The HBO documentary, “Banksy Does New York” reviews the anonymous British street artist’s month-long self-styled "residency" in New York where, in October of 2013, he generated a new work every day for a month, touching down in all five boroughs. In a brief segment of the film, I discuss the artist’s engagement with the writings of Hannah Arendt. The text is part of a lecture, “Banksy: Completed,” in which I follow his clues to reveal the philosophical origins of his work, given in the past year at University of Southern California/Fullerton, the Berkshire Museum, the University for the Creative Arts in Canterbury, UK and upcoming, Rochester Institute of Technology.
For Day 29 of his unsanctioned sojourn in New York, Banksy repurposed an original artwork, an overwrought pastoral oil painting purchased for $50 from a thrift store. With his painted addition of a solitary Nazi officer seated in contemplation on a bench, the scene of an autumn forest by a river with snowy mountains in the distance is transformed from kitsch Americana to Caspar David Friedrich-esque German Romanticism, the falling yellow leaves now signifying the decline of the Nazi regime as well as a warning, perhaps, of our own social and political decline. Scrawling his signature under that of the original artist, Banksy, on his website (which existed only for the duration of the “residency”), entitled the work ", oil on oil on canvas, 2013," and described it as "a thrift store painting vandalized then re-donated to the thrift store," with the intention that the proceeds go to the Brooklyn-based nonprofit that benefits homeless people living with HIV/AIDS. Housing Works auctioned it off and ultimately, after much bidding drama, netted at least $450,000.