Warhol vs Banksy

Infamously anonymous guerilla artist Banksy goes head to head with iconic New York pop artist Andy Warhol in a posthumous partnership sparking debate across the city. A direct comparison of artworks currently showing at media member’s club Hospital interrogates the concepts of popular culture, vandalism versus art and fame.

And it is fame and notoriety that is the glue between these two icons and commentators of their time: the shadowy figure of Banksy stencilled a Marilyn image on the pavement outside the Hospital: an apt “I woz ‘ere” reminder from the artist who could not by his own making show his face at the launch of his own exhibition.

Whereas Warhol was the opposite: a flambuoyant socialite who coined the phrase “ famous for fifteen minutes’.’
His worldwide recognition is a direct contrast to the underground dealings of his rival: a subversion in itself of icon status.

Both, through their art and laser-sharp reflection of their own zeitgeist, have become cult figures.

But can we really compare the two? And how has a graffiti tagger risen to become a credible artist?

 Banksy  - with his stencilled visual commentaries scattered across London and his hometown of Bristol – may be anti-establishment, but it’s this that’s won him critical acclaim along with a clutch of celeb buyers including  Angelina Jolie and Christina Aguilera.

He’s so popular that he has a book -  recent publication “Wall and Piece” (Century, 2005) -  under his belt,  a true elevation from urban landscape to civilised coffee table.

Recent work has included stunts such as the  ”murdered” phone box in Soho and “Banksy of England” notes released at the Notting Hill Carnival.

As Duncan Cargill of The Hospital reflects,  "People are interested in the fact that he doesn't want to be known”; indeed the pseudo-anonymity of Banksy is a constant cause for discussion, as is the transient nature of graffiti.
The removal of his Pulp Fiction subversion portrait in Shoreditch by members of the Transport for London team was met with a huge public outcry, and an image appearing on the side of a Sexual Health clinic in Bristol stayed put due to much local support.

Having been described as an ‘Art Terrorist’, the fame of a figure such as Banksy opens the spray can lid of discussion for the place of street art in urban living; how we choose to react to this form of expression is vital in defining the limits of so-called criminality.
And what message does the elevated art gallery status of Banksy send to up- and- coming taggers?
The incredible support for Banksy is a result of his notoriety: his humourously public commentary and the tourism his additions bring to an area.
The artist’s work has transcended the barriers of definition, and by being classed as works of “art” by the very media his genre seeks to revoke his credibility is assured.

Whilst grafitti has been evident in a myriad of cultures since cave men, modern street art has it’s roots in the hip hop era.
With clear allusions to the ethic of Punk, graffiti is associated with the voice of youth culture and a visual urban reminder of poilitcal unrest.

Preceded by Mode 2 -  a graffiti writer working with The Chrome Angels gang in Covent Garden in the 1980’s- and a contemporary of Eine- the mystery man behind the shopfront letters in the East End - Banksy is one of a few rising stars in the street art genre, relentlessly defying the Anti-Social Behaviour Act in true anti-establishment style and so paving the way for others to follow suit.
Those include Adam Neate, billed as ‘The New Banksy’ which in itself is proof of the latter’s acceptance into the hallowed halls of the artistic establishment.
 
Andy Warhol, 1960’s Pop Artist renowned for his concept movies, eccentricity and screen printed images including Marilyn Monroe and Campbell’s soup is the opposing ‘contender’ in the partnership from beyond the grave of these two pop culture icons.

He , like Banksy was satirical and a beacon of visual commentary in a changing world. And they both are responsible for some of the best known imagery of key personalities of their eras.

The famous screen prints of Marilyn are set against Banksy’s depictions of Kate Moss, the noughties equivalent of the tragic beauty figure fallen from grace, whilst the Queen is interpreted by both in their unique styles.

The two deal with the subversion of advertising and the corporate machine, and both make their mark on the fabric of the art world in politically turbulent times.

The organisers of the event at the Hospital have framed the exhibition as a match, a staging of the main contenders of the world of visual commentary in a ring of debate and discussion.
If to “win” the match is to seek the most recognition then for a street artist to be pitted against one of the most famus innovators of the New York social and Pop art scene is as worthy a prize as any, and is one of Banksy’s greatest statements yet.

He reminds us that graffiti gives a voice to youth culture and that to make your own mark is to bring success.

Jo Gifford

See Glittering SuperstARTs

Warhol versus Banksy
Until 1st September 2007
The Hospital, 24 Endell Street, London WC2.
Admission free. Open 10-8pm Mon-Fri, 12-6pm Sat.