A Quote by Banksy

I don't know if street art ever really works indoors. If you domesticate an animal, it goes from being wild and free to sterile, fat and sleepy. So maybe the art should stay outside.
Street art belongs on the street. But I'm a working street artist and I earn my money selling art in the style of street art via galleries.
Art is a funny thing. It's a communicative medium. It really is, and it works outside of literature, the movies, stage, it has its own realm. It's like when you say "The Arts," those are all the arts, dance, theater, ballet. So within that set of areas of expression, we have visual art and it is visual and it's about looking at something and seeing it in the light with our eyes, maybe touching it or not touching it, or wanting to touch it, not being able to touch it.
When it comes to the street-art world, there are a lot of people who realize if they go out and put up a few pieces of street art and photograph them really well, even if their locations weren't actually that high-profile or dangerous, with the level of exposure they get from the Internet, with a large audience, they can maintain that rebel cache by having it be theoretically documented street art.
The art was just a way of hooking people in, saying: "Hey, maybe there's something cool about the tenant meeting. If the picture's really cool and weird, maybe I should check this out." And I think all of my art has really developed out of that realization.
Art makes people do a double take and then, if they're looking at the picture, maybe they'll read the text under it that says, "Come to Union Square, For Anti-War Meeting Friday." I've been operating that way ever since - that art is a means to an end rather than simply an end in itself. In art school we're always taught that art is an end in itself - art for art's sake, expressing yourself, and that that's enough.
Art is craft: all art is always and essentially a work of craft: but in the true work of art, before the craft and after it, is some essential durable core of being, which is what the craft works on, and shows, and sets free. The statue in the stone. How does the artist find that, see it, before it's visible? That is a real question.
I have always been a Peter Blake fan and love street art and graffiti. I really like this street-art collective called Faile. They're from Brooklyn and make these prints of beautiful women.
Malevich, Lissitsky, Kandinsky, Tatlin, Pevsner, Rodchenko... all believed in the social role of art... Their works were like hinged doors, connecting activity with activity. Art with engineering; music with painting; poetry with design; fine art with propaganda; photographs with typography; diagrams with action; the studio with the street.
I had a very famous trainer tell me once, You can usually train a wild animal but never tame a wild animal, ever. They are always going to be wild, no matter what anybody says.
I had a very famous trainer tell me once, 'You can usually train a wild animal but never tame a wild animal, ever.' They are always going to be wild, no matter what anybody says.
Works of art imitate and provoke other works of art, the process is the source of art itself.
I am increasingly unimpressed by works of art that require a college degree to understand. I think that art should be for everyone. And people should be moved by it.
The Internet doesn't always play a great role for art, especially art in the street, as people take what they see for the final image of it. But the most interesting thing about street art is to see it for real, to understand what it means and where it's displayed.
I think when something becomes a comfortable genre, it's against what street art stood for in the beginning - breaking out of genres and taking art out of galleries. Now street art is in the gallery, and it's all made up into a nice, packaged concept.
Poetry offers works of art that are beautiful, like paintings, which are my second favorite work of the art, but there are also works of art that embody emotion and that are kind of school for feeling. They teach how to feel, and they do this by the means of their beauty of language.
We talk too much of black art when we should be talking about art, just art. Black composers must be free to write rondos and fugues, not only protest songs.
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