In a culture where a famous anonymous artist’s anti-establishment work sells for high-establishment prices, one could argue that a Banksy phantom has been raking in the dough—and certainly the fame. The original work is targeted at and for good causes. Since the ’90s, this pseudonymous interventionist and agitator has appeared in hundreds of places, in what seems like dozens of countries, as well as in newspapers and magazines. His work appears to be an enigma.
While definitely a political and social activist, it is sometimes unclear who or what his or her work is targeting. In fact, for someone who generally comments on the corrosive issues of the day, his anonymous art has increased in value and stature to the extent that some opportunists are trading off of it. Banksy’s in a bind because to forbid it would blow the cover—which is so carefully maintained.
This brings us to a paradox: It is unclear whether or not the new Banksy Museum on Canal Street, nestled among other gift shops, in New York City is an officially sanctioned project to raise money for the artist’s causes or a opportunistic scheme to part ticket buyers from at least $30 of their money.
In the spirit of alternative art, one of New York’s most prolific street artists, who we’ll call the Clown Guy, paid for a ticket and came away from the experience convinced that the Banksy Museum is an opportunistic fake. And 9 a.m. Tuesday, the morning after having been refused a refund, he returned, in full clown regalia, with a ladder and can of spray-paint, to ward off potential visitors. Additionally, he stretched his “Moral Line Do Not Cross” tape across the doorway.
“The thing that really pissed me off”, the Clown Guy told me, “was that there were pieces in there supporting migrants, Ukraine and Middle East peace and the owner is not only making money ripping off Banksy with several of these crap tribute shows because [he has opened ersatz museums in other cities] knows Banksy will never go to court; and I don’t read where any of the profits are going to the causes Banksy was supporting”.
The entire store is filled with reproductions. “This spray-paint addition over a bad vinyl repro of Banksy’s Girl With The Red Balloon is literally the only piece of genuine graffiti in the whole place – a gift from the city that made graffiti what it has become”.
In daily life the Clown Guy claims to know Banksy’s real identity; he also communicates with him frequently. So the ire he feels toward this Banksy Museum is justified, ethical and decidedly a heart felt.
