Banksy’s subversive gift
A socio-moral test case for the safeguarding of street art
Bibliographic Data
| ID | 12580210 |
|---|---|
| Authors | Susan Hansen (0000-0002-5530-7056, Chr. Hansen (Denmark), corresponding author) |
| Year | 2018 |
| Volume | 22 |
| Issue | 2 |
| Pages | 285-297 |
| Publication date | 2018-03-04 |
| Open Access | No |
| Type | ARTICLE |
| Venue | City (JOURNAL) |
| Journal identifiers | ISSN: 1360-4813 • E-ISSN: 1470-3629 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/13604813.2018.1461478 |
| OpenAlex | W2806740940 |
| Language | EN |
| Citations received | 4 |
| References cited | 12 |
This paper discusses the fate of Banksy’s (2014) Mobile Lovers which was painted overnight on the door of the Broad Plains Youth Club in Bristol. The subsequent removal of Mobile Lovers from the youth club for safeguarding in the Bristol Museum afforded the work a seemingly neutral zone of protection. However, the museum was also represented as an agent of the city, and as a democratic space, where visitors, as ‘the people’, were encouraged to record their own preferences for the future of the work. Rancière’s conceptualization of democracy as a disruptive process, rather than an established consensual state of affairs, is employed to challenge an understanding of the museum’s strategies as self-evidently democratic. Despite the high profile dispute between the youth club and the City of Bristol over who should be considered the proper beneficiary of Banksy’s work, it was agreed that it should be considered a ‘gift’ to the community and should thus be protected. Ultimately, the perception of street art in socio-moral terms as a ‘gift’ enabled an orientation to, and subversion of, the legal strictures currently prohibiting the recognition of the moral rights of street artists
Acknowledgement · Aesthetics · Art · Beneficiary · Club · Computer security · Democracy · Media studies · Political science · Politics · Safeguarding · Sociology · Law · Law in Society and Culture · Public Spaces through Art · Urban and sociocultural dynamics
Recognition, Work, Politics
Studies in ethnomethodology
Heritage, Museums and Galleries
Street art, public city
Pictures on walls? Producing, pricing and collecting the street art screen print
From Museum to Mass Entertainment
Graffiti or Street Art? Negotiating the Moral Geographies of the Creative City
Artists, Mythologies and Media -- Genius, Madness and Art History
Moral Geography in Broadland
Placing post-graffiti
Curating Secrets
| Citations per year | 0.67 |
|---|---|
| Citation span | 2020 - 2026 (7) |
| Highly cited | No |