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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 • 1974

    Anonymous street artist Banksy first turned to graffiti as a disillusioned youth. Inspired by the thriving graffiti community in his home city, Bristol, Banksy's works began appearing on trains and city streets in 1993, and by 2001, his signature, stenciled works had cropped up across the United Kingdom. Typically crafting his images with spray paint and cardboard stencils, Banksy is able to achieve a meticulous level of detail. His clean and immediately comprehensible aesthetic is a result of his unique ability to distill complex political and social statements into simple visual elements.  

    Through whimsy and humor, his graffiti works, paintings, and screenprints satirically critique war, capitalism, hypocrisy and greed. His anti-establishment wit has had an undeniable impact on today’s contemporary street culture.

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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