Keywords and Literature

'Banksy; His influences and impact on contemporary graphic design'

Keywords:

• Banksy
• Graphic Design
• Street art
• Contemporary
• Influence

Important References:

• Exit Through the Gift Shop (film)
• https://www.ribar.com/UserFiles/2m-2015.pdf
• http://onlinelibrary.wiley.com.libaccess.hud.ac.uk/doi/10.1002/ad.1301/epdf

'But discussing street art along with mainstream art, architecture and urban planning will inevitably lead to the departure of the professionals and the middle class. It remains very much beyond the pale,

like a tattoo, a sign of being unspeakable. Infringing on the body of the city it contains an implicit critique of location. Graffiti is still about marking territory and rejecting the power implications of the built environment. Because of this we have no serious interpretation of this radicalising art form. It is like the argument between calling someone a freedom fighter or a terrorist; there is symmetry but no common ground or willingness to talk. Graffiti manifests the emergence of another taste culture, one well below the five that the urban sociologist Herbert Gans distinguishes'

• Branscome, E. (2011). The true counterfeits of banksy. Architectural Design, 81(5), 114-121.
• 
  
• Preece, C. (2012). Media review: A banksy film. exit through the gift shop. Los Angeles, CA: SAGE Publications. doi:10.1177/0276146712449741

• Banet-Weiser, S. (2011). CONVERGENCE ON THE STREET: Rethinking the authentic/commercial binary. Cultural Studies, 25(4-5), 641. doi:10.1080/09502386.2011.600553

mainstream art, architecture and urban

planning will inevitably lead to the departure

of the professionals and the middle class.

It remains very much beyond the pale,

like a tattoo, a sign of being unspeakable.

Infringing on the body of the city it

contains an implicit critique of location.

Graffiti is still about marking territory and

rejecting the power implications of the built

environment. Because of this we have no

serious interpretation of this radicalising art

form. It is like the argument between calling

someone a freedom fighter or a terrorist;

there is symmetry but no common ground

or willingness to talk. Graffiti manifests the

emergence of another taste culture, one well

below the five that the urban sociologist

Herbert Gans distinguishes

mainstream art, architecture and urban

planning will inevitably lead to the departure

of the professionals and the middle class.

It remains very much beyond the pale,

like a tattoo, a sign of being unspeakable.

Infringing on the body of the city it

contains an implicit critique of location.

Graffiti is still about marking territory and

rejecting the power implications of the built

environment. Because of this we have no

serious interpretation of this radicalising art

form. It is like the argument between calling

someone a freedom fighter or a terrorist;

there is symmetry but no common ground

or willingness to talk. Graffiti manifests the

emergence of another taste culture, one well

below the five that the urban sociologist

Herbert Gans distinguishesBut discussing street art along with

mainstream art, architecture and urban

planning will inevitably lead to the departure

of the professionals and the middle class.

It remains very much beyond the pale,

like a tattoo, a sign of being unspeakable.

Infringing on the body of the city it

contains an implicit critique of location.

Graffiti is still about marking territory and

rejecting the power implications of the built

environment. Because of this we have no

serious interpretation of this radicalising art

form. It is like the argument between calling

someone a freedom fighter or a terrorist;

there is symmetry but no common ground

or willingness to talk. Graffiti manifests the

emergence of another taste culture, one well

below the five that the urban sociologist

Herbert Gans distinguishes