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University of Cincinnati UNIVERSITY OF CINCINNATI Date:___________________ I, _________________________________________________________, hereby submit this work as part of the requirements for the degree of: in: It is entitled: This work and its defense approved by: Chair: _______________________________ _______________________________ _______________________________ _______________________________ _______________________________ Fun with Vandalism: The Illegal Street Art of Shepard Fairey and Banksy A thesis completed with Honors submitted to the Division of Research and Advanced Studies of the University of Cincinnati in candidacy for the degree of Master of Arts in the Department of Art History of the School of Art of the College of Design, Architecture, Art, and Planning May 2006 By Sarah Stephens B.A., University of Illinois, Urbana/Champaign, 2002 Committee Chair: Kimberly Paice, Ph.D. ABSTRACT “Fun with Vandalism: The Illegal Street Art of Shepard Fairey and Banksy” by Sarah Stephens “Street art” is a rather broad term encompassing a wide range of contemporary artistic practices and styles. This thesis addresses the work of two loosely classified “graffiti” artists, Shepard Fairey and Banksy, with a specific focus on the illegal nature of their artwork. Chapter one discusses previous artistic movements which serve as predecessors and inspiration to Fairey and Banksy, such as New York City’s graffiti boom of the 1970s, the décollage affichiste movement in postwar Europe, the Situationist International movement, and practices of institutional critique. The second and third chapters discuss Fairey’s OBEY campaign via his wheat paste posters and stickers, and Banksy’s stencil graffiti and museum interventions. By examining such pieces, I aim to show how their works constitute practices of institutional critique, which thereby represent a rejection of dominant cultural forces. ACKNOWLEDGEMENTS First and foremost, I would like to thank my friends at Powerhouse Factories, Inc. for introducing me to the work of Shepard Fairey and Banksy. Without them, this thesis never would have materialized. Thank you especially to Pat Jones for lending me his personal archive of information on Fairey, and to Mike Amann for instilling in me a healthy obsession with Banksy. I also send a HUGE thank you to Shepard Fairey who took more time than I could have hoped for out of his day to allow me to interview him at his office in Los Angeles. He and his staff were incredibly gracious, helpful, and supportive. In regards to transforming this thesis from a mere interest into a viable topic of scholarly research, I owe everything to my thesis advisor, Kim Paice. Her knowledge and constant support have guided me every step of the way in this creative process. She has been an exceptional advisor and mentor to me. I would also like to thank Miki Hirayama and Matt Distel for serving on my thesis committee and offering so much helpful advice and constructive criticism. I would like to thank my family and friends, and especially Rob, for putting up with the unfortunate insanity that has accompanied writing this thesis. I love you all and thank you so much for believing in me when I did not, and for your ceaseless encouragement. Finally, I would like to thank my classmates, who I have so much respect and admiration for. Thank you for your criticism, advice, and mental support. I feel very fortunate to have shared this experience with all of you, and wish you all best of luck in the future! Contents List of Illustrations vii Introduction 1 Chapter One: Roots 8 Chapter Two: OBEY 21 Chapter Three: Banksy 34 Conclusion 46 Bibliography 51 Illustrations 55 vi Illustrations∗ Figure 1. Shepard Fairey, OBEY GIANT sticker and/or wheat paste poster, first printed ca. 1995. Available from www.obeygiant.com. Accessed 12 November 2005. 2. Banksy, museum installation at the Metropolitan Museum of Art, New York, 2005. Published in Wall and Piece. 3. Banksy, girl with a gas mask stencil graffiti in Barcelona, 2003. Published in Wall and Piece. 4. Amaze, Twist, and Frost tagging tunnels in San Francisco, 1998. Photo by Cheryl Dunn. Published in Beautiful Losers 5. Graffiti by Futura, ca. early 1980s. Photo by Henry Chalfant. Published in Beautiful Losers. 6. Mimmo Rotella, Cinemascope, 1962. Decollage, 173 x 133 cm. Museum Ludwig, Cologne, Germany. 7. Banksy, untitled, n.d. Possible screen print. Published in Wall and Piece. 8. Hans Haacke, Shapolski et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971, 1971. 142 photos with data sheets, 2 maps, 6 charts, slide excerpts. Published in Art Since 1900. 9. Hans Haacke, Solomon R. Guggenheim Museum Board of Trustees, 1974 (detail). 7 panels, each 50cm x 61cm, brass frames (central panel shown). Published in Art Since 1900. 10. Shepard Fairey, street installation in Cincinnati, Ohio, Calhoun Ave., 2004. Wheat paste posters. Photograph by author. 11. Shephard Fairey, original style “Andre the Giant has a Posse” sticker, first printed in 1989. Ink on paper or vinyl. Available from http://upload.wikimedia.org/wikipedia/en/7/75/AndreTheGiantSticker.gif. Accessed 1 December 2005. ∗ For most of Fairey and Banksy’s works I have not included dimension information, as it does not seem to be a common practice in the field. All graffiti works are presumably executed with aerosol paint as the medium. Additionally, I have only included photographer credits and/or location when they are specifically mentioned in my sources. vii 12. Shepard Fairey, OBEY GIANT sticker and/or wheat paste poster, first printed ca. 1995. Available from www.obeygiant.com. Accessed 12 November 2005. 13. Shepard Fairey, Cianci billboard takeover, Providence, RI, 1991. Wheat paste posters. Available from http://www.impossiblefunky.com/archives/issue_6/6_g.asp?IshNum=6. Accessed 12 November 2005. 14. Shepard Fairey, AG Soda, ca. 1994-1995. Ink on paper. Courtesy of the artist. 15. Shepard Fairey, Sprite “OBEY” campaign takeover, n.d.. Wheat paste posters. Published in Post No Bills. 16. Shepard Fairey, Absolute Vodka billboard takeover, n.d. Wheat paste posters. Published in Post No Bills. 17. Banksy, stencil graffiti marking, n.d. Published in Wall and Piece. 18. Banksy, Dead Rat with Spray Can installation in the Natural History Museum, London, 2004. Published in Wall and Piece. 19. Banksy, stencil graffiti on Melrose Avenue, Los Angeles, CA, 2006. Available from http://www.banksy.co.uk/outdoors/index.html. Accessed 28 February 2006. 20. Banksy, stencil graffiti marking, n.d. Available from http://www.banksy.co.uk/outdoors/02.html#. Accessed 28 February 2006. 21. Banksy, Have a nice day stencil graffiti, Shoreditch, London, 2004. Published in Wall and Piece. 22. Banksy, Bomb-hugger stencil graffiti, n.d. Available from http://www.banksy.co.uk/outdoors/03.html#. Accessed 21 January 2006. 23. Banksy, stencil graffiti marking, n.d. Published in Banging Your Head against a Brick Wall. 24. Banksy, stencil graffiti marking, n.d. Published in Wall and Piece. 25. Banksy, Camp, n.d. Possible screen print. Published in Wall and Piece. viii 1 Introduction A lot of people think that scuttling around stenciling images onto buildings in the middle of the night is the action of a sad, frustrated individual who can’t get attention or recognition any other way. They might be right, but I’ve done gallery shows and, if you’ve been hitting on people with all sorts of images in all sorts of places, they’re a real step backwards. Painting the streets means becoming an actual part of the city. It’s not a spectator sport. Banksy Quote taken from Stencil Graffiti by Tristan Manco1 Shepard Fairey (b. 1970) and the artist known simply as Banksy (b. 1974) are two of the most well-known contemporary street artists practicing today. In addition to this fact, however, they are also friends who have collaborated artistically on at least one occasion up to the present day.2 In an interview I conducted with Shepard Fairey, he revealed that the previous night he had helped Banksy execute several large-scale stencil graffiti markings in Los Angeles.3 Through strategically selected public sites and architectural facades, in addition to the unsanctioned use of museum space, both artists illegally utilize public spaces as their own forums of expression. So why all this rebellion? And, more specifically what does art making that transgresses the law mean? These will be important questions that I hope to answer in this study. To this end, I will examine the illegal art of both artists. My study will encompass works such as Fairey’s OBEY campaign, initiated in Rhode Island in 1990 and continuing around the world today, and Banksy’s stencil graffiti works found in Europe, the United States, and the Middle East, and institutional interventions in London, Paris and New York. I will 1 Tristan Manco, Stencil Graffiti (New York, NY: Thames & Hudson, 2002), 79. 2 Shepard Fairey, interview by author, tape recording, Los Angeles, CA, 13 February 2006. 3 Ibid. 2 discuss these practices as examples of institutional critique art in relation to the writings of theorists such as Michel Foucault, Mike Davis, and Jeff Ferrell, thus demonstrating that the illegality of this art represents a rejection of dominant cultural forces, such as the sanctity of the museum and an unquestioning acceptance of capitalistic marketing strategies. In the first chapter, I will trace several of the roots and influences of the subculture they work within, loosely classified as “street art.”4 This will entail an analysis of the predominantly inner-city practices of graffiti art in New York in the 1970s and 80s, continuing to the present day. In order to accomplish this, I will largely be drawing upon James Walmesley’s essay, “In the Beginning, There Was the Word,” from the Beautiful Losers exhibition catalogue of 2004.5 Subsequently, I will provide a brief summary of the décollage affichiste movement in postwar Europe, as explicated by Benjamin H.D.
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