There’s that moment when you see your heroes for who they really are–people. After watching the UK’s Channel 4 documentary Banksy Vs. King Robbo: Graffiti Wars I almost came to see Banksy in a different light. Minutes in gone was the praise and admiration for where he’s made it to, replaced by a nasty view of him. The feeling was what the film intended to project. But, as the film progressed, I couldn’t help but stay team Banksy.
At the heart of Graffiti Wars is the debate of the long-standing resentment many graffiti writers have for street artists. To be real, or not to be. For graffiti writers selling out is never an option. Graffiti is an art-form, there is no doubting that, but it is in no way more substantial than Street Art. With the exception of Jean-Michel Basquiat and a few other notable writers, most graffiti artists are just technically talented. While street artists use images, paintings, sculptures and more to make valid statements, graffiti artists essentially just run around tagging their names over and over in a clear ad nauseum fashion. Pretty, yes, but what are you saying. Even the most frivolous street art is still visually stimulating.
The documentary presents the UK Government as protective of all street art, which is false. While they do protect Banksy’s pieces, even going as far to restore some of his more famous wall pieces, if you ask me that’s warranted. Ms. Terry McMillian said it best, “unfortunately baby, sometimes it’s always about money.” Banksy’s works sell for upwards up $500,000, he’s been nominated for an Oscar, people will come from all over the world to view some of these pieces, which equals tourism. Not to take anything from him, but can you say the same for a Robbo piece?
Contradiction ensues when King Robbo attempts to do exactly as Banksy does and attempts gallery shows, that of course pale in comparisons to his counterpart. These days street artists can enjoy a streamlined path to the gallery and in the case of Banksy and Shepard Fairey, museums, while graffiti artists are confined to the streets. But that’s more of a mindset than a limitation. At the end of the day, Graffiti Wars provides nothing but oversimplification of an entire movement. Much respect to King Robbo and graffiti artists around the world, but Street Cred means nothing when you can pay the rent.
And the moral of the story is…
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GREATeclectic aka Kendrick Daye is a DJ, artist and the Editor of Art Nouveau Magazine. As a freelance journalist and photographer his work has been featured in the NY Times Magazine, Ebony Magazine, Upscale Magazine, Creative Loafing, Honeymag.com & Yo-Raps.com.
