A new solo exhibition by Banksy, the UK’s most famous anonymous artist, has opened at the Gallery of Modern Art (GoMA) in Glasgow – his first in 14 years.
The graffiti artist was drawn to exhibit in Glasgow ostensibly because of his interest in the symbolism of “Coneheid” – the red traffic cone permanently adorning the head of the Duke of Wellington statue that stands on a plinth outside GoMA. It is, Banksy says, his “favourite work of art in the UK”.
The show, Cut and Run, spans the career of the artist who has been described as “notoriously cryptic, darkly humorous … a global phenomenon, a personality without a persona, a criminal without a record, and a paradox within the world of art.”
Originally influenced by the work of Xavier Pru – AKA father of stencil graffiti Blek le Rat – Banksy has become a major player in the urban and contemporary art world, generating controversy and publicity through his distinctive and creative approach.
Popular with the public and highly valued by the art world, Banksy’s works convey powerful messages via simple but arresting images. His early transgressive artwork was seen by some as vandalism, but for many others, Banksy is an important counter voice subverting the dominant narrative of capitalism.
The Bristol-based artist is a humanitarian and peace activist, using his wealth to benefit many charitable causes. His artworks raise awareness of political iniquities and challenge social injustices, such as the war in Ukraine, refugee crises, homelessness, global warming, police violence, apartheid, misogyny and racism. These are invariably set within a satirical, witty and humorous style that often confronts those in power.
The Glasgow-Banksy connection
The red traffic cone has historically been placed on Wellington’s head by revellers to signify a great night out in the city and is now an iconic part of Glasgow’s heritage and marketing. It holds great meaning for Glaswegians in its anti-elitist and anti-establishment message, contributing to their social and cultural capital.
It’s also a reminder of the extent to which the expression of all forms of culture have been central to Glasgow’s regeneration over recent decades. First came the Burrell Collection in 1983, followed by the International Garden Festival in 1988, which built momentum towards a successful bid for the European City of Culture in 1990 – a life-changing accolade for a city notorious for its poverty, violence and the lowest life expectancy in Europe.
But the connection between Banksy and the city goes much deeper. Both have a history of actively supporting humanitarian causes. Glasgow was the first anti-apartheid city to support Nelson Mandela with a street near the South African consulate renamed to honour him while he was still in prison. It also has a proud reputation for welcoming and defending refugees, and supporting them throughout the city.
Glasgow City Council has promoted street art by commissioning and funding murals around the city which have become an urban attraction. Glasgow also hosts the annual Yardworks Festival which is an internationally renowned celebration of urban art.
Glaswegians are known for their friendliness and irreverent humour which resonates with Banksy’s works. The city has actively resourced artists as part of its cultural policy and has been named the UK’s top cultural and creative city in a landmark report by the European Commission. The Banksy exhibition will undoubtedly boost Glasgow’s reputation as a centre of creative dynamism.
What to expect
The exhibition starts with a re-creation of his studio space, featuring for the first time the stencils used to create many of his most famous works. Banksy has used these original stencils to create new versions of these works, including Kissing Coppers, which first appeared on a wall of the Prince Albert pub in Brighton in 2004.
It will also feature Banksquiat: Boy and Dog in Stop and Search, Banksy’s homage to Jean-Michel Basquiat which was displayed on a wall near the Barbican in London as an unofficial collaboration with the art centre’s 2017 Basquiat show. A critique of the often-racist nature of police stop-and-search powers, it sold in May 2023 for an astonishing $9,724,500 (£7,646,277).
The infamous shredding mechanism of Banksy’s Girl with Balloon is also showcased in the exhibition. In 2018, just after it was purchased at auction for £1 million, the canvas was passed through a secret shredder hidden inside the frame, leaving the bottom half in tatters with only the solitary red balloon untouched.
Three years later this iconic artwork was renamed Love in the Bin and auctioned at Sotheby’s for a mind-bending £18,852,000.
A more recent work from his Borodyanka Ukraine series, a stencil of a young female gymnast performing a handstand, balancing on a damaged building in Ukraine, is also on show. While creating this work on a bombed-out building, a local resident remonstrated with Banksy and threatened to call the police.
Banksy has been in the vanguard a new art form that was birthed in street art but has matured to include a strategic use of different kinds of media – graffiti, film, performance, digital and social media – all of which have the capacity to maximise the impact of his message in real time with a global reach.
It feels significant that Banksy has chosen a once-blighted Scottish city that redeemed itself through the arts for his first show in more than a decade. A shared sense of humour, humanitarian values and a disregard for the establishment mean Banksy’s show will be well-received in Glasgow.
Blane Savage does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
This article was originally published on The Conversation. Read the original article.
