Graffiti or ART? A BANKSY Picture Book

It's fun to celebrate another title in the series of picture books written and illustrated by Fausto Gilberti. I featured some of the ..".AND WASN'T SORRY" titles in this series, HERE. In each case, his colorful, kid friendly picture books feature acclaimed modern artists who have explored and established very specific styles.Gilberti's books have included Jackson Polluck Splashed Paint And Wasn't Sorry, Yves Klein Painted Everything Blue and Wasn't Sorry, and Yayoi Kusama Coverd everything in Dots and Wasn't Sorry.  These artists used their distinctive styles and techniques to "make their names" in the art world, achieving ultimate goals of museum showings, individual pieces of art that are valued at unimaginable prices, and ranking among other world-renowned artists. Their works are iconic and instantly associated with the artists.

PHAIDON, 2021

Now Gilberti has produced a new title that profiles the persona and works of an equally famous yet unknown artist: BANKSY GRAFFITIED WALLS AND WASN"T SORRY. 

The word "graffiti" originated in the italian language, and ranges from random marks and scribbles to written messages to expressive and colorful art. The surface may be new, crumbling, mobile, or even horizontal.It may be written, chalked, sprayed, or even etched. 

From its past ( and current) status in which random graffiti is illegal and can be punishable by steep fines and/or jail time.

So why would anyone risk that consequence? Why not use traditional materials and platforms? What's the point? 

In common understanding, graffiti stretches back through recorded history, and is generally viewed as either impulsivity, social defiance, or even territorial claims. It has evolved as a widely appreciated art form, with several distinctive artists gaining many of the achievements traditional artists seek through their public works. You can learn more about some of the best known in this link to short profiles.

BANKSY is a universally recognized name, and has created many widely recognized and appreciated images. However, unlike nearly every other artist, Banksy actively avoids being identified. Banksy claims creative credit for much of the art they produce, but also has many imitators  Gilberti adopts a first-person voice, imagining that Banksy is telling their own story. I've used they and their because no one actually knows who BANKSY is, or if that artist is male or female. Their art is produced with paint and stencils, incorporating many familiar images... especially RATS! Wherever Banksy paints, the art is intentional. The work voices messages about politics, society, justice, and the human condition.

The "voice" in this black and white picture book captures the art itself and its disruptive, entertaining, unexpected content and impact. Banksy's installations and "graffiti" hope to achieve that effect. At times they have worn disguises to enter museums and quietly display a piece of art, with days passing before someone noticed that it didn't belong. Even when Banksy participated in an actual museum show, the pieces had to be "found" by patrons, since it had been dispersed among the regular museum artworks. 

Banksy's work makes art accessible and meaningful to everyday people, and the artist does NOT want to earn large sums for their work. Bansky produced and offered one small piece to be  included in an auction. When an enormous bid on the piece was accepted, a alarm blared and a built-in shredder destroyed the art. 

Whether all of that sounds odd or unacceptable or fun or exciting to you, I suspect Banksy would be pleased. And I have no doubt you'll enjoy this picture book, and sharing it with young readers.

Below is one of Banksy's most famous works, which was later painted over by the city, just a few years after it first appeared. Even so, it is considered one of the most beloved Banksy artworks. Much of the art world is dedicated to preserving and protecting artworks across time. Bansky's art, on the other hand, is meant to reach as many as possible, to generate reactions and reflections, and to be valued in part large because it is ephemeral.