Public Art and the Worth of a Gallery Wall

Art changes how we see the world. It can bridge cultures and disciplines, empower people, or be an oppressive tool of totalitarian regimes. Public art, in particular, provides a way to experience art that is free and accessible to all. Its definition is straightforward: art created for display in physical spaces open to the public. Such art is not constrained by size, scale, scope, material, or effect. For days, months, or years, it may go unnoticed or it can make a previously unremarkable space noteworthy. Public art may educate or inspire protests. It may express community values, raise awareness of important issues, or question the status quo. Public art may also serve as a form of collective expression. It challenges how we, as individuals and communities, think about our world. 

But can public art break down the preconceived notions of what constitutes art on a gallery wall, deconstruct that barrier, and be redefined as an inclusive space for works of graffiti art and murals? This question is what led me to attend The World of Banksy Exhibition at the Capsule Gallery in Lisbon, Portugal a couple of weeks ago. 

This immersive experience takes you through works of one “unknown” artist, until his notable graffiti works transformed the streets of London, New York City, Lisbon, Berlin, and many more. Banksy is a world-renowned British graffiti artist whose story begins on the streets as a member of Bristol's DryBreadZ Crew (DBZ). His work encompasses universal issues on matters of culture, ethics, and politics, and oftentimes with a satirical angle. He is unique, having globally recognized works with an unknown identity.

You are invited to walk through two levels as a guest immersed in replicas of notable works and original prints. Installation art is usually site-specific and designed to transform the perception of that space. Typically there is a distinct intention in the location however these pieces were compiled from different series of Banksy's work internationally. Additional elements were implemented by the decision of the curator and gallery separately from the original productions. This makes the exhibition more accessible for the viewers to get a wide overview of his work, not just one individual piece, as they can interpret the original intention of these pieces and grow their own opinions. These liberties enhance the educational component but can take away from the impact of the artist's direction of the work. 

A section invites you into a room that features one of Banksy's most original and offbeat works “The Walled off Hotel ''. Opening its doors to the public in 2017, this replica encourages you to walk through one of the featured rooms in the original Hotel. As a “political installation”, a former residential building was transformed into 10 installation rooms between irony and denunciation; he used this to mark the hundredth anniversary of the British takeover of Palestine. The hotel's website clearly states “The Walled Off Hotel is an entirely independent leisure facility set up and financed by Banksy. It is not aligned to any political movement or pressure group. Our Palestinian management and staff offer an especially warm welcome to young Israelis who come with an open heart”. It has transitioned to a fully independent local business. But do the walls inside the Capsule Gallery bind or free this art piece?

This room transports the viewer into a bedroom with three walls embellished in an English colonial atmosphere with wallpaper on two sides directing the eye site to the central bed featuring a mural of an Israeli officer and a Palestine in a pillow fight. It combines different elements from across the Hotel into a singular room. Does it have the same effect in comparison to the original Hotel? This part of the exhibition is effective to an extent. As a guest in the space, you can view but not touch. See but no physical interaction. In the hotel, one of its main financial objectives now is to enjoy but in the gallery's installation, you intend to reflect. It provides context for a topic that may be unknown to many. Educating visitors outside of their own culture, to question and be critical of their preconceived notions. 

I should be happy, public artists are getting the accreditation they deserve and are featured in galleries and museums. However, a part of me understands and appreciates that at its conception there is temperance to graffiti and street art that escapes commercialized artistic enterprises. It's not meant to always be permanent. It's a reaction, an emotional response, to a time in a place. At that moment the work is how the artist shared a raw piece of themselves. There is something beautiful about how public art can be as easily destroyed as it is created. 

This made me reflect on an interview I had conducted with Toronto public artist, Nick Sweetman, where we discussed the intention behind his work. He could care less about the gallery wall or a professor's approval. It's for that one person. That one unsuspecting person who sees his work and message on the street. It could change their day or make them think. What he said can be connected to my internal conflict with this exhibition. Having worked on exhibition design teams, and earning a Visual Arts degree I understand that there is a value that an artist can gain with a museum's or gallery's seal of approval. It is just a fact. It can affect your reputation, and value and increase your awareness as an artist. But confinement in a space outside its original context immediately increases the barriers people face in order to view the work. 

I stood in front of Banksy's notable work “Little Girl Covering a Swastika” thinking something does not feel right. This piece was originally done in Paris on World Refugee Day in 2018. The little girl tries to make the swastika disappear as she covers it with a pastel pink tapestry pattern, the Nazi cross still prominent and present through. I can’t help but feel as though originally painted on a street in northern Paris where many migrants sleep, with the history that Paris has from World War II with Nazi occupation installing this piece so close to other works suffocated the impact of the art and took away from the original intent.

When considering the aims and intentions of this exhibition I came to the conclusion that it is an opportunity to explore the variety and global scale of Banksy’s portfolio. Guests can dive into different opinions and struggles of the topical material in a central location. This exhibition was effective as an educational tool about Banksy's life's work, not an exhibition of his work. It is successful cross-generationally as a venue for inspiring individuals about his work and message. 

Rather than redefining the barrier that exists in these spaces it morphed the graffiti artists work to fit within the confines of the gallery. With the requirement of a fee to enter it immediately becomes inaccessible. It no longer is for the “public” rather you are a consumer in a system. 

This is not the first or last of the conversation and challenges to understand and merge the differences between graffiti and public art within museums and gallery walls. This is one reflection on the many pieces moving forward on inclusive spaces and novel environments to expand our understanding of public art and community. 

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Note: This is not a critical review of Banksy as an artist. Banksy does not like museums or galleries opening exhibitions of his work independently. The artist warns about this on his website. 

**** I apologize I am so behind in posting. I got very sick these past few weeks and then was hit with allergies when I arrived in Cape Town, South Africa. I have been on the mend. I am doing better now and plan to be posting a lot this coming few weeks! So be on the lookout. This critical review is a topic very important to me and any thoughts you might have please feel free to share as always to maiashlebyhay@gmail.com Thanks for reading! ***