New York critic Ben Davis has crafted a thought-provoking essay in slideshow format for Slate, which includes a memorable tagline: “Banksy’s Exit Through the Gift Shop is a poisoned valentine to the movement he made famous.” It’s encouraging to observe more modern art critics addressing the complexities and contradictions inherent in street art. This genre is often seen as either dominated or stifled—depending on one’s perspective—by enthusiasts who shy away from scrutinizing their cherished art form.
Ultimately, street art has evolved into just another facet of contemporary art practice, a fact not evident at this year’s Whitney Biennial. Despite its evolution, the money shot remains: Gallery art typically focuses on selling status symbols to affluent buyers, keeping a certain distance from commercial design. Conversely, street art, often antagonistic toward traditional commercial art avenues, has seamlessly navigated in and out of mainstream commercial culture.
In full transparency, I am quoted in the piece, adding another layer to the ongoing discussion about the place of street art within the broader art world and its interaction with commercial forces.
