Against all expectations, the elephant was not in the room. Come Friday evening, at the end of its first full day as an art object, the elephant had probably gone for a lie down, drained by all the attention it had received.
The previous night, at the glamorous opening in the decidedly un-Beverly Hills setting of a disused warehouse at the end of a cul de sac nestled close to a downtown freeway interchange, the elephant had upstaged some of Hollywood’s finest. Painted red, adorned with gold fleur-de-lis, the elephant merged into the wallpaper behind it. There was nothing that Brad Pitt and Angelina Jolie could do other than gawp.
The stars, who also included Jude Law and Keanu Reeves, had gathered for the first LA show by the British prankster, provocateur, graffiti artist and general meddler, Banksy. Known for his street art and interventions in Britain, his show in LA, Barely Legal, was his first large-scale exhibition in the US. Complete with valet parking and a retinue of publicists, it is by far the most high profile of Banksy’s foreign jaunts, which have also taken him to Paris, New York and Israel.
PHOTO: NY TIMES NEWS SERVICE
The show includes pieces of British iconography, such as a Guardsman on Horse Guards Parade atop a pantomime horse, in addition to work aimed specifically at the local audience. A police van dominates the entrance to the exhibition, decorated with a picture of Dorothy from The Wizard of Oz carrying a noose. Occupying an entire wall next to it is a painting reinterpreting an American icon, the raising of the flag at Iwo Jima. In Banksy’s interpretation, the scene is given an urban setting with a group of protesters raising the flag on top of a car.
The world of Brad, Angelina, Jude and Keanu is a long way from Banksy’s origins as a 14-year-old schoolboy in Bristol, England, dabbling in graffiti when it was considered an aggressive form of counterculture. The images that followed, daubed illegally on London’s walls, paved the way for the trend of appropriating public space by graffiti artists. His chutzpah rose to a higher plane earlier this year when he sprayed nine paintings on the 684km barrier that separates Israel from Palestinian territories. A stencil on a Bristol building was allowed to remain in place by the city council after the public voiced overwhelming support.
Yet somehow, despite his mainstream appeal, Banksy has lost none of the respect of his more “underground” British peers. “People have been doing graffiti [in the UK] for about 30 years, and it’s time it was taken seriously,” said “Tizer,” a south London graffiti artist who works on public murals and on education projects with young offenders. “When people talk about graffiti they talk about Banksy. Famous people have always come to his exhibitions because his stuff is easy to read.” A week before the Los Angeles exhibition, Banksy visited Disneyland, somehow managing to place an inflatable figure dressed as a Guantanamo detainee alongside a railroad ride. A short film of the escapade runs inside the LA show. In the same darkened screening room a glass case displays another of his recent interventions: the Paris Hilton CD doctored by Banksy, which he carried out with the help of Los Angeles-based producer Danger Mouse. Enormous cockroaches had been placed inside the display case. Like much of Banksy’s work, it is an overt statement. But of what, precisely?
PHOTO: NY TIMES NEWS SERVICE
“There’s more than one thing going on in every picture,” said Tarik, a chef who had seen Banksy’s work in a magazine and decided he had to see it for himself. “There’s a lot of tension in the pictures.”
Tarik gestures at a large painting showing a group of cavemen carrying spears approaching some shopping trolleys. “European artists are a lot more bold and willing to fight,” he says. “The concept of opposing your government is full of bullshit here.”
Banksy himself had displayed a fine sense of bullshit in an interview he gave to Roger Gastman published in the LA Weekly. “Some of the paintings have taken literally days to make,” he confided. “Essentially, it’s about what a horrible place the world is, how unjust and cruel and pointless life is, and ways to avoid thinking about all that. One of the best ways turned out to be sitting in a warehouse making paintings about cruelty, pain and pointlessness.”
Gastman, who edits a magazine called Swindle that features a longer interview with Banksy, thinks that the humor will not be lost on the LA audience. “His work is fun and witty when you see it in the street,” he said. “No matter what serious questions I asked his answers are very reflective of the humor in his work.”
In keeping with his secretive persona — there are no pictures of Banksy and his identity remains in doubt — the artist himself was probably not present at the opening. But that didn’t stop people asking. “Is the artist here,” asked J Mitchell, a singer. “Are you the artist?”
Josh, a computer programmer and stencil artist was impressed by the scale of the work. “He doesn’t do discreet like other stencil artists,” he said. “These are supposed to be here, in a gallery. He does it big, which is what graffiti artists have been doing for a long time.”
But in a town that takes its animal welfare very seriously, some took exception to the presence of the elephant. On entering, visitors were presented with a flyer reading: “There’s an elephant in the room. There’s a problem we never talk about. The fact is that life isn’t getting any fairer. 1.7 billion people have no access to clean drinking water... . Every day hundreds of people are made to physically be sick by morons at art shows telling them how bad the world is but never actually doing something about it. Anybody want a free glass of wine?”
Some of the money from the show will have come from the numbered prints on sale for US$500 each on the glitzy opening night. The rest will have come from the current market for his work, with Banksy’s pictures selling for upwards of US$75,000, according to his London agent Steve Lazarides.
Tai, the 38-year-old painted pachyderm was scrubbed down on Sunday on the orders of the Los Angeles department of animal services.
May 26 to June 1 When the Qing Dynasty first took control over many parts of Taiwan in 1684, it roughly continued the Kingdom of Tungning’s administrative borders (see below), setting up one prefecture and three counties. The actual area of control covered today’s Chiayi, Tainan and Kaohsiung. The administrative center was in Taiwan Prefecture, in today’s Tainan. But as Han settlement expanded and due to rebellions and other international incidents, the administrative units became more complex. By the time Taiwan became a province of the Qing in 1887, there were three prefectures, eleven counties, three subprefectures and one directly-administered prefecture, with
President William Lai (賴清德) yesterday delivered an address marking the first anniversary of his presidency. In the speech, Lai affirmed Taiwan’s global role in technology, trade and security. He announced economic and national security initiatives, and emphasized democratic values and cross-party cooperation. The following is the full text of his speech: Yesterday, outside of Beida Elementary School in New Taipei City’s Sanxia District (三峽), there was a major traffic accident that, sadly, claimed several lives and resulted in multiple injuries. The Executive Yuan immediately formed a task force, and last night I personally visited the victims in hospital. Central government agencies and the
Among Thailand’s Chinese Nationalist Party (KMT) villages, a certain rivalry exists between Arunothai, the largest of these villages, and Mae Salong, which is currently the most prosperous. Historically, the rivalry stems from a split in KMT military factions in the early 1960s, which divided command and opium territories after Chiang Kai-shek (蔣介石) cut off open support in 1961 due to international pressure (see part two, “The KMT opium lords of the Golden Triangle,” on May 20). But today this rivalry manifests as a different kind of split, with Arunothai leading a pro-China faction and Mae Salong staunchly aligned to Taiwan.
As with most of northern Thailand’s Chinese Nationalist Party (KMT) settlements, the village of Arunothai was only given a Thai name once the Thai government began in the 1970s to assert control over the border region and initiate a decades-long process of political integration. The village’s original name, bestowed by its Yunnanese founders when they first settled the valley in the late 1960s, was a Chinese name, Dagudi (大谷地), which literally translates as “a place for threshing rice.” At that time, these village founders did not know how permanent their settlement would be. Most of Arunothai’s first generation were soldiers
RSS