Banksy
Banksquiat Grey, 2019
Screen print
27 1/2 x 27 1/2 in
70 x 70 cm
70 x 70 cm
Edition of 300
Series: Banksquiat
Copyright The Artist
Banksquiat (Grey) was released in 2019 at Banksy;s infamous Gross Domestic Product pop up store in Croydon, London. The work pays homage to Jean-Michel Basquiat and can be seen as a commentary on the commodification of the artist and the endless spinning of the wheels of consumer society and capitalism. Banksquiat (Grey) is a signed edition of 300 and is signed and numbered by the artist in white pencil.
Banksy uses Basquiat’s famous crown motif that appears across Basquiat’s works in both painting and print format. The W style of the crown is rumoured to reference Basquiat’s relationship with pop-artist Andy Warhol who discovered Basquiat in New York in the 1980s. Other theories suggest that the crown symbolises Basquiat’s own views of himself as a a king and references his own power. Elsewhere, it has been thought that the crown is a homage to black power.
The image depicts a ferris wheel, the type seen at fairs and carnivals, and, instead of the carriages, Banksy uses Basquiat’s crown. In the foreground of the artwork, we see a group of individuals watching the turning of the wheel in a stereotypical British suburban setting with an old-fashioned phone box. Banksy further channels the spirit of street art pioneers with the chalk effect of the work - perhaps a nod towards the Subway drawings of Keith Haring - also a contemporary and friend of Basquiat.
Banksy's Banksquiat print is a visually striking and conceptually rich piece that pays homage to American artist Jean-Michel Basquiat while simultaneously offering commentary on institutional critique and the art world's mechanisms. This artwork emerged around the time of a major Basquiat exhibition at the Barbican Centre in London in 2017, which Banksy famously critiqued for celebrating street art in a corporate, sanitized environment.
The Banksquiat print itself cleverly blends the distinct styles and thematic concerns of both artists. It features a figure resembling a law enforcement officer, drawn in a style that echoes Basquiat’s raw, expressive form, adorned with a riot helmet and two popping eyes that evoke Basquiat's iconic crown motif. This imagery is overlaid with Banksy's signature stencil technique, creating a layered and dynamic visual dialogue between their contrasting artistic languages.
Banksy's incorporation of a police figure can be interpreted as a critique of state authority and surveillance, themes that resonate with Basquiat's frequent explorations of power dynamics and social injustice. The artwork reflects on how both artists engage with themes of oppression and identity, yet it is presented in a manner that questions how such messages are commodified by art institutions.
By naming the piece Banksquiat, Banksy directly references his influence while also pointing out the paradox of institutional acceptance. Basquiat, who began his career as a graffiti artist under the name SAMO, was initially dismissed by the art establishment, only to be embraced as a neo-expressionist phenomenon later in his career. Banksy, similarly, has experienced a paradoxical relationship with the art world; despite his critical stance on its commercialism and exclusivity, his works are highly sought after and fetch high prices at auctions.
Moreover, the timing and location of the Banksquiat pieces around the Barbican—Banksy also created murals nearby—underline his knack for contextual engagement, making his work not just visual art but a form of public conversation. This print, like much of Banksy's work, challenges viewers to reconsider the role and value of street art in contemporary society and the ways in which the art market co-opts rebellious art forms.
In essence, Banksquiat serves as both a tribute and a critique, blending reverence for Basquiat's artistic legacy with a skeptical examination of how cultural institutions sanitize and sell radical ideas. Through this piece, Banksy continues his exploration of the intersections between art, authority, and authenticity, making a powerful statement about identity and resistance in the modern world.
The Banksquiat print itself cleverly blends the distinct styles and thematic concerns of both artists. It features a figure resembling a law enforcement officer, drawn in a style that echoes Basquiat’s raw, expressive form, adorned with a riot helmet and two popping eyes that evoke Basquiat's iconic crown motif. This imagery is overlaid with Banksy's signature stencil technique, creating a layered and dynamic visual dialogue between their contrasting artistic languages.
Banksy's incorporation of a police figure can be interpreted as a critique of state authority and surveillance, themes that resonate with Basquiat's frequent explorations of power dynamics and social injustice. The artwork reflects on how both artists engage with themes of oppression and identity, yet it is presented in a manner that questions how such messages are commodified by art institutions.
By naming the piece Banksquiat, Banksy directly references his influence while also pointing out the paradox of institutional acceptance. Basquiat, who began his career as a graffiti artist under the name SAMO, was initially dismissed by the art establishment, only to be embraced as a neo-expressionist phenomenon later in his career. Banksy, similarly, has experienced a paradoxical relationship with the art world; despite his critical stance on its commercialism and exclusivity, his works are highly sought after and fetch high prices at auctions.
Moreover, the timing and location of the Banksquiat pieces around the Barbican—Banksy also created murals nearby—underline his knack for contextual engagement, making his work not just visual art but a form of public conversation. This print, like much of Banksy's work, challenges viewers to reconsider the role and value of street art in contemporary society and the ways in which the art market co-opts rebellious art forms.
In essence, Banksquiat serves as both a tribute and a critique, blending reverence for Basquiat's artistic legacy with a skeptical examination of how cultural institutions sanitize and sell radical ideas. Through this piece, Banksy continues his exploration of the intersections between art, authority, and authenticity, making a powerful statement about identity and resistance in the modern world.
Related artworks
