wave trend of hip hop music was transformed and therefore, spawned a new culture of artistic expression. Better known now as street art or illegal art, several graffiti artists such as the most well known urban street artist Banksy, find themselves out of place in today’s society. This is due to the fact of the different way of order that limits these expressions primarily by the government’s control and power. What we once saw in early history as normal, has now been taken for granted and those important expectations of life have been forgotten. Banksy’s street art responds to these social inclinations in an illegal and yet clever aesthetic way, where his identity remains unknown and his art revealed. In a brief research of my sources it can be said that what is already known about graffiti in general is the public’s response to it as being none other than a form of vandalism. On the other hand, what we know from the artist’s established 2 point of view is that street art like all other forms of art is temporary. That it is meant to belong and speak to everyone and not just to a certain group. The power withheld by the government and its policies is set to under estimate society by using that power to gain control over humanity. Banksy has uncovered those key factors most obvious to the eye, and has labeled it as surveillance culture. He describes the government as being that eye on our backs constantly evaluating all values. This is where recent studies have halted leaving many unanswered questions. Focusing on London’s art community of Bristol, the notion is when exactly is graffiti art considered to be a form of fine art? The other notion is when exactly is it just considered street art with no purpose? Social media and politicians have long since established that answer to both questions with one answer, and that is simply just vandalism. The government along with most of society agrees on what is acceptable and what is considered distasteful. So my main question is what exactly is the difference between the norms of street art and fine art? Why both are criticized differently when after all they are all forms of artistic expression. In order to answer these questions key important factors need to be examined thoroughly in order to understand where the art of Banksy challenges this authority. We must look at the relationship between location and behavior such as space and place. The other factors rely on questioning when exactly art becomes political as opposed to aesthetic. This research will hopefully fill the gap to any misunderstanding on how Banksy’s art is viewed socially, economically, and 3 aesthetically. After examining these categories upon Banksy’s work we might be able to distinguish why both street art and fine art are separately criticized differently. This method will mostly consist of extensive research into Banksy’s work in order to find an answer. Although, Banksy’s art has been constantly researched upon by previous researchers, I believe that the best way for me to continue my study is by perhaps approach my research through means of comparing other artists to Banksy’s work. The mythology will be to compare and contrast Banksy’s work to other artists whose works might not be in the same social struggle. However, my study will focus mainly on Banksy and the urban community of Bristol and how this social transformation is taking place. My overall conclusions will hopefully benefit the art world as far as how street art in particular is causing a social transgression. These conclusions will hopefully open more ideas that not only is subject matter, context, and representation have to be the only thing in a form of art to cause a change.
Artists such as Banksy have opened up a new way of looking at this form of street art as more than just illegal art. Instead Banksy has posed a challenged using space, culture and power to create social change. Most of those familiar with the idea of artistic expression might find these results rather interesting in what change they can make. Ultimately these findings might help gain more support and understanding of Banksy’s work as well as a different view on what graffiti really is. List of Figures

1. Banksy, Primitive Cave Painting (Cave Art Hoax), May 2005. British Museum, London. Graffiti Art.

2. Banksy, Israeli West Bank Barrier, August 2005. Bethlehem, Israel. Graffiti Art.

3. Banksy, Naked Man Hanging Out of a Bedroom Window, June 2006. Central Park St, Bristol. Graffiti Art.

4. Banksy, Shop Until You Drop, November 2011. Mayfair, London. Graffiti Art.

5. Banksy, Pulp Fiction, April 2002. Old Street Tube Station, London. Graffiti Art.

6. Banksy, One Nation Under CCTV, April 2008.Westminster, London. Graffiti Art.