How do we frame Banksy’s art?

One of the most provocative street artists is the British Banksy (Nobis, n.d.), who is well-known for his polemic expressions in art including issues concerning politics and social problems touching on matters such as war, poverty and social stratification. The artist’s work often contains humor and provocation, while nevertheless always encourages a thoughtful response, leading viewers to reconsider their own perspectives on significant issues, thus creating an environment for dialogue and deep thinking. It is with accessibility that the effectiveness of Banksy’s activism starts when his artistic expression displays in public areas like walls or structures, allowing a wider audience to view it.

Another important aspect of Banksy’s advocacy is the artistic innovation and wit it displays. Using humor and irony, the artist questions the prejudices that the audience has towards certain issues. This can be illustrated by one of his artworks entitled “Bomb Hugger” which pictures a young character embraced with an explosive. Some critics have argued that this simplification undermines the power of Banksy’s art or raises questions as to how effective they are in offering tangible responses to problems he seeks to protest against. Nevertheless, upon closer examination, it can be asserted that Banksy’s activism remains an influential factor in social change since it successfully increases awareness among society concerning major problems and challenges established conventions.

Recently, new events in the Israeli-Palestinian conflict draw my attention to the importance of Banksy’s artistic statements as his art pieces provide a powerful tool for addressing the conflict and cultivating awareness about destructive consequences of violence on human beings. In 2003, he presented a controversial work named “Love is in the Air,” also known as “Flower Thrower.” This work was displayed in the context of the Arab-Israeli conflict. The Israeli government built the West Bank Wall with the goal of building a physical barrier to separate the Palestinian population living in the West Bank from the Jewish population living within Israel’s borders. Following the construction of the wall, the artist worked on this graffiti piece in Jerusalem’s renowned holy district, featuring a young protester symbolically throwing flowers (Brenner, 2019).