Banksy - Under the Influence New York Sunday, March 30, 2008 | Phillips

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  • Provenance

    Acquired directly from the artist. 

  • Exhibited


    Los Angeles, Barely Legal: A Three Day Vandalised Warehouse Extravaganza (presented by Bansky), September 15-17, 2006

  • Catalogue Essay

    Mindless vandalism can take a bit of thought.
    Nothing in the world is more common than unsuccessful people with talent, leave the house before you find something worth staying in for.
    Think from outside the box, collapse the box, and take a fucking sharp knife to it.
    When explaining yourself to the Police its worth being as reasonable as possible.Graffiti writers are not the real villains. I’m always reminded of this by real villains who consider the idea of breaking in someplace, not stealing anything and then leaving behind a painting of your name in four foot high letters the most retarded thing they ever heard of.
    The easiest way to become invisible is to wear a day-glo vest and carry a tiny transistor radio playing Heart FM very loudly. If questioned about the legitimacy of your painting simply complain about the hourly rate.
    The time of getting fame for your name on its own is over. Artwork that is only about wanting to be famous will never make you famous. Fame is a by-product of doing something else. You don’t go to a restaurant and order a meal because you want to have a shit.
    Banksy, from “Advice on Making Stencils,” Wall and Piece, London: Century, 2005, n.p.

  • Artist Biography

    Banksy

    British • 1975 - N/A

    Anonymous street artist Banksy first turned to graffiti as a miserable fourteen year old disillusioned with school. Inspired by the thriving graffiti community in his home city, Bristol, Banksy's works began appearing on trains and walls in 1993, and by 2001 his blocky, spray-painted works had cropped up all over the United Kingdom. Typically crafting his images with spray paint and cardboard stencils, Banksy is able to achieve a meticulous level of detail. His aesthetic is clean and instantly readable due to his knack for reducing complex political and social statements to simple visual elements.

    His graffiti, paintings and screenprints use whimsy and humour to satirically critique war, capitalism, hypocrisy and greed — with not even the Royal family safe from his anti-establishment wit.

    View More Works

29

British Phone Booth

2006
Metal and Plexiglas phone booth.
48 x 72 x 60 in. (121.9 x 182.9 x 152.4 cm).

Estimate
$100,000 - 150,000 

Sold for $121,000

Under the Influence

31 Mar 2008, 10am & 2pm
New York