Shepard Fairey interviews BANKSY –

One of the most inappropriate nicknames of all time, at least in my opinion, belonged to Ronald Reagan: “The Great Communicator,” who we’ve come to learn did a pretty shitty job of communicating the government’s problems and indiscretions. A nickname like that deserves a more righteous, honest owner—someone like BANKSY.



Most people think of art as a way of conveying emotions, as opposed to language, the means by which we express ideas. Whatever line there is distinguishing art and language, BANKSY paints over it to make it disappear, then stealthily repaints it in the unlikeliness of places. His works, whether he puts them on the streets, sells them in galleries, or hangs them in museums on the sly, are filled with imagery tweaked into metaphors that cross all language barriers. The images are brilliant and funny, yet so simple and accessible that even children can find the meaning in them: even if six-year-olds don’t know the first thing about culture wars, they have no trouble recognizing that something is amiss when they see a picture of the Mona Lisa holding a rocket launcher. A lot of artists can be neurotic, self-indulgent snobs using art for their own catharsis, but BANKSY distances himself from his work, using art to plant the feelings of discontent and distrust of authority that anyone can experience when he prompts them to ask themselves one gigantic question: Why is this wrong? If it makes people feel and think, he’s accomplished his goal.

BANKSY’s work embodies everything I like about art and nothing I dislike about it. His art is accessible rather than elitist, since he does it on the street; it has a powerful political message that’s conveyed with a sense of humor, which certainly makes the bitter pill easier to swallow; it’s pleasing to look at, because it’s technically very strong but not overly complex and intimidating; and he pulls it off in such a way that its presence in its context communicates not only his message but his dedication to effecting the change he promotes in that message, whether he’s defying Israeli hegemony by painting the separation wall in Palestine or bypassing the elitist review board of a museum by hanging his work himself. He definitely has his share of critics, who say that he burns too many bridges by rejecting countless opportunities to gain money or fame, but he simply has no interest in doing anything that falls outside his goal of making provocative, powerful artwork. He’s a good friend and a tremendous source of inspiration; he’s The Great Communicator of our time, and the most important living artist in the world.

Some interesting responses too…

How long are you going to remain anonymous, working through the medium itself and through your agent as a voice for you?
B: I have no interest in ever coming out. I figure there are enough self-opinionated 4ssholes trying to get their ugly little faces in front of you as it is. You ask a lot of kids today what they want to be when they grow up, and they say, “I want to be famous.” You ask them for what reason and they don’t know or care. I think Andy Warhol got it wrong: in the future, so many people are going to become famous that one day everybody will end up being anonymous for 15 minutes. I’m just trying to make the pictures look good; I’m not into trying to make myself look good. I’m not into fashion. The pictures generally look better than I do when we’re out on the street together. Plus, I obviously have issues with the cops. And besides, it’s a pretty safe bet that the reality of me would be a crushing disappointment to a couple of 15-year-old kids out there.