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Catalogue Banksy.Pdf
2 BANKSY Prints and Originals Prints and Originals BANKSY 3 “I don’t know why people are so keen to put the details of their private life in public: they forget that invisibility is a superpower.” 4 BANKSY Prints and Originals Prints and Originals BANKSY 5 While the career of a street artist usually ends at the age of 25, sim- so. When you see the graffiti film “Exit through the gift shop”, it be- ply because they need to find a job, Banksy decided that he could comes very clear that there are heroes in this exciting anonymous also make a living by just being a street artist. People would wait world. There is a set hierarchy, and Banksy is at the top. outside his publisher for nights on end when it was announced that Banksy is now called the king of Street Art, like Andy Warhol was he was going to release a new print. Banksy’s works are in such of Pop Art. In the past ten months he has taken first place on the high demand, that people will cut them out of walls and offer them world’s largest art search engine, leaving famous artists like at auctions. By doing so, they actually make his outdoor work Rembrandt, Picasso, Warhol and Van Gogh far behind. suitable for indoors. Local authorities, that are usually very busy Banksy’s politically engaged and satirical Street Art combines hu- with the removal of graffiti, are now protecting his work with mour with graffiti, executed in a distinctive stencilling technique. -
Desmontando a Un Analisis, De Su Tecnica, Y De Su Obra
desmontando a un Analisis, de su tecnica, y de su obra Autor: Eduardo Aracil Campos Tutor: Francisco Javier Consuegra Panaligan Grado en Humanidades Curso académico 2018-2019 Desmontando a Banksy Eduardo Aracil Campos Título del trabajo: Desmontando a Banksy. Un análisis de su técnica y de su obra Firma del autor Firma del tutor académico Eduardo Aracil Campos Francisco Javier Consuegra Panaligan Trabajo de Fin de Grado Grado en Humanidades Facultad de Filosofía y Letras 2 Desmontando a Banksy Eduardo Aracil Campos Resumen La historia del arte urbano es la de la recuperación del espacio público de las ciudades por quienes realmente lo habitan, por aquellos que, en su vida rutinaria, en demasiadas ocasiones anodina, transitan por calles y barrios a menudo decadentes, desvencijados, abandonados… una suerte de figuras casi autómatas, fantasmales, que, sin embargo, al encontrarse con una obra de arte urbano salen de su aletargamiento y esbozan una sonrisa… o fruncen el ceño. En esta polaridad del arte urbano, en esa línea tan fina que separa vandalismo de arte, se mueve como pez en el agua Banksy, un artista que ha dado ese impulso definitivo que necesitaba el street art para presentarse ante la sociedad como un arte vanguardista, original, crítico y reflexivo, pero ante todo universal, accesible a todos los estratos sociales. Esa universalidad es la que representa Banksy y es el valor que el artista de Bristol da a su obra, una obra que, sin embargo, cada vez más frecuentemente es objeto de especulación por las galerías de arte y las casas de subasta. Podemos afirmar que Banksy es ya un fenómeno de masas del que se han escrito chorros de tinta y se han retuiteado miles de mensajes o compartido cientos de noticias. -
AUTUMN 2020 Baiyun District, Guangzhou, 510168 China T: 86 20 81007895 M: 8618899759460 NEW TITLE
SALES & DISTRIBUTION UK & Rest of the World Sales [email protected] Rights [email protected] www.carpetbombingculture.co.uk USA & CANADA REST OF THE WORLD Ingram Publisher Services DISTRIBUTION Customer Service, Box 631, 14 Ingram Blvd, Central Books La Vergne, TN 37086 50 Freshwater Road Chadwell Heath London Telephone: 866-400-5351 RM8 1RX Fax Orders: 800-838-1149 Telephone: +44 (0)20 8525 8800 Email: [email protected] Email: [email protected] www.centralbooks.com SALES CONTACTS Greece Padovani Books EUROPE SALES Isabella Curtis 4 Odos Plutarchou, Athens 106 76, Greece France T: +30 210 721 8995 InterArt E: [email protected] 11, Rue de l'Est, 75020 Paris, France T: +33 14349 3660 Spain E: [email protected] Padovani Books Jenny Padovani Frias Nordic Countries CARRER DE CASTELLA 26, 5º-2ª, Boesen Publishing Services Barcelona 08018, Spain Melanie Boesen T: +34 93 221 8561 Mediehuset Rubrik, Vandkunsten 6, 2, DK-1467 E: [email protected] Copenhagen, Denmark T: +45 33 13 75 54 The Netherlands M: +45 20 27 75 48 Van Ditmar Boekenimport BV E: [email protected] Joop Geesinkweg 901, 1114 AB Amsterdam, The Netherlands Germany, Austria and Switzerland T: +31 (0) 881338642 Gabriele Kern Publishers’ Services Ziegenhainer Strasse 169, D-60433 Frankfurt, REST OF WORLD SALES Germany T: +49 69 510 694 South America, Central America & Caribbean E: [email protected] InterMediaAmericana Ltd David Williams Italy & Portugal E: [email protected] Padovani Books Penny Padovani Asia and The Middle East NA La Chiesa 9, Pergo-Cortona (AR), 52044, Italy SendPoints Publishing T: +39 05 7561 4338 Sunnie Wang, International Division E: [email protected] 7F No. -
Duchampianska” Praktiker Inom Samtidskonsten
Konstvetenskapliga institutionen ”DUCHAMPIANSKA” PRAKTIKER INOM SAMTIDSKONSTEN Författare: Belma Kratović© Fördjupningskurs (C) i konstvetenskap Vårterminen 2020 Handledare: Lars Wängdahl Till AKA ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Belma Kratović Titel och undertitel: ”Duchampianska” praktiker inom samtidskonsten Engelsk titel: ‘Duchampian’ Practices in Contemporary Art Handledare Lars Wängdahl Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2020 2020 This study investigates the extent to which subversive practices of conceptual art can be identified in contemporary works. It attempts to understand if, despite the widespread understanding of conceptual art as a mainstream in today's art scene, there may still be examples of contemporary practice that are as deviant and challenging to the notion of art today as those that came at the forefront of the conceptual art movement. The standard historical definition of 'conceptual art' generally refers to the artistic movement taking place between 1966 and 1972. The aim of this study, however, is to give an account of its development both prior to and beyond that narrow temporal window, seeking to identify both the roots and the legacy of the philosophical aspects of conceptual practice. The study traces these roots to the actions of Duchamp, who shifted the focus from aesthetics to a more cognitive valuation of art, by designating an everyday object as an artwork; an action that paved the way for the notion that, rather than being skilled craftsmen, artists are the authors of meaning, and artworks are the creation and transmission of ideas. This ‘Duchampian’ approach which pushes and explores the boundaries of art within the framework of the artwork themselves has also influenced the selection of works for analysis. -
Résultats De Vente - 05 Mai 2018
résultats de vente - 05 mai 2018 vente Vente pas courante de mai 1 05 mai 2018 FauveParis 49 rue Saint-Sabin 75011 Paris résultats N° de lot DESCRIPTION Adjudication Montants commissions incluses 1 Lot de verrerie 10,00 € 12,70 € > 5 verres dont une coupe signée Daum > 4 oiseaux en verre - 2 Ensemble de verres Invendu Carafes, coupes, verres à pied... - 3 Manette de verrerie Invendu Comprenant carafes, verres... - 4 4 carafes 10,00 € 12,70 € En verre blanc et avec leurs bouchons On y joint 24 couteaux dans leur étui - 5 Lot en métal argenté 60,00 € 76,20 € Comprenant : > des couverts dans un écrin > 4 dessous de bouteilles > 1 sucrier > 1 rond de serviette > 1 pelle et balayette > 1 coupe ajourée > 1 salière > 1 coupelle > 1 boîte en laiton > 1 huilier vinaigrier en verre > 1 plateau style art déco > 1 chauffe-plat > 1 écrin comprenant 1 saleron, 1 poivrier et 1 moutardier - 6 Ensemble de 15 pièces 30,00 € 38,10 € En métal argenté, dont 3 pièces Cristofle - 7 Important ensemble en métal argenté 170,00 € 215,90 € Dont couverts, plateaux et gobelets - 8 2 roussettes naturalisées - Invendu 9 2 empreintes de poissons fossilisés - H. 3 cm L. 58 cm P. 14 cm Invendu 10 Plat à offrande avec Adam et Eve Invendu En laiton repoussé et estampé avec un motif central représentant Adam et Eve entourant l'arbre de la connaissance autour duquel le serpent est enroulé XVI-XVIIe siècle, Malines - D. 49,5 cm 11 Maternité Invendu En stuc peint et doré représentant la Vierge à l’Enfant entourés d’angelots Italie, XVIe siècle - 24,5 x 20 cm 12 Saint Matthieu Invendu En chêne sculpté tenant un livre dans sa main, un Ange, symbole de l’Évangéliste, à ses pieds, socle orné d’un cartouche portant l’inscription S. -
Banksy. Urban Art in a Material World
Ulrich Blanché BANKSY Ulrich Blanché Banksy Urban Art in a Material World Translated from German by Rebekah Jonas and Ulrich Blanché Tectum Ulrich Blanché Banksy. Urban Art in a Material World Translated by Rebekah Jonas and Ulrich Blanché Proofread by Rebekah Jonas Tectum Verlag Marburg, 2016 ISBN 978-3-8288-6357-6 (Dieser Titel ist zugleich als gedrucktes Buch unter der ISBN 978-3-8288-3541-2 im Tectum Verlag erschienen.) Umschlagabbildung: Food Art made in 2008 by Prudence Emma Staite. Reprinted by kind permission of Nestlé and Prudence Emma Staite. Besuchen Sie uns im Internet www.tectum-verlag.de www.facebook.com/tectum.verlag Bibliografische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Angaben sind im Internet über http://dnb.ddb.de abrufbar. Table of Content 1) Introduction 11 a) How Does Banksy Depict Consumerism? 11 b) How is the Term Consumer Culture Used in this Study? 15 c) Sources 17 2) Terms and Definitions 19 a) Consumerism and Consumption 19 i) The Term Consumption 19 ii) The Concept of Consumerism 20 b) Cultural Critique, Critique of Authority and Environmental Criticism 23 c) Consumer Society 23 i) Narrowing Down »Consumer Society« 24 ii) Emergence of Consumer Societies 25 d) Consumption and Religion 28 e) Consumption in Art History 31 i) Marcel Duchamp 32 ii) Andy Warhol 35 iii) Jeff Koons 39 f) Graffiti, Street Art, and Urban Art 43 i) Graffiti 43 ii) The Term Street Art 44 iii) Definition -
Banksy ¿Una Marca O Una Estrategia De Branding?
ÁREA DE CIENCIAS SOCIALES Y JURÍDICAS Grado de Comunicación TRABAJO DE FINAL DE GRADO BANKSY ¿UNA MARCA O UNA ESTRATEGIA DE BRANDING? Presentado por Olga García Marín Tutelado por Aura P. Pérez Tutelado por Amalia Creus Wicklow, 9 de enero 2020 A Aura P. Pérez, imposible hacer esta disertación sin tu ayuda, gracias por tu ilusión desde el inicio en este trabajo, tu implicación, tu compromiso y por tu lucha. A Amalia Creus, gracias por ayudarme a finalizar este TFG. A mis hermans, Ascen y Pilar, y mis sobrinos Dani, Laura, Verónica y Enrique, por su siempre incondicional apoyo. A mis diferentes grupos de amigos y amigas; por esos viajecitos entre semestre y semestre, esas cañitas los martes o miércoles en la calle Guareña, y esas cenitas chachis por diferentes restaurantes de Madrid que hacían la semana mucho más llevadera. En especial a Isabel, por tu insistencia en la matriculación en este Grado ¡Gracias mami! Y a Leire, por animarme a llevar a cabo esta disertación. ¡Lo que dio de sí aquella exposición en Madrid…! To Patrick, thank you for your patience. 1 Resumen: Esta disertación se centra en la definición de los conceptos Marca y Branding, exponiendo y desarrollando el proceso que necesita una marca para su creación. Se enumeran el conjunto de elementos que formará la identidad de una marca, los valores y la esencia que desembocará en la construcción de su imagen e identidad, para alcanzar finalmente un buen posicionamiento en el mercado. Esta investigación examina el desarrollo y la evolución del arte callejero en general y del artista Banksy en particular, definiendo y analizando su marca, su imagen y reputación, así como, las posibles estrategias de posicionamiento que este artista ha creado para llevar su obra a un reconocimiento mundial. -
Paul Gough Prankster, Polemicist, Painter, Banksy Is Arguably the World
Gough, Paul, “Bansky: What’s the fuss and why does it matter?” in Joseph M. Siracusa (ed.) Humanities, Arts and Social Sciences: It’s everyone’s business, Routledge. 2016, pp. 1-13. ISBN 978-1-138-20555-0 [email protected] http://www.paulgough.org “Bansky: What’s the fuss and why does it matter?” Paul Gough Prankster, polemicist, painter, Banksy is arguably the world’s most famous unknown street artist. To the press and public, the question of Banksy’s identity is more intriguing than the legitimacy of his work and the price that celebrities, dealers and other wealthy patrons are prepared to pay for it. His greatest triumph has been his ability to keep that identity swathed in mystery, even though the artist’s name is said to be in the public domain beyond all reasonable doubt, readily available on Wikipedia and subject to myriad press revelations in the past five years. Anonymity is less important than the impact of his art, which is more than likely created, fabricated and situated by a group of collaborators. For this reason alone Banksy might best be 1 understood as a ‘he’, ‘she’ or even ‘they’, but for all intents and purposes Banksy is widely-held to be a white male, now in his early to mid-forties, born in Bristol, western England and brought up in a stable middle class family, a pupil from a private cathedral school and a one-time goalkeeper in the infamous Sunday soccer team The Easton Cowboys. At least that is what we think we know. -
Contents Issue 2460
Follow us on Twitter Antiques Trade Gazette is published and originated by Metropress Ltd, Contents@ATG_Editorial Issue 2460 trading as Auction Technology Group Ltd Read top stories every day on our website antiquestradegazette.com auctiontechnologygroup.com Find us on: Follow us on Twitter Chief Executive Officer John-Paul Savant Chief Operating Officer Richard Lewis @ATG_Editorial Find us on: Publishing Director Matt Ball Editor-at-Large Noelle McElhatton Deputy Editor, News Laura Chesters Deputy Editor, Features & Supplements Roland Arkell In The News page 4-5 Hardstone is Commissioning Editor Anne Crane Chief Production Editor Tom Derbyshire Una and the Lion proof set returns easy sell Digital & Art Market Editor Alex Capon Planning change threat to Portobello A pietra dura clock Reporter Frances Allitt and other gems Marketing Manager Beverley Marshall Iraq veteran’s Military Cross sold from a Fife house Print & ProduCtion Director Justin Massie-Taylor page 16 SUBSCRIPTIONS ENQUIRIES News Digest page 8-9 Polly Stevens +44 (0)20 3725 5507 Includes our pick of the week [email protected] picture by Gail McGuffie EDITORIAL +44 (0)20 3725 5520 Previews page 12-13 [email protected] ADVERTISING +44 (0)20 3725 5604 Auction Reports [email protected] AUCTION ADVERTISING HAMMER HIGHLIGHTS Charlotte Scott-Smith +44 (0)20 3725 5602 Contents from Balcarres House page 16-17 [email protected] NON-AUCTION ADVERTISING BOOKS AND WORKS ON PAPER Dan Connor +44 (0)20 3725 5605 -
Artist Resources – Banksy (British, B. Ca. 1974)
Artist Resources – Banksy (British, b. ca. 1974) Banksy website run by Pest Control Banksy official Instagram Given his sacred anonymous status, reputable interviews with Banksy are rare, appearing at intervals throughout the years as the artist allows filming of his work and submits to conversations following happenings around his public works and private auction dealings. From a lost 2003 video interview to a phone call with NPR in 2005 , to interviews with The Guardian , reporters and scholars attempt to reckon with figures who claim to be the artist. “The worth of the work is not about the money,” a hooded Banksy remarked in a rare film of the artist at work from 1995. “I don’t paint for anybody else. I don’t paint for critics.” 2002’s Existenticilism in Los Angeles marked the first official exhibition produced by Banksy and his team, followed by London premiers of Turf War in 2003 and Crude Oils in 2005, in which the artist set live rats free among paintings commenting on environmental distress. Banksy returned to LA in 2006 with Barely Legal, his largest U.S. showing to date, which featured a live, painted elephant. In 2009, Banksy took over the Bristol Museum & Art Gallery with a surreal, immersive, and quintessentially twisted exhibition. 2013 saw Banksy establish an “artist residency” on the streets of New York, in which he produced an artwork every day in a different location during the month of October, providing clues for a scavenger hunt of sorts on Instagram. Beginning with his work on the Segregation Wall in 2005, Banksy has developed close ties to the artistic community in Palestine, culminating with 2017’s immersive and collaborative The Walled Off Hotel, which still functions as genuine tourist accommodation. -
Getting “Banksied”
Master’s (One Year) Thesis in Media and Communication Studies: Culture, Collaborative Media, and Creative Industries Getting “Banksied” Culture Jamming in Practice Author: Jasmin Salih Supervisor: Temi Odumosu Examiner: Erin Cory Date of Submission: November 4, 2019 Word Count: 15,220 Abstract This paper discusses culture jamming as the countercultural tool of our current mass media society and argues for a more holistic understanding of the concept in order to open up its subversive potential. Part of this holisitic approach involves emphasizing the role of remediation inherent in the concept. Thus, the aim of this paper is twofold: to elaborate the diverse techniques involved in culture jamming (as opposed to the common reductionist approaches to the concept) and, more importantly, to highlight the remediation elements imbedded in culture jamming practices. To accomplish this, the works of street artist Banksy are taken as a case study and analyzed to answer the following questions: In what ways do the works of street artist Banksy subvert or “jam” culture? And how does remediation come into play in these jamming practices? Keywords: Banksy; culture jamming; mediation; remediation; street art; subversive practices. 2 Table of Contents ABSTRACT __________________________________________________________________________________________________________________ 2 LIST OF FIGURES __________________________________________________________________________________________________________ 4 1. INTRODUCTION_____________________________________________________________________________________________________ -
Sala 1 Self-Portrait 2001-2002 Spray E Schizzo Di Smalto, Acrilico Su Tavola
Sala 1 Sala 3 Self-Portrait Virgin Mary (Toxic Mary) 2001-2002 2003 spray e schizzo di smalto, acrilico su tavola, serigrafia su carta, 76x56 cm 74x55 cm Collezione privata London (UK), Ali Keshavji collection, inv. 9236 Bomb Love (Bomb Hugger) 2003 serigrafia su carta, 70x50 cm Sala 2 Collezione privata Radar Rat Nola 2008 2008 stampa offset su copertina per vinili, 31x62 serigrafia su carta, 76x56 cm cm Genova, Collezione privata Stefano Agnese Brentwood (UK), Brandler Galleries, BGi/25 Jack & Jill (Police Kids) Get Out While You Can 2005 2004 serigrafia su carta, 50x70 cm serigrafia su carta, 50x33 cm Collezione privata Collezione privata Grannies Love Rat 2006 2004 serigrafia su carta, 56x76 cm serigrafia su carta, 50x35 cm Collezione privata Collezione privata Gangsta Rat Sala 4 2004 serigrafia su carta, 50x35 cm CND Soldiers Collezione privata 2005 serigrafia su carta, 70x50 cm Lab Rat Collezione privata 2000 spray e acrilici su compensato marino e Happy Choppers cornice in metallo, 220x240x12 cm 2003 Brentwood (UK), Brandler Galleries, BGi/03 serigrafia su carta, 70x50 cm Collezione privata Bunny in Armoured Car CCTV Britannia 2002 2009 spray su tela, 60x60 cm spray su acciaio forato, 130x90 cm Brentwood (UK), Brandler Galleries, BGi/01 Brentwood (UK), Brandler Galleries, BGi/31 Rude Copper Grenade 2002 1999 serigrafia su carta, 57x41 cm spray su pannello, 18x15 cm Collezione privata Londra, Collezione privata Flying Copper Lying to the Police is Never Wrong 2003 2007 serigrafia su carta, 100x70 cm spray e mixed media su tavola,