Wednesday, 30 March 2011

@ the group By Aidan Codd the new power point

Banksy - Street Art group 7

This is the finished power point from Group 7 


Following our meeting today in which we finished the presentation for Thursday I would like to elaborate on my reasons for disagreeing with the conclusion summary.  You have stated that the irony of Banksy is that his images and messages will fade away because his identity is unknown.  This cannot be correct for several reasons:
  1. Although the general public are not aware who Banksy is, his bank manager certainly is as well as his gallery!! He started as a street artist who valued his anonymity because he was performing illegal acts of vandalsim, now his anonymity is part of the hype that sells his work.  His work features in several published books (two of which we have used as references for this presentation, Unpublished and Unpublished II ) and the value attributed to his works of art through auction will certainly not allow him to fade away.
  2. The influence that street art has had on youth culture and music videos will not be lost but drawn on as retro influences, for example the large statement T shirts of the 80's are making a retro comeback in fashion for this year. 
  3. In my opinion the irony of Banksy is that he will become part of the establishment despite all his values and hype as has happened to punk icons such as Johnny Rotten who now helps to sell butter.
This is not a tragedy but a part of getting old and anarchy has mainly been a sport for the young, he will provide inspiration for the next generation of anarchists.  A bloody better way to end than trite sentences that have no meaning!!!

In fact this would be an excellent play out to the presentation rather than having Sham69 in the middle.

@The Group

Wednesdays Meeting

(Rescheduled from Monday)

Today we went over the presentation, correcting any errors and refining the overall aesthetics of our work. We also established out of Fiona and Myself who would would speak on which slide during the presentation itself. Aiden was also tasked with facilitating a soundbite from youtube into the presentation, this may be accomplished via either his laptop or mp3 player.



Ancient Roman Graffiti

Tuesday, 29 March 2011

Meeting 28th March

Present: Aiden, Vicky, Fiona

We finished off the two remaining slides for the presentation - this time we are removing far more text from the slides leaving only the most pertinent information to ensure that we finish within the 10 minutes set.
Everyone agreed to meet at 1pm on Wednesday 30th March at 1pm for a run through of timing.

Sunday, 27 March 2011

Additional Information

Hey Guys,

Feel free to leave any links on here that we could dig up as more background knowledge.

Link to a BBC report of an exhibition that Banksy did in Bristol? its got some good images too:
Also this page has got a few quotes from Banksy himself and I've cross-checked most of them with his book (I know its wiki, but if we see one that would be useful then we can then double check it and its all good from there):

See you next meeting guys :)

Banksy, continued.

Banksy: the Artist

Banksy, to some people he is nothing more than an invisible vandal who defaces property and attacks the establishment. To others, he is a gifted revolutionary whose work has grabbed the attention of a generation. But little is actually known about the man himself. He is claimed to be one Robert Banks, obviously otherwise known by his alias 'Banksy'. Originally from Bristol, his date of birth is reported to be 28th July 1973,

(Sourced from The Daily Mail -

Banksy's first major published work is a compilation, of all his own various pieces, titled: Wall and Piece.


The compilation is littered with quotes, opinions and accounts from Banksy himself. Within which, he shares many of his views on society, the establishment, british culture, consumerismand humour. He is described as being: anti-war, anti-capitalism, anti-fascism, anti-imperialism, anti-authoritarianism, an anarchist and an existentialist. His works have been sighted in London, Brighton and much of South-East England. His work now sells for thousands of pounds and he even has a following of celebrity collectors including Brad Pitt, Angelina Jolie and Christina Aguilera.

Many people claim to have taken a picture of Bansky at work in an effort to confirm his identity for certain; however, due to the fact that any pictures taken seem to differ greatly in appearance. This, plus a myriad of theories, 'interviews', accounts and reports all claiming they have the answer leaves his true identity shrouded in mystery still.

Each major news source has something to say about the identity of Banksy:

Banksy: iconic work (political)

There are many particular pieces that would be defined as 'iconic' as Banksy's work borrows much from advertising, logos and motifs in popular culture and recent history. However, his most iconic and indeed his most provocative work would no doubt be his approach to consumerism and advertising. Banksy dubs his view of advertising as 'Brandalism'. Taken from 'Wall and Piece' Banksy says:

“People abuse you everyday. They butt into your life, take a cheap shot at you and then disappear. They leer at you from tall buildings and make you feel small. They make flippant comments from buses that imply you’re not sexy enough and the fun is happening somewhere else. They are on TV making your girlfriend feel inadequate. They have access to the most sophisticated technology the world has ever seen and they bully you with it. They are The Advertisers and they are laughing at you.

However, you are forbidden to touch them. Trademarks, intellectual property rights and copyright law mean advertisers can say what they like wherever they like with total impunity.

Screw that. Any advert in public space that gives you no choice whether you see it or not is yours. It’s yours to take, re-arrange and re-use. You can do whatever you like with it. Asking for permission is like asking to keep a rock someone just threw at your head.

You owe the companies nothing. You especially don’t owe them any courtesy. They have rearranged the world to put themselves in front of you. They never asked for your permission, don’t even start asking for theirs.” - Banksy

With this strong philosophy in mind, Banksy has made some striking and politically challenging work to support his views

Titled as 'Poster for Greenpeace campaign against deforestation' in 'Wall and Piece' this image shows the main characters from Disney's animated feature, 'The Jungle Book' taken hostage, blinded, bound and lined up like convicts ready for execution by firing squad. In front stands the executioner again in the iconic Disney style furthering the believability and indeed legitimacy of the piece. Behind the cartoon characters sits an unedited image of a ravaged forest provided by Greenpeace. The harsh comparison between fiction and reality is exaggerated by placing the cartoon characters in perspective of the photograph itself giving it a streak of chilling realism.

The image as a whole hits hard, driving our memories back to earlier days in our childhood or even the younger years of our children where we and our young drew comfort and security from Disney's beloved and classic style. Now here we see it used in a new and painful way. We see our friends from our past in trouble, scared and threatened. No doubt, the first reaction to this is anger. How dare Banksy defile such a precious memory of ours? What gives him the right? It's once we ask ourselves this question and then look at the annihilated forest, that we inevitably fall into his trap. We are so quick to question his right to use these images that we selfishly ignore the trees that in reality have already been long destroyed. Banksy uses our reactions as a giant, emotional mirror and shows it right to us, and we don't like what we see.

Whilst it is potentially disturbing, and not even that well known about in connection with Banksy, this image is an absolutely perfect example of Banksy's genius ability to take an icon or motif and re-harness its power and meaning elsewhere; in this case he takes a beloved childhood memory and exploits it to show the reality of those who already have been. Truly, a loud and bold parry, to an otherwise quiet and deceptive attack.

Comparatively, that was the shallow end.

(Sourced from 'Wall and Piece')

Having no official title, the above piece has been dubbed 'The Burger King Kid' and is an edited photo of a starving African child with an empty bowl wearing a paper hat from the popular fast food restaurant 'Burger King'. This image screams injustice on too many levels to count but the prominent one being: the developed have everything and the third-world have nothing, and nobody cares. Top that off with a gritty pop-art style and some dark humour, and the result is again another perfect summary of a horrible aspect of consumerism and how is has corrupted western culture as we know it

(Sourced from 'Wall and Piece')

Again, having no title, the next image is Banksy's version of the infamous photograph of Phan Thị Kim Phúc taken by Nick Ut in Trang Bang in Vietnam during the war. The original photo shows the main subject Phan Thị Kim Phúc at roughly nine years of age; having just barely escaped death by napalm, along with other traumatised children, running for her life and horribly burned by the napalm attack. The image became an icon for the horror of the Vietnam War and the victims who suffered in it.


It is because of Banksy's anonymity he can produce work such as this. He has the freedom to express the messages he conveys to us that few people do. The same message is conveyed as before on a completely new level. He brings Disney back into frame in the form of Mickey Mouse and the fast food angle again also in the shape of Ronald MacDonald. Both franchises hold the girls hands it making them both look like the parents of some badly behaved child caught in mid-tantrum. The simplicity and ease of this edit and the new image that emerges forth is frankly sickening. This terrible image is somehow made even worse by adding the other images of Mickey Mouse and Ronald MacDonald. The selfish thoughts that we all suppress when we see an image such as the original are amplified by Banksy and his technique of exploding the truth in our faces.

Adding War to the list, we have yet another grim list of events and issues dragged out of the archives of our past.

(Sourced from 'Wall and Piece')

Another tragedy Banksy uses to comment on the constant presence of 'Brandalism'. Using the famous 'Tank Man' image from the The Tiananmen Square protests of 1989, also known as the Tiananmen Square massacre. An interesting sub-theme of this particular piece is Banksy's concept of Brandalism pushing advertisements in ours faces. Here, with a small addition, this man turns the tables, if only for a moment.


Banksy even touches on religion with consumerism as well. Here we see the classic renaissance image of christ on the cross only the cross is replaced with shopping bags instead. Again, this could mean a multitude of things, but the most obvious point is clearly society having lost the true meaning of christmas. Jesus being the centre of religious importance at christmas, he is here represented holding multiple bags of purchases in each hand almost being 'crucified' by them, also him holding them aloft represents the power of consumerism over the true meaning of faith and spirituality during this religious holiday.

(Sourced from 'Wall and Piece')

Also looking carefully, we see in the right bundle of bags a small Mickey Mouse head with the ears protruding from the top of the bags, again dragging Disney into the mix. On the left we have a wrapped gift and a candy cane thus confirming that it is indeed christmas as the subject of this particular message.

These few images are but a few of Banksy's collective work, however these are without a doubt the most politically relevant and are the most revealing of Banksy's work not just as an artist but as the revolutionary he really is. His fearlessness to tackle controversial images and themes is something rarely seen these days and is something to be valued. Whilst he is not a master scholar or teacher of the arts he makes many valid points that need to be addressed in our society. His hidden identity is proof to the fact that there is no such thing as true freedom of expression, because if there was, then he wouldn't need to be as secretive as he is.

Yet because of that fact he is so talked about, so controversial and so very iconic; but the ultimate irony of it all is he may have produced some of the most memorable work of this generation, but in the end it will ultimately all fade away and become as unknown and unseen as the artist's face who created it.

Meeting on Monday

Aiden, I have managed to double book myself and Vicky once more on Monday morning!!!! We have a large group meeting at 10 with the set design group that is vital for final design approvals.  Can we meet up later on Monday or I could do Wednesday afternoon from 1pm for the final two slides and a reading run through.

Kick me!!!!!


some images for the group by Aidan Codd

All images were sacand in from book Untited.2 The beautiful renaissance ( carpet bombing culture - 2008 )

Saturday, 26 March 2011


Thursdays meeting-
Present, Fiona, Aidan and Vicky.
Re-cap: started powerpoint presentaion, taking inforation from the blog and arranging on slides.
deciding which information from the blog should be put into the presentation and cutting it down so hopefully we dont get gongged out :).

NEXT MEETING: Monday 28th @ 10am in library.
To finish powerpoint an run through what we are saying.

Thursday, 24 March 2011

Images of 2010 Student Riots

images of 1968 student riots

Dada, Situationists and Surrealism

The Fountain - Duchamp ready made
Dada (1916-1924) was not a style but a state of mind, an anti-art group that grew out of WWI, they believed that the war had been contrived for materialistic reasons in a society based on greed.  They wanted to destroy the notions of good taste and achieve liberation from rationality and materialism.  They produced transient and temporary art, ready mades (such as the urinal above by Duchamp - literally taking the piss out of the establishment), performance art, poetry and raised the core question - what is art?

Duchamps alter-ego Rose Selavy
It is interesting to note that this milestone of art was submitted anonymously by Duchamp under the name of R Mutt.  He also had a feminine alter ego, Rose, pictured above.  The use of these must have given him more freedom in expressing his radical art, an anonyminity that protected him, such as is coveted by Street Artists today.

Surrealists (1920- 1930's) acknowledged the spontaneous creation lauded by Dadaism but removed themselves from their ironic anti-art position.  They embraced new ideas from Sigmund Freud such as the importance of dreams and the subconcious.  Automatism - thought uninterrupted by rational control - was key to the surrealists who believed that rational thought was at fault for the worlds problems and change could only come about through the subconcious mind.

Picture by Dali - The temptations of St Anthony

Situationists grew out of Dadaism and Surrealism, they wanted to break down the barriers between art, politics and other forms of social oppression.  Encouraging people to adorn the streets with statements such as 'Free the Passions' and 'Never Work', their sloganeering was closely linked to the Paris student riots in 1968.  They inspired people to rework metro posters (an early version of subvertising) challenging the ideas of ownership and creativity, believing if you wanted to put art on the streets you should do it, if you disagreed with an advert you should rework it, action here and now to transform everyday life.

Lewisohn, Cedar: Street Art (2008) Tate publishing, London
Peiter, Sebastian: Guerilla Art (2009) Laurence King Publishing Ltd, London
Untitled II The Beautiful Renaissance (2009) Pro-Actif Communications, Durham

Brassai - Graffiti

The wall,
safe haven for what is forbidden, gives a voice to all those who would, without it, 
be condemned to silence

(Poem by Brassai)

Botticelli, who loathed landscapes, said one day that "by merely throwing a sponge soaked in a variety of colours at a wall it would leave a stain in which could be seen a beautiful landscape". (Leonardo da Vinci quoting the artist in his book Treatise on Painting).

His words are almost prophetic, graffiti and street art ignored and ridiculed at the beginning of the 20th century has now made its way into galleries and museums - in a single generation they have been transformed into prestigious works of art in their own right. 

This would not have been possible without the forerunners of modern artists such as Picasso, Gauguin and Van Gogh with their love for the simple, childlike and tribal art and their desire to begin anew and look at the world through new eyes.  Indeed Brassai was a contemporary of these artists and his pictures would have been discussed among them, he believed that graffiti was a pure art form in who's simplicity he found a stunning modernity.  In the foreword to the book Brassai: Graffiti, Gilberte Brassai states:  

"Brassai was convinced that these manifestations "of so little importance," were in fact an emination of the dream world, a true essence of reality."  
Picasso too saw great worth in the study of graffiti and often copied it when he was young. Brassai kept details of his discussions with Picasso and this extract from Wednedsay, November 27, 1946 gives an idea of how excited he was by them:
(Brassai has just given him some photographs of his latest series of graffiti) "These graffiti are really astonishing! What phenomenal inventiveness you find in them sometimes.  When I see kids drawing in the street, on the pavement or the wall, I will always stop to look.  It's surprising what comes out of their hands.  They often teach me something." (Graffiti:137)

Images from Brassai Graffit

Brassai: Graffiti (2002) Flammarion, France

Wednesday, 23 March 2011

Student Riots 2010 and '68/Banksy

This is a link to the official BBC report on the Millbank riots 10th Nov 2010

I'm not sure if we're allowed to use images from facebook but I can get hold of the original image from a friend of mine if necessary.

Theres a whole album of these in this style and I'm sure with my friends permission he'd be totally cool with it

(From the Link)

"This siege of Millbank Tower was a violent break-away from what had been a noisy but good-natured march.

As demonstrators crowded around the building, some masked and hooded, the mood began to turn ugly. Missiles began flying towards the large plate glass windows, with only a thin line of police, with metal truncheons raised, guarding the building's entrance.

Outnumbered and overwhelmed, they were slowly but relentlessly hemmed against the front of the building."

Sean Coughlan, BBC Education Correspondent

I think this is a really powerful little extract and we should use this for part of the slides, I was flicking through the images tab on the link and saw one of the fire extinguisher being dropped of the top of Millbank, but I couldn't get the correct source so we'll work on that. But having that in as well would be good because I happen to know that our Campus Officer Lee Gavin was in the vicinity when it was dropped and apparently he was not very far away from where it dropped so I had the idea of maybe getting a quote from him during the coming week about the whole thing at Millbank and the march and we could throw that on the slides as well (show a little UCA interaction, could be a nice touch).

I think we should start of the riots section with a comparison to the 1968 riots and to the more recent rioting of 2010. Maybe have a comparison of slogans and signs of past and present? I still have my cardboard one from the march that I brought back and I think we should bring it to the presentation for sure, really drive the realism home.

There's a bunch of slogans on this wiki page (I know, shoot me now) of what was supposedly written during the rioting of 1968

Its all looking pretty good with the punk movement, political anarchy, urban street art, and so on although I would comment of one particular thing I've noticed with Banksy. The man (if he truly is a man) is completely anonymous, He is only identified as Robert Banks and no one is definitely sure what he looks like. This seems to be a bit out of key compared to our punky riot background. I think we need to highlight this transition from a loud and proud, aggressive and dangerous set of movements to a more quiet CCTV, big brother and stealthily obsessed culture that we have become today and how Banksy's iconic work has reflected that; in some of the most controversial yet quiet ways imaginable.

I think We should also open the whole thing with a quote from Banksy in the middle of the screen and I think this one would be a good one

"Mindless vandalism can take a bit of thought"- Quoted from Banksy, Wall and piece.

I think that more or less will sum up our whole presentation in one.

Now, I'm still collating a lot of information on which particular images from Banksy we should use and I'll bring the book to the next meeting but I have a few good ones in mind but I thought I'd run them all by you guys first instead of just spamming our blog with images.

I also need a little help on the riots of 1968 as my history on this is non-exsistant and I've read up on some of it, but according to my sources so far, the rioting of 1968 had a million and one triggers all connected to things to do with post-war, communism etc. and I need some help siphoning off the useless stuff and focusing on what we need.

I'd also like to volunteer for the designing the slideshow for the presentation, I've found a pretty nice template and would be happy to make everything look professional for the deadline.

More images By Aidan Codd

Andy Warhol

Andy Warhol born 6th August 1928 and died 22nd February 1987.

Andy Warhol was known as the prince of pop art.

Famous Examples of Warhol's Art
Installation of Campbell's Soup Cans - 1962
210 Coca-Cola Bottles - 1962
Marilyn Monroe - 1962
Che - 1962
Marilyn Monroe's Lips - 1962
Orange Disaster/Car - 1963
Orange Disaster/Electric Chair - 1963
Triple Elvis - 1963
ELizabeth Taylor (Colored Liz) - 1963
Jackie Kennedy - 1964
Campbell's Soup Can - 1964
Electric Chair - 1965
Atomic Bomb - 1965
Grey Marilyn Monroe - 1967
Untitled (Red Cow) - 1971
Mao Tse-tung - 1972
Mao - 1973
Bianca Jagger's Birthday Party - 1979
Camouflage Self-Portrait - 1986
Self-Portrait - 1986
John Wayne Silkscreen - 1986

Punk Culture

In the U.K 1977 british punk culture saw bands such as 'The Damned' and 'The Sex Pistols'. kick, scream and rage against authority, the media and sugar coated pop hits.

Punk culture help turn the underground movement into a global phenomenon.

Teenagers world wide strongly responed by showing their punk colours in day-glo hairstyles, spikes and mohawks. safety pins were strategically implanted in cheeks, lips and eyebrows.

by the 80's, designers began to dress their models in punk attir, and sent them strutting down international runways. killing off the fashion movements claim to being anti-establishment. eventually evolving into glitter and glam rock, the movement began losing its hard core edge.

1977-1978 punk was regarded to have peaked, but the post punk movement remains alive and kicking today, known as alternative, those who still regard any band in the top 40 as establishment 'sellouts'.

marked by opposition or hostility to conventional social, political or economic values or principles.

Monday, 21 March 2011

Punk rules!!!

Here is a great track that we could easily use in the presentation both visually (album cover) and for its links with student riots.  Its by a band called Sham69 very tagging don't you think????? And yes I do remember this first time round!

Sunday, 20 March 2011

Pop Art, Album Covers


MANUAL SCAN, PLAN OF ACTION, Dance &Stance / 1983 (EP),Graphic Pop goes art studios

SNAKEFINGER, KILL THE GREAT RAVEN/WHAT WILBUR?, Ralph rec. / 1979 (single),Graphic Gary Panter

LITTLE MURDER, SHE LETS ME KNOW ITS OVER, Au-Go-Go Rec. / 1981 (single),Graphic Stuart Beatty/Roy Lichtenstein

THE GLOVE, LIKE AN ANIMAL, Polydor / 1983 (single), Graphic Da Gama, Photo Birrer

SWELL MAPS, Rough Trade Rec./ 1979 (single) Graphc Maps & the entire universe

THE SHOWER SCENE FROM PSYCO, EXPLODING HITS, Elvis Records/ 1986 (LP), Graphic Mark Patton

COMPILATION, ORIGINAL PNK ROCK, Atlantic Rec./ 1976 (LP), Graphic Dick Morse,Photo Lisa Kristal


illustrations taken from:

Burkhardt Seiler & Friends, THE ALBUM COVER ART of PUNK!, Malcolm McLauren,Published 1998 by Collins & Brown Limited