Please update your browser

You're using a version of Internet Explorer that isn't supported by Questia.
To get a better experience, go to one of these sites and get the latest
version of your preferred browser:

'The Anger Management Is Not Working'

By Barnard, Adam | Capital & Class, Winter 2004 | Go to article overview

'The Anger Management Is Not Working'


Barnard, Adam, Capital & Class


At a time of post-9/11 millenarianism, of the continued engagement in Iraq, and when the spectacle is at war with itself, the relative lack of cultural politics in the UK is perhaps surprising. Onto that scene has crept a latter-day Situationist armed with a spray-can, a sharp eye and an ironic sense of humour. Bansky has fostered a reputation to rival Debord's enigmatic mystique, appearing and disappearing to disrupt, subvert and amuse. It is unclear whether Banksy is a single person, a collective or a 'tagging' current inspired by multiple participants.

Banksy's interventions have involved him disguising himself as a pensioner, shuffling into the Tate Modern and sticking one of his own pieces onto the wall to cut out the middle-man of the arts industry.

He has placed a rat, armed with spray-can and microphone, in a glass case in the Natural History Museum.

He produces graffiti artwork of monkeys with weapons of mass destruction; smiley-faced police officers; girls hugging cruise missiles.

He has given us live graffiti cows stencilled with the Banksy logo; pigs in checked police officers' uniforms; and sheep, some stencilled with convicts' arrows and others with multiple Andy Warhol faces. His helicopter gunship with a small pink bow on its head, swooping over take-away shops, or his legion of rat stencils in various parts of London streets excite more, as artistic experiences, than the antiseptic, big-money and alienated experiences of London's new art establishment.

At traditional landmarks, his graffiti often declares 'This is not a photo opportunity'. On establishment buildings, he may inform us that 'By Order National Highways Agency This Wall is a Designated Graffiti Area', or embellish unused areas of urine-soaked pavement with 'Official Picnic Site' notices.

Banksy's output of printed matter has consisted of two small art books, Existencilism and Banging Your Head Against A Brick Wall, and his latest is forthcoming. His cover design for Blur's album, Think Tank, might cement his reputation as a contemporary cultural contributor. Using the city as his canvas, Banksy has created artwork that inspires, criticises and beautifies. It brings humour, candour and colour to the dour physical and political landscape. Reminiscent of the Situationists' strategies of detournement, these tactics have been effectively employed in order to rework the urban fabric. Just as the Situationists created philosophising cowboys or dialectical fashion models, Banksy pokes fun at authority figures with graffiti-spraying, dope-smoking police officers, and police transit vans bearing images of large, pink pigs. His work follows a rich vein, from the Surrealists and Duchamp's ready-mades; the political graffiti of May '68; punk, and Jamie Reid's cutup image of the Queen; to The KLF'S burning of a million pounds on the island of Jura.

For Guy Debord, art needs to be connected to a political project. Debord says, in his Society of the Spectacle, that 'Dadaism sought to abolish art without realizing it and Surrealism sought to realize art without abolishing it'.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

'The Anger Management Is Not Working'
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.