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Downtown (Square-Village-Center) Roslindale, MA 1948 from Roslindale Historical Society ‘OR’ City of Boston.

Downtown (Square-Village-Center) Roslindale, MA 1948 from Roslindale Historical Society ‘OR’ City of Boston.
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Roslindale Historical Society
The story of our community, Roslindale, necessarily begins with the arrival of the first settlers in the area. Rather than settling in what is now Boston, some of the early settlers journeyed across the narrow piece of land known as Boston Neck, and made their homes there. What was then the town of Roxbury, settled on September 28, 1630, only three weeks after the official date of the settlement of Boston; it was about two miles wide and eight miles long, running from Boston to Dedham. The region abounded in rocks, and thus became known as Roxbury, originally spelled “Rocksbury.” The western part of Roxbury was known as Jamaica End or West Roxbury, and our community of Roslindale was part of this area. It was not until the establishment of a post office on March 15, 1870, that this community became known as Roslindale.

It is interesting to find the geological reasons, which influenced the history of this area. Going back 500,000,000 years, we find this region under the sea, with a volcano spouting lava at a spot near the present junction of Washington and Grove Streets. The famous Roxbury “puddingstone” was a result of this volcano and the action of the sea. With the ice age, a great sheet of ice, as the climate became warmer, created drumlins, of which Bellevue Hill is one. The water, which was trapped, formed kettle holes. Two of these kettle holes are Jamaica Pond and Muddy Pond. The Charles River, which formed the boundary of old Roxbury, formed its winding course around the glacial deposits. These windings were what made the narrow Boston Neck, which set Roxbury off from Boston. This neck was all but covered with water at high tide, in the early days of Roxbury and Boston.

As Roxbury grew, the early settlers moved out along the main path from Boston to Dedham, the Old Dedham Post Road, now Centre Street. Although there were few Indians left in the area, due to a smallpox epidemic, it is certain that this early road had once been an Indian trail. The Indians usually traveled along rivers and ponds, and would quite likely pass by Jamaica Pond and along the banks of the Stony River. Stony River began on the slopes of Bellevue Hill and in Muddy Pond woods, and went through what is now Roslindale Square. Until it was forced underground, it was an important river. The early settlers ignored the law against settling more than one half mile from the church, as well as taking chances with the wolves and bears which were plentiful in the heavily wooded areas.

As early as 1626, Miantonimo, King of the Narragansetts, traveled over the Dedham Road with his wife and attendants. King John of the Nipmucks brought Matoonis, another chief, to be put to death on Boston Common for his part in King Philip’s War. John Eliot used this road on his way to preach to the Indians. Ann Hutchinson probably traveled over it on her way to Rhode Island to seek religious freedom. With the outbreak of the Revolutionary War, the Dedham Post Road carried Minute and Militia to Bunker Hill, among them Nathan Hale and Benedict Arnold. George Washington made four trips over this road, one of which was to take command of the Continental Army in Cambridge.

A famous spot on the Dedham Post Road, near the corner of what is now Allandale and the Centre Streets, was the Peacock Tavern. This tavern was kept by Captain Child, who was a captain of one of three Minute Men companies from Roxbury who answered the call to arms on April 19, 1775, and fought the British at Lexington and Concord. Before the Revolutionary War, the Peacock Tavern was favorite gathering place for British officers, who headed there after holding skating parties on Jamaica Pond. During the siege of Boston, George Washington inspected his battle lines, which included Weld Hill in what is now the Arnold Arboretum. Washington had picked Weld Hill as a rendezvous in case the British succeeded in driving the Continental army back and in capturing the stores of ammunition located in Dedham. After his inspection in the area, Washington would partake of refreshment at the Peacock Tavern.

Opposite the Peacock Tavern, there stood, and still stands today, a stone milepost, which says: “6 mi. from Boston 1753 P.D.” These initials stand for Paul Dudley who erected the stone, as well as others on the road leading from Boston.

Another important road for Roslindale was Washington Street, called the Dedham Turnpike, which ran all the way from Boston through Roslindale Square to Pawtucket, Rhode Island. It was opened for traffic in 1805 as a toll road, and was the principal stagecoach route. Taft’s Tavern, situated at the corner of Mayo’s farm on the Dedham Turnpike, was famous for its game dinners and hearty brew. It made Roslindale a major stopping place on long trips. The Tavern later became the Union Inn until the top part of it was destroyed by fire. Eventually it housed the school, and finally the Roslindale Brach Library in 1900. In 1919 it was torn down, and in its place is the Irving W. Adams Park in Roslindale Square.

From the Revolutionary War to the last part of the 19th century, West Roxbury, of which Roslindale was a part, was primarily a rural community, consisting of large farms supplying agricultural goods to the city of Boston. There was virtually no industry. On the west side of Church Street, between Centre and South Streets, was the Weld Farm, owned by Captain Joseph Weld, and “The story of the naming of Roslindale is a very interesting one.” My father, who was a newsdealer, passed it down to me. It was down to him from the man who was reputed to have named it. It seems that in the early 1800’s, Roslindale was part of Old Roxbury. Roxbury extended from what is now Roxbury Crossing out to the Dedham Line. We had West Roxbury, which was the West part of Roxbury, then we had Roxbury, but the land in between didn’t have a name except for that of “South Street Crossing.” It was called this because the railroad crossed South Street at the street level.

The people in the community wanted to apply for a post office. The name “South Street Crossing” wasn’t acceptable to the government. So all the landowners got together to give the area a definite name, a name of distinction. There were perhaps a half a dozen big landowners that owned a great section of the community. They had a meeting, and each landowner suggested a name.

“When it came John Pierce’s turn, he, an Englishman by birth and a person who had traveled extensively, told the assembled citizens that the so-called “South Street Crossing” and its vicinity reminded him of a certain historical town he had visited in Scotland. Mr. Pierce said that the rich and romantic landscape of this section composed of so fine a variety of hills and dales, stately trees and profuse shrubbery recalled in the mind of the beautiful little historic town of Roslyn in Scotland, outside of Edinburgh. Pierce also said that this area was like a dale because of all the hills surrounding the area. So he thought that a combination of “Roslin” and “dale” would be an appropriate name. That was the name that was submitted to the Post Office Department and the name that was subsequently adopted.”

The founding of the meetinghouse on Peter’s Hill in 1712 led to this area being developed as a rural community with large farms. It was not until 170 years later that an incident occurred which brought the Roslindale area out of the farming era, and into the 20th century suburban development. This incident was the famous “Bussey Bridge Disaster.” Mr. Richard Davis has researched this disaster, and wrote this account of the famous train wreck:

“What was described at the time was first major railroad disaster in America and brought Roslindale nationwide attention occurred on March 14, 1887, when the bridge spanning South and Bussey Streets collapsed when a train bound for Boston hurled nine passengers cars over a granite abutment into a 75-foot opening caused by the collapse of the bridge. Of the 23 killed and 115 injured, 50 percent were Roslindale commuters on the way to work in Boston.”

Considered extremely modern, the bridge was constructed of iron and steel and had replaced the original Howe truss “Tin Bridge” in 1870. The lawsuits resulting from the accident nearly bankrupted the Boston Providence Railroad. After making tests of wreckage parts at Watertown Arsenal, experts fixed the cause of the collapse on faulty welding in the hangers of the iron truss on the western side of the bridge, which had to support four-fifths of the weight of a passing train.”

“A direct result of the disaster was the removal or rebuilding of hundreds of iron railroad bridges all over America. Until Bussey Bridge taught them a lesson, bridge builders of the day had failed to realize that constant vibration weakens iron structures.”

“The disaster, however, started a new growth in Roslindale. Hundreds were attracted to the scene over a considerable period of time, and they discovered a beautiful community in the country. From then on Roslindale and West Roxbury started to grow in new homes and population, attracting people from all sections of Boston.”

Mr. Davis describes how his own family came to live in Roslindale as a result of the Bussey Bridge Disaster:

“At that time my father and grandfather lived in South Boston. My grandfather was a builder in Boston, who had built part of the Old Boston City Hall. He and my father walked out from South Boston to Roslindale in order to see the disaster. And when they got there, they looked around, and my grandfather said, “Son, this looks like a beautiful country.” He said, “I’d like to live around here. Maybe we ought to move out here.” Subsequently, they came to Roslindale, and he built his home. The wreck brought a great many people.”

While the wreck of the Dedham-Boston commuter train was an immediate impetus for a new wave of Roslindale immigration, the reasons behind the growth of Roslindale are largely increased transportation facilities. During the last quarter of the nineteenth century, the West End Street Railway ran horse-drawn cars via Egleston Square through Jamaica Plain to Forest Hills There, they were met by horse-drawn cars of the Norfolk Suburban Street Railway Company that continued to Roslindale via Hyde Park Ave. Cars ran more frequently on Sundays, as visits to the country were a popular past time. The city of Boston was becoming more and more crowded as European immigrants arrived in increasing numbers. The children and grandchildren of previous immigrants needed space, and appreciated the clean air and gardens of the suburbs. They liked what they saw on Sunday Trolley rides, and began to move out in the direction of public transportation which was growing to meet the demands of the city’s mushrooming population. Boston’s suburbs, including Roslindale, began to grow. In 1896, with a West End Street Railway put its horses and cars up for sale. Electric trolleys began to run from Forest Hills to Dedham in 1896 with a West Roxbury branch through Roslindale via Belgrade Ave and Centre Street. The Boston Elevated Railway, chartered in 1984, last century. They were apparently on target in their advice, as some of the community’s active senior citizens show the healthy influence of Roslindale’s air. Mr. Clarence Wilson moved to Roslindale eighty years ago as a young boy.

“It was eighty years ago that we moved to Roslindale. On May 28, 1894, I, a boy of nine, came with my family from Jamaica Plain to live on Birch Street where I still reside. It was a beautiful day (although two weeks of rain followed), and the native charm of the vicinity with its fields of tall grass and fruit trees was marred only by the lingering odor of burnt horseflesh. A large stable (then situated on Corinth Street between Birch and Cohasset Streets) had burned a few days before the arrival of my family. About 12 horses had perished in the blaze and their remains were just being removed.”

“It had been on the recommendation of a Dr. Stevens who resided on South Street that the family immigrated to Roslindale. Frank Wilson, my older brother, was suffering from tuberculosis and the salutary climate living conditions here were sought by the family for the recuperative effect they might have on his health. At that time, no doctor knew very much about this disease. Mr. Stevens, whose house still stands on South Street opposite the playground, suggested that the best solution he could think of was to live either in Sharon or Roslindale because of their healthy situations. My father and mother chose Roslindale.”

By the turn of the century, many families were moving to Roslindale for various reasons, mainly as part of a general movement out of the city’s core as Boston’s population overflowed into the suburbs. Real estate dealers capitalized on this phenomenon, and Roslindale began to be called a “garden suburb” of Boston. Roslindale was no longer the country. Mr. Dick Davis says of this change in the Roslindale area:

“I’ve seen it grow to be one of the best residential areas in the city. And, they gave it the name “The Suburb Superb.” That name was coined by the Roslindale Board of Trade. And it really was a superb community. It was a community of homes and a minimum of manufacturing, and it became known as the bedroom of Boston.”

The people who were moving into the new suburb of Roslindale were different from the earlier settlers. As a country area, Roslindale had been largely old-time Yankee, and Protestant. The new residents were, for the most part, Boston-born sons and daughters of immigrants, and predominately Catholic. The original Yankee village of Roslindale has become over the course of its development an unusually well mixed community, first the Irish, then with the Italians and other European groups, and later with Eastern Mediterranean and Arabic nationalities. Surprisingly enough, few problems have resulted from this ethnic mix. This community has been characterized by acceptance of new groups and a joy in cultural diversity and sharing in the community for the past 40 or more years, was in the hospital. He saw a notice in the paper that all unclaimed bank deposits were going to be turned over to the state, which is apparently customary procedure. He noticed that the name of the Old Roslindale Memorial Association was there. So when he got out of the hospital, he got in touch with me. We found out that the money would revert to the state, so we wanted to reactivate it. We had to go to court. At first the judge said, “Well, give the money back.” We didn’t know who it was collected from and how much they gave. So finally, through our efforts at the State House, the legislature made it possible for us to erect a monument with the amount of money we had. Of course, Fred Davis, being a monument dealer wouldn’t have anything to do with it. But we did hire a man who designed a monument which we approved.”

Another World War I veteran returned home a champion runner. Mr. Fred Faller, a retired watchmaker who lived in Roslindale for over 50 years, tells his story as a long-distance runner:

“I went to West Roxbury High School, which was in Jamaica Plain, and did a little running in high school. After high school, I ran the Allandale course, which all the young men in our area knew. It ran about 3 and 4/10 miles. We had a neighborhood boys club called the Oakland Athletic Club. We built a hut at the corner of knoll and Selwyn Streets. After running this course in record local time for one lap, I got ambitious, and continued so I was able to do 2 laps in good time. On April 19, 1912, I ran in my first 10 miles with a fairly liberal handicap, which was under the A.A.U. competition. Given the fact that a few of the good men were in the Marathon that day, I won the race. I gradually improved so that in 1917 I was first in New England. In April 1918, I was drafted. After arriving in Paris, I found they were selecting an American team to compete in the inter-Allied games.”

The young Roslindale soldier saw opportunity knocking, and became a championship runner in the European Allied games, returning home to win New England 5 mile championship, the New England 10 mile championship, the New England cross-country championship, the National cross-country championship, and the National 10 mile championship. In this race, he broke the American record by an American citizen, and this record was held for 40 years, until 1959. He was picked as All-American in the National 10 mile and National cross-country races by the A.A.U. He went to Philadelphia to try out for the U.S. Olympic team and finished third for that day. In 1920, the final U.S. Olympic tryouts were held at Harvard Stadium. Here he won the 10,000 meter race and qualified as first choice for the 10,000 meter Olympic race and the 10,000 meter cross-country race at Antwerp, Belgium. He was the only man out of four from the United States who tried out for the 10,000 meter at Antwerp who qualified for the finals representing the United States. He finished ninth in the 10,000-meter race and 14th in the cross-country race at the Olympic games. Coming home, he won the National cross-country and National 10 miles again. He was the first man to ever win the A.A.U. cross-country and the National 10 mile for two consecutive years.
“The number of boys who went on these expeditions to the woods grew, and the use of the little “Gramp” grew as well. Out in the hills, a camp was built to which many of the boys of Roslindale who have grown up and moved away helped to wear a trail. They grew up and other boys took their places and soon “Gramp” was not only used as a personal salutation and in conversation, but as the years went by, Uncle Sam’s mailmen were delivering letters from all parts of the country which bore the simple legend on the outside: “Gramp, Roslindale, Mass.”

“A character who lived in the Roslindale woods intrigues these same boys, inspiring romantic conjecture: “There is the story of the Hermit of Grew’s woods. Grew’s woods was a section of Roslindale bordering Hyde Park. It’s almost an extension of Beech Street. There was a hermit who lived in an old hut that he had built. He lived by trapping animals and selling the fur to people. He lived by himself, and he became known as the Hermit of Grew’s woods. Some people said he had a love and he was disappointed. By birth, he was an Englishman. I don’t know whether the love affair took place in England or in the United States. He would entertain you if you went up to see him.”

During the 1930’s, the new Parkway Transcript published reminiscence about some of Roslindale’s citizens – people who implanted themselves in the community’s collective memory. Blacksmith shops seemed to have served as the “smoke-filled rooms” of a previous era.

“Parker Weeks’ blacksmith shop was the actual quarters for most of the politicians of the upper section of Ward 23, regardless of party in days gone by. Many a deal was hashed out and cut and dried under the music of the old blacksmith’s hammer. I fear if Parker had a mind to open up, he could furnish a few memories for the boys or a revised edition of the Arabian Nights.”

Characters of every occupation give a flavor of early Roslindale:

“An old Indian doctor held forth nightly for a week or more every summer in Roslindale Square. He occupied a raised platform and usually opened his nightly program with a story or two followed a general diagnosis of all sorts of diseases and a lengthy dissertation on his “cureall” which guaranteed would cure anything from toothache to smallpox. Large numbers came out nightly to see and hear the fun, but few sales were made.”

“A man named Levine once had a soap factory on Hyde Park Ave just before reaching Canterbury Street on the right for a long term of years. Years ago, he sold out the premises to a family named Mauser who remodeled the buildings and moved out to Westwood.”

The words of Roslindale people give a vivid visual picture of the way it used to be:

“On Poplar Street, where the park is now, was a block of stores owned by my mothers cousin Charles West. It was about 1919 that these buildings and the old wooden building which housed the public library were moved to make room for the park.

“The Roslindale that my father came to was very much a rural area. There were several small farms in the area. Around where the Charles Summer School now exists was a farm. It had cows and sold milk to the local residents. You came down, brought a container with you, they filled it with milk and you took it home. There was another farm on Dudley Ave (now Durnell Ave), and the Hayes Road area was at the that time all pastureland.”

“We used the livery stables and things like that when we had horses and carriages and horses and wagons. Of course, they tore down Morrison’s Livery Stable on the corner of Birch, and the Rands kept their horses over there. Then came the automobile. Of course, that meant horse stables went out of business, torn down, and stores were built in there.”

The financial and social center of Roslindale was called the “Village “ and until after World War II had the flavor of a small town meeting place.

“Well, there wasn’t much in the village. There were no stores on Corinth Street, and there were a few on Poplar Street and Washington Street. There was Rand’s Corner, and then there was the library where the Rialto Theatre is now, but that was moved, that was only a wooden structure. And there was also a movie place where we watched silent movies.”

“In the early forties, the village was the only place to go shopping unless you went in town because there were no shopping centers. Everyone was walking-the women didn’t drive. You’d see baby carriages all pushed together. The women were always down there.

“It was a town of people. You know, whereby you could go down the street and talk to other people…it was a friendly town, anyway, and everybody went about their business, and there were not many conflicts.”

In 1706, there were about 45 families living in the territory west of Jamaica Pond. In that year, Joseph Weld and 44 others filed a petition asking to form a separate Church and parish. They stated that they lived in the west end of Roxbury toward Dedham; that it was difficult for them to attend church at the First Church in Roxbury in bad winter weather; and that even in good weather, it takes a great deal of their time coming and going. They would like to be freed from taxes in connection with the old church, and ask for assistance in building a new one. This petition was largely ignored by the First Church, which quite naturally did not like to lose the income from these parishioners. So the ingenious settlers went ahead and built a church anyway. The church was built on land donated by Joseph Weld, and stood on Peter’s Hill, on what is now Walter Street, near Mendum Street, next to what is now the Arnold Arboretum.

After the church was built, again the settlers petitioned, begging the humble pardon of their brothers for what they had done. This request was of course granted, and the west end of Roxbury was made a separate percipient. The second Church of Roxbury was gathered on November 2, 1712, and its first pastor was Ebenezer Thayer.

Next to the church was the “Burying ground”, which still exists today, as the only sign of this early church. The first meetinghouse served a whole generation. When it became too dilapidated, a new church was built at the corner of Church and Centre Streets. Some of the timbers from the original church were used in this building.

Thus it was here in the little church on Walter Street that the community, which is now Roslindale, had its beginnings. Here in the meetinghouse, the people gathered to worship on Sundays, and on weekdays, to regulate the affairs of the town. From gatherings such as these came the principals on which our nation was based.

Roads played a great part in the development of all the early communities. The main road, which now passes through Roslindale, is Washington Street, but this road, called the Dedham Turnpike, was not built until 1804. Before that date, the main path or road from Boston to Dedham was what we now call Centre Street. This road was called by many names, including the Dedham Post Road, and was not given the name Centre Street until 1825. The old road traveled up the present Centre Street from Jamaica Plain, and turned left after passing Allandale Street, over what is now called Walter Street, and up South Street to the present junction of Church and Centre Streets, and then on to Dedham via Centre and East Streets. The Dedham Road not only connected the east and west portions of Roxbury, but connected Boston with providence and points west and south.

It was not until 1870 that Roslindale, until then a section of West Roxbury, known as “South Street District”, and then “South Street Crossing”, became a postal district and chose a name for itself.

Despite, or because of, the ambiguity of Roslindale’s identity, its citizens have developed a special pride in their community, which expresses itself in several legends explaining the naming of the community. Mr. Parker Weeks, a fondly remembered Washington Street blacksmith, claimed that the area was named after the Scotsman’s home:

“Roslindale was originally, of course, a part of the town of West Roxbury, but this particular section was known as “South Street Crossing.” Later a Scotchman names Laurie, from Roslyn, Scotland, build a house, now standing on Florence Street, which was known as the Freemantle house. He built an arch over his gate, and called it Roslyn Cottage.” He was very active in all town affairs and from “South Street Crossing”, the place came to be known as Roslyn, and later the name was changed to Roslindale.”

Another story holds the name to be a derivative of “Roseland”, because of the rose gardens characteristic of its fertile land. The most popular version of the naming of Roslindale connects Roslindale with Roslyn, a town in Scotland. Mr. Dick Davis, a longtime Roslindale resident, and for many years editor of the area newspaper, The Parkway Transcript, tells of the legend this way:

“Roslindale is unique from other parts of Boston. It has a uniqueness I don’t think you could match any place in the world, because it is the only town, it is the only community by the name of Roslindale in the world. I have never heard of another Roslindale. We have Dedham, Mass., and Dedham, England; Dorchester England; Newton, England. Most of the towns in early America were named after their counterparts in England. But Roslindale was a unique name. It is a coined name, a manufactured one.”

“In 1887, people had to be at work at an earlier time than at the present, and since there were no car lines, they bought five-strip tickets for 35 cents to commute from local suburbs on the Boston and Providence Railroad.”

“On the pleasant morning of March 14, the fatal train made up at Dedham at 7am had collected over 300 passengers bound for work in Boston, and had made five stops by the time it had reached Roslindale. At 7:20am, only a few moments after Roslindale passengers boarded the train, all nine cars were hurled over a granite abutment into the 75 foot chasm opened by the collapse of the bridge.”

“When the catastrophe occurred, engineer Walter E. White had the throttle at an estimated 30-mile an hour speed, approaching the bridge in a down grade stretch three fifths of a mile long, that ended in a slight curve.”

“The strain that caused the collapse of the bridge was later found to have been brought about by the weight of the passing engine, which left in its wake a slight depression that increased to the breaking point when the first car hit the bridge. After the first car jumped the track to the east, the second followed, dropping still farther. The following seven cars telescoped against the second, and were forced down with them over the abutment into the street in a tangled mass of wreckage. The majority of fatalities occurred in the fourth, fifth, sixth, and ninth cars, several of which plunged end over end into the street below to land almost upright. Cries of the injured and dying filled the air. The engine which had cleared the bridge, continued on to Forest Hills blowing its whistle constantly to attract attention while the engineer leaned out the cab window, pointing back so people would know that something happened. When the engine reached Forest Hills, police were notified to send doctors and ambulances to the scene. Meanwhile, Roslindale doctors were notified and sped to the scene by hoarse and buggy. Neighbors meantime opened their homes to the injured. Large crowds gathered and assisted in removing the injured and dying from the debris. It was by magic that a fire hadn’t occurred, for the cars had wood burning stoves to keep the cars warm. It being a mild morning, the stoves were not in use. Had it been a cold morning and the stoves burning, most of the passengers would have been trapped in the inferno. Horse-drawn ambulances and private carriages supplied by neighbors conveyed the injured to the hospital and homes. Doctors from Boston were dispatched to the scene of the wreck.

“The ill-fated bridge near the Arnold Arboretum was named after Benjamin Bussey, whose estate the Boston and Providence railroad bisected when laying the roadway. When the bridge was built, the railroad tried to change the location of the road so that South Street would pass under the bridge at right angles, instead of diagonally, thus shortening the span and dividing the stress and strain. This proposal was opposed by Harvard College, to whom Benjamin Bussey had willed his estate, because it would have meant the removal of a number of elm trees along the way.

Mr. Philip Pofcher, a Roslindale Lawyer, who, though blinded by an automobile accident as a teenager, became not only a member of the Bar, but a broker and a public accountant as well, tells how a trolley brought his family to Roslindale:

“My family history in Roslindale starts just after the turn of the century. At that time, my father had a clothing store in the West End, and was looking to move to a suburban area. He considered that custom tailoring and repairing with alteration had more of a future for him in the suburbs than would a clothing store in town. He took the Boston Elevated and engaged the conductor for suggestions and information about communities he was going through. The conductor became unhappy with all these inquiries. He told my father that he was there as a conductor, not as an information service. At that point, my father told the conductor what he could do with his streetcar, and got off. He got off in Roslindale Square. He looked around and found that there was only one tailor shop, owned by someone named Noonan. After a casual inspection, it became apparent to my father that Mr. Noonan could stand some competition.

“My father went to a man by the name of Porter, who owned a block of stores up against the railroad station on South Street. He asked Porter if he would rent him a vacant store. Porter was very anxious to rent the store to my father or to anyone else. He offered my father a free months rent. My father refused the free months rent, and told Porter that if he took the place without paying rent he wouldn’t be working hard enough. Instead, he induced Porter to reduce the rent for all the months. As my father stayed on for some time, it turned out to be a very good proposition for him.

“A few years later, about 1905, a man by the name of W.P. Whittemore, an old-time Roslindale man, built the block from 749-755 South Street. That was across the street at that time from Flood and McKay’s Market. Having built the block of stores, he went to see my father and asked him if he would care to buy the block. My father told Mr. Whittemore that he had no money. Whittemore offered to sell it to my father with practically no money down. Mr. Whittemore took back a mortgage for the rest of it. My father then moved into 755 South Street with his tailor shop. He had his tailor shop here for almost the turn of the century until he died in 1954. He was in business in Roslindale for just under 50 years.

Ease of transportation was not the only reason for increased immigration to Roslindale. Some new residents came on the prescription of doctors who recommended the “salubrious climate” of the area, particularly for the lung diseases that are prevalent.

Roslindale residents are proud of the harmony of their community and are especially proud of the achievements of certain of its citizens. Roslindale has its heroes, among them the veterans of America’s Wars. The soldiers coming back from World War I returned to elaborate “Roslindale Welcome Home Day” with athletic games and parades. Armistice Day itself was celebrated with religious observance. Father Cummins, first pastor of Sacred Heart Church, recalled the day 12 years later:

“Who can forget that memorable day? A military mass was celebrated in this church a few hours after the joyful news of the armistice reached this city. The Spanish War Veterans of Boston, those gallant survivors of the old Ninth Massachusetts Regiment, with whom I wore the khaki in 1898, and veterans of the Indian Wars rallied here in goodly numbers form all parts of the city, and sponsored the first Armistice Day Mass. Let the traditions of this day be inseparably entwined in your hearts, moving them to a manly pathos and firming them with patriotic ardor.”

One of the soldiers who did not return for Homecoming Day was Irving Adams. Mr. Frederick Mellin remembers him:

“Irving W. Adams was the first Massachusetts boy killed in World War I. He lived up on the corner of Edgemont Street and South Street. He went to the Longfellow School; he was ahead of me in school. Then I think he moved to Mechanics Art School, which is now Boston Technical High. He was the first Massachusetts boy killed in World War I, killed on the battlefield. They named the post up there for him.”

Roslindale citizens not only named an American Legion Post after Irving Adams, but also decided to his memory the center of their community, Irving W. Adams Park in Roslindale Square. Mr. Davis tells the story of how the monument came to be in the Center of Roslindale Square.

“After World War I, the people of Roslindale, including members of the different clubs and veterans organizations wanted to erect something in memory of the soldiers who had served in this war. They appointed a man to make a design for a statue to be erected in what is now Irving W. Adams Park. The price was to be ,000, so that was the goal set. They had a miniature model made of the proposed monument, and it was on display in a store window on South Street called Water’s Candy and Ice Cream Parlor. They made a house-to-House canvas and the people contributed. They were never able to raise ,000 that was needed, so the money lay dormant in the bank. They couldn’t erect another monument of lesser cost because they had received permission from the Secretary of State of Massachusetts to raise the money for this monument. So the money remained in the bank until about 20 years ago, about 1950.

Over the years, Roslindale residents have gathered memories of how life was lived in the beginning of this century when Roslindale was but a country village.

On winter and coasting”

“I remember as a very young boy before the plows came, they had a great big roller. Instead of plowing the road, why they just rolled it down. This was for the runners of the sleigh to enable it to run faster. IT packed the snow down and it was also great for coasting.

“At that time we could start up near what is now the West Roxbury Parkway, up by Bellevue Hill. Incidentally, in those days, the hill was much steeper. They took the grade off because it was very difficult for the cars, the automobiles and the streetcar, to go up the hill. If they stopped in the middle and it was icy, they couldn’t get going. So they did cut the hill down. So we could start there and on a good day, we could go right down to what we used to call the Washington Street Playground, now called Healy Field. Although we could start at the top of Metropolitan Avenue to Kittredge Street, and you go right down the line to Roslindale Square, until they threw ashes and cinders across the street so we couldn’t go shooting through the traffic.”

On the Fourth of July:

“Of course, I was always a part of the Fourth of July as long back as I can remember. At that time, the 17th of June, Bunker Hill Day, was a very appropriate day, because there was no school, and also the Fourth of July. My father sold fireworks for forty odd years, until they were banned. He didn’t sell them in his own store, but he used to have a little store on what is now Robert Street under the railroad bridge, and every year we sold fireworks. On the night before the fourth, we used to have a fireworks display at what is now Fallon Field, and sometimes they would have them down at Healy Field. Father Cummins had his great barbeque, and people would come from all over Boston. They’d have a great big ox that’s on a spit. They’d have a fire on the grounds, and they’d turn the spit over and roast the ox right on the playground, and then at night, why about 6 or 7 o’clock at night, why they’d stop and cut it up and they’d sell sandwiches. And in the meantime they’d be taking chances on wheels and pinwheels and everything. And they’d have different kinds of amusements and Ferris Wheels, and they really rolled out the carpet.”

Certain people, certain characters of Roslindale stand out in memories and lend legendary vivacity to her past. Older citizens remember people important to their youth. “Gramp” Hodgkins was a naturalist who introduced boys of the early 20th century to the secrets of nearby woods.

Present-day Roslindale memories focus on a number of colorful people; some of these are tradesmen, etc.: “One of the merchants was F.D. Rand. This store was at the corner of Corinth and Washington Streets. They were there for years and years. They used to deliver their groceries with a horse and wagon. Their wagons were familiar all over Roslindale. They were the S.S. Pierce of Roslindale, and they did a good business. Their slogan was: Prudent families buy at Rands.”

“Every Saturday, the father, Harold Rand, would go out in a nice buggy and go around collecting bills from people who owed him money. You wouldn’t have to go to the store, he’d go to see you and collect. He had a regular route every Saturday. Of course, in those days for ten dollars you could buy enough to last you pretty near a month!”

“The ragman, Liebowitz, came around on the old horse drawn wagon. He had the saddest Clothes. For many years he would come by and he would always cry “RAAAAAGS! RAAAAAGS!” Then one day there was a rival Wagoner, he used the same word—RAGS—but he didn’t have the same song!”

“The Pony Express was a favorite of all the kids in the forties. A teenager selling ice cream rode on a two-wheeled cart pulled by a pony that had a pom-pom on and bells around its neck.

The community of Roslindale, names for its lovely hills and dales, has felt the squeeze of urban living. Open space is disappearing as the population becomes more crowded. However, Roslindale is a mature community with an awakening consciousness of its identity. Recognizing the problems and challenge of urbanization, Roslindale maintains the friendliness and spirit of a “garden suburb.” The people of Roslindale live their community. There is a feeling of kinship for one another in the air, and they show a great deal of concern for their town. It is theses attitudes, this spirit that has made Roslindale what it is.

ROSLINDALE – SUBURB SUPERB

First Printing: 1974, Second Printing: 1994

David P. Kunze
Judith C. Kunze

** Photo taken in 1948/1949. From a collection of photos by the Boston Traffic and Parking Department.
Posted under this Creative Commons license.

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Maria Ventresca Bennett

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Banksy in Boston: Portrait from the F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED piece in context on Essex St, Chinatown, Boston

Banksy in Boston: Portrait from the F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED piece in context on Essex St, Chinatown, Boston
Arts & Entertainment Awards
Image by Chris Devers
Interestingly, both of the Boston area Banksy pieces are on Essex St:

F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston
NO LOITRIN in Central Square, Cambridge.

Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well.

Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that.

But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify:

I can only surmise that he’s having a ‘dig’ at Essex UK, especially with the misspelling of ‘Loitering’. Here, the general view of the urban districts in Essex: working class but with right wing views; that they’re not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the ‘chit chat’, and swagger around showing off their dosh (money).

It was also the region that once had Europe’s largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream.

• • • • •

This photo appeared on Grafitti – A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now — I was as surprised as you are.

• • • • •

Banksy
From Wikipedia, the free encyclopedia

Banksy
Birth name
Unknown

Born
1974 or 1975 (1974 or 1975), Bristol, UK[1]

Nationality
British

Field
Graffiti
Street Art
Bristol underground scene
Sculpture

Movement
Anti-Totalitarianism
Anti-capitalism
Pacifism
Anti-War
Anarchism
Atheism
Anti-Fascism

Works
Naked Man Image
One Nation Under CCTV
Anarchist Rat
Ozone’s Angel
Pulp Fiction

Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy’s work was born out of the Bristol underground scene which involved collaborations between artists and musicians.

Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10]

Banksy’s first film, Exit Through The Gift Shop, billed as "the world’s first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12]

Contents

1 Career
•• 1.1 2000
•• 1.2 2002
•• 1.3 2003
•• 1.4 2004
•• 1.5 2005
•• 1.6 2006
•• 1.7 2007
•• 1.8 2008
•• 1.9 2009
•• 1.10 2010
2 Notable art pieces
3 Technique
4 Identity
5 Controversy
6 Bibliography
7 References
8 External links

Career

Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol’s DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16]

Stencil on the waterline of The Thekla, an entertainment boat in central Bristol – (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17]

Banksy’s stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly.

In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur’s 2003 album Think Tank.

2000

The album cover for Monk & Canatella‘s Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed]

2002

On 19 July 2002, Banksy’s first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19]

2003

In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet‘s Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper‘s Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21]

2004

In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen’s head with Princess Diana‘s head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa’s Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000.

2005

In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel’s highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22]

2006

• Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23]
• After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby’s London for £50,400, setting an auction record for Banksy’s work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol‘s Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25]
• In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy’s success.[26]

2007

• On 21 February 2007, Sotheby’s auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day’s auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can’t Believe You Morons Actually Buy This Shit."[6]
• In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29]
• In April 2007, Transport for London painted over Banksy’s iconic image of a scene from Quentin Tarantino‘s Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying:

The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote ‘If it’s better next time I’ll leave it’ in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone – rest in peace.[citation needed]

Ozone’s Angel

• On 27 April 2007, a new record high for the sale of Banksy’s work was set with the auction of the work Space Girl & Bird fetching £288,000 (US6,000), around 20 times the estimate at Bonhams of London.[32]
• On 21 May 2007 Banksy gained the award for Art’s Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status.
• On 4 June 2007, it was reported that Banksy’s The Drinker had been stolen.[33][34]
• In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35]

• Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy’s Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell’s graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips’ "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness."
• A small number of Banksy’s works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop.
• In the 2007 film Shoot ‘Em Up starring Clive Owen, Banksy’s tag can be seen on a dumpster in the film’s credits.
• Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38]

2008

• In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39]
• Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn’t cover anyone else’s.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed]
• In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41]
• A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42]
• His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43]
• The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009.
• In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45].

2009

• May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works.
• On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50]
• In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51]
• In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don’t believe in global warming" which was submerged in water.[52]

2010

• The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53]
• In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55]
• In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56]
• In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner for the use of their wall for one of his stencils.[58]
• In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city.

Notable art pieces

In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following:

• At London Zoo, he climbed into the penguin enclosure and painted "We’re bored of fish" in seven foot high letters.[59]
• At Bristol Zoo, he left the message ‘I want out. This place is too cold. Keeper smells. Boring, boring, boring.’ in the elephant enclosure.[60]
• In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61]
• He put up a subverted painting in London’s Tate Britain gallery.
• In May 2005 Banksy’s version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62]

Near Bethlehem – 2005

• Banksy has sprayed "This is not a photo opportunity" on certain photograph spots.
• In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65]

See also: Other Banksy works on the Israeli West Bank barrier

• In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT’s transformation from an old-fashioned telecommunications company into a modern communications services provider."[66]
• In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67]
• In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton‘s debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog’s head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70]
• In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72]

Technique

Asked about his technique, Banksy said:

“I use whatever it takes. Sometimes that just means drawing a moustache on a girl’s face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]

Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy’s work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work.

He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour.

Identity

Banksy’s real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62]

Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77]

In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6]

In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78]

In July 2008, it was claimed by The Mail on Sunday that Banksy’s real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports.

In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard.

Banksy, himself, states on his website:

“I am unable to comment on who may or may not be Banksy, but anyone described as being ‘good at drawing’ doesn’t sound like Banksy to me.[82]

Controversy

In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying:

“To actually [have to] go through the process of having a painting selected must be quite boring. It’s a lot more fun to go and put your own one up.[83]

Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy’s work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy’s street art glorifies what is essentially vandalism".[6]

In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn’t fond of it, and the portaloos were removed before the 2008 festival.

In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London’s Regent Canal. In retaliation several Banksy pieces in London have been painted over by ‘Team Robbo’.[85][86]

Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia’s Melbourne CBD. [87]

Bibliography

Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings:

• Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0
• Banksy, Existencilism (2002) ISBN 978-0-95417041-7
• Banksy, Cut it Out (2004) ISBN 978-0-95449600-5
• Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2
• Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3

Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16]

Two books authored by others on his work were published in 2006 & 2007:

• Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 – with new editions in 2007 and 2008) ISBN 978-0-95547120-9.
• Steve Wright, Banksy’s Bristol: Home Sweet Home (2007) ISBN 978-1906477004

External links

Official website
Banksy street work photos

Banksy in Boston: F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED, Essex St, Chinatown, Boston

Banksy in Boston: F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED, Essex St, Chinatown, Boston
Arts & Entertainment Awards
Image by Chris Devers
Interestingly, both of the Boston area Banksy pieces are on Essex St:

F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED (aka chimney sweep) in Chinatown, Boston
NO LOITRIN in Central Square, Cambridge.

Does that mean anything? It looks like he favors Essex named streets & roads when he can. In 2008, he did another notable Essex work in London, for example, and posters on the Banksy Forums picked up & discussed on the Essex link as well.

Is there an Essex Street in any of the other nearby towns? It looks like there are several: Brookline, Charlestown, Chelsea, Gloucester, Haverhill, Lawrence, Lynn, Medford, Melrose, Quincy, Revere, Salem, Saugus, Somerville, Swampscott, and Waltham. Most of these seem improbable to me, other than maybe Brookline, or maybe Somerville or Charlestown. But they start getting pretty suburban after that.

But, again, why "Essex"? In a comment on this photo, Birbeck helps clarify:

I can only surmise that he’s having a ‘dig’ at Essex UK, especially with the misspelling of ‘Loitering’. Here, the general view of the urban districts in Essex: working class but with right wing views; that they’re not the most intellectual bunch; rather obsessed with fashion (well, their idea of it); their place of worship is the shopping mall; enjoy rowdy nights out; girls are thought of as being dumb, fake blonde hair/tans and promiscuous; and guys are good at the ‘chit chat’, and swagger around showing off their dosh (money).

It was also the region that once had Europe’s largest Ford motor factory. In its heyday, 1 in 3 British cars were made in Dagenham, Essex. Pay was good for such unskilled labour, generations worked mind-numbing routines on assembly lines for 80 years. In 2002 the recession ended the dream.

• • • • •

Meredith Goldsten of the Boston Globe wrote to me on Facebook and asked for permission to run one of my Banksy photos in the newspaper, which I granted. Supposedly, this photo or one of the others I took appeared in the Globe on 15 May 2010, but I haven’t been able to find it. The online version of that day’s article, titled Tag — we’re it: Banksy, the controversial and elusive street artist, left his mark here. Or did he? uses a photo taken by "Essdras M. Suarez / Globe Staff". If I can find a copy of that day’s paper and verify that one of my Banksy photos was in there, I’ll scan the page & post a copy here 🙂

• This photo appeared on Grafitti – A arte das ruas on Yahoo Meme. Yes, Yahoo has a Tumblr/Posterous-esque "Meme" service now — I was as surprised as you are.

• This photo also appeared on Love Your Chaos on Tumblr, among other blogs. Thanks!

• • • • •

Banksy
From Wikipedia, the free encyclopedia

Banksy
Birth name
Unknown

Born
1974 or 1975 (1974 or 1975), Bristol, UK[1]

Nationality
British

Field
Graffiti
Street Art
Bristol underground scene
Sculpture

Movement
Anti-Totalitarianism
Anti-capitalism
Pacifism
Anti-War
Anarchism
Atheism
Anti-Fascism

Works
Naked Man Image
One Nation Under CCTV
Anarchist Rat
Ozone’s Angel
Pulp Fiction

Banksy is a pseudonymous[2][3][4] British graffiti artist. He is believed to be a native of Yate, South Gloucestershire, near Bristol[2] and to have been born in 1974,[5] but his identity is unknown.[6] According to Tristan Manco[who?], Banksy "was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher but became involved in graffiti during the great Bristol aerosol boom of the late 1980s."[7] His artworks are often satirical pieces of art on topics such as politics, culture, and ethics. His street art, which combines graffiti writing with a distinctive stencilling technique, is similar to Blek le Rat, who began to work with stencils in 1981 in Paris and members of the anarcho-punk band Crass who maintained a graffiti stencil campaign on the London Tube System in the late 1970s and early 1980s. His art has appeared in cities around the world.[8] Banksy’s work was born out of the Bristol underground scene which involved collaborations between artists and musicians.

Banksy does not sell photos of street graffiti.[9] Art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder.[10]

Banksy’s first film, Exit Through The Gift Shop, billed as "the world’s first street art disaster movie", made its debut at the 2010 Sundance Film Festival.[11] The film was released in the UK on March 5.[12]

Contents

1 Career
•• 1.1 2000
•• 1.2 2002
•• 1.3 2003
•• 1.4 2004
•• 1.5 2005
•• 1.6 2006
•• 1.7 2007
•• 1.8 2008
•• 1.9 2009
•• 1.10 2010
2 Notable art pieces
3 Technique
4 Identity
5 Controversy
6 Bibliography
7 References
8 External links

Career

Banksy started as a freehand graffiti artist 1992–1994[14] as one of Bristol’s DryBreadZ Crew (DBZ), with Kato and Tes.[15] He was inspired by local artists and his work was part of the larger Bristol underground scene. From the start he used stencils as elements of his freehand pieces, too.[14] By 2000 he had turned to the art of stencilling after realising how much less time it took to complete a piece. He claims he changed to stencilling whilst he was hiding from the police under a train carriage, when he noticed the stencilled serial number[16] and by employing this technique, he soon became more widely noticed for his art around Bristol and London.[16]

Stencil on the waterline of The Thekla, an entertainment boat in central Bristol – (wider view). The image of Death is based on a 19th century etching illustrating the pestilence of The Great Stink.[17]

Banksy’s stencils feature striking and humorous images occasionally combined with slogans. The message is usually anti-war, anti-capitalist or anti-establishment. Subjects often include rats, monkeys, policemen, soldiers, children, and the elderly.

In late 2001, on a trip to Sydney and Melbourne, Australia, he met up with the Gen-X pastellist, visual activist, and recluse James DeWeaver in Byron Bay[clarification needed], where he stencilled a parachuting rat with a clothes peg on its nose above a toilet at the Arts Factory Lodge. This stencil can no longer be located. He also makes stickers (the Neighbourhood Watch subvert) and sculpture (the murdered phone-box), and was responsible for the cover art of Blur’s 2003 album Think Tank.

2000

The album cover for Monk & Canatella‘s Do Community Service was conceived and illustrated by Banksy, based on his contribution to the "Walls on fire" event in Bristol 1998.[18][citation needed]

2002

On 19 July 2002, Banksy’s first Los Angeles exhibition debuted at 33 1/3 Gallery, a small Silverlake venue owned by Frank Sosa. The exhibition, entitled Existencilism, was curated by 33 1/3 Gallery, Malathion, Funk Lazy Promotions, and B+.[19]

2003

In 2003 in an exhibition called Turf War, held in a warehouse, Banksy painted on animals. Although the RSPCA declared the conditions suitable, an animal rights activist chained herself to the railings in protest.[20] He later moved on to producing subverted paintings; one example is Monet‘s Water Lily Pond, adapted to include urban detritus such as litter and a shopping trolley floating in its reflective waters; another is Edward Hopper‘s Nighthawks, redrawn to show that the characters are looking at a British football hooligan, dressed only in his Union Flag underpants, who has just thrown an object through the glass window of the cafe. These oil paintings were shown at a twelve-day exhibition in Westbourne Grove, London in 2005.[21]

2004

In August 2004, Banksy produced a quantity of spoof British £10 notes substituting the picture of the Queen’s head with Princess Diana‘s head and changing the text "Bank of England" to "Banksy of England." Someone threw a large wad of these into a crowd at Notting Hill Carnival that year, which some recipients then tried to spend in local shops. These notes were also given with invitations to a Santa’s Ghetto exhibition by Pictures on Walls. The individual notes have since been selling on eBay for about £200 each. A wad of the notes were also thrown over a fence and into the crowd near the NME signing tent at The Reading Festival. A limited run of 50 signed posters containing ten uncut notes were also produced and sold by Pictures on Walls for £100 each to commemorate the death of Princess Diana. One of these sold in October 2007 at Bonhams auction house in London for £24,000.

2005

In August 2005, Banksy, on a trip to the Palestinian territories, created nine images on Israel’s highly controversial West Bank barrier. He reportedly said "The Israeli government is building a wall surrounding the occupied Palestinian territories. It stands three times the height of the Berlin Wall and will eventually run for over 700km—the distance from London to Zurich. "[22]

2006

• Banksy held an exhibition called Barely Legal, billed as a "three day vandalised warehouse extravaganza" in Los Angeles, on the weekend of 16 September. The exhibition featured a live "elephant in a room", painted in a pink and gold floral wallpaper pattern.[23]
• After Christina Aguilera bought an original of Queen Victoria as a lesbian and two prints for £25,000,[24] on 19 October 2006 a set of Kate Moss paintings sold in Sotheby’s London for £50,400, setting an auction record for Banksy’s work. The six silk-screen prints, featuring the model painted in the style of Andy Warhol‘s Marilyn Monroe pictures, sold for five times their estimated value. His stencil of a green Mona Lisa with real paint dripping from her eyes sold for £57,600 at the same auction.[25]
• In December, journalist Max Foster coined the phrase, "the Banksy Effect", to illustrate how interest in other street artists was growing on the back of Banksy’s success.[26]

2007

• On 21 February 2007, Sotheby’s auction house in London auctioned three works, reaching the highest ever price for a Banksy work at auction: over £102,000 for his Bombing Middle England. Two of his other graffiti works, Balloon Girl and Bomb Hugger, sold for £37,200 and £31,200 respectively, which were well above their estimated prices.[27] The following day’s auction saw a further three Banksy works reach soaring prices: Ballerina With Action Man Parts reached £96,000; Glory sold for £72,000; Untitled (2004) sold for £33,600; all significantly above estimated values.[28] To coincide with the second day of auctions, Banksy updated his website with a new image of an auction house scene showing people bidding on a picture that said, "I Can’t Believe You Morons Actually Buy This Shit."[6]
• In February 2007, the owners of a house with a Banksy mural on the side in Bristol decided to sell the house through Red Propeller art gallery after offers fell through because the prospective buyers wanted to remove the mural. It is listed as a mural which comes with a house attached.[29]
• In April 2007, Transport for London painted over Banksy’s iconic image of a scene from Quentin Tarantino‘s Pulp Fiction, with Samuel L. Jackson and John Travolta clutching bananas instead of guns. Although the image was very popular, Transport for London claimed that the "graffiti" created "a general atmosphere of neglect and social decay which in turn encourages crime" and their staff are "professional cleaners not professional art critics".[30] Banksy tagged the same site again (pictured at right). This time the actors were portrayed as holding real guns instead of bananas, but they were adorned with banana costumes. Banksy made a tribute art piece over this second Pulp Fiction piece. The tribute was for 19-year-old British graffiti artist Ozone, who was hit by an underground train in Barking, East London, along with fellow artist Wants, on 12 January 2007.[31] The piece was of an angel wearing a bullet-proof vest, holding a skull. He also wrote a note on his website, saying:

The last time I hit this spot I painted a crap picture of two men in banana costumes waving hand guns. A few weeks later a writer called Ozone completely dogged it and then wrote ‘If it’s better next time I’ll leave it’ in the bottom corner. When we lost Ozone we lost a fearless graffiti writer and as it turns out a pretty perceptive art critic. Ozone – rest in peace.[citation needed]

Ozone’s Angel

• On 27 April 2007, a new record high for the sale of Banksy’s work was set with the auction of the work Space Girl & Bird fetching £288,000 (US6,000), around 20 times the estimate at Bonhams of London.[32]
• On 21 May 2007 Banksy gained the award for Art’s Greatest living Briton. Banksy, as expected, did not turn up to collect his award, and continued with his notoriously anonymous status.
• On 4 June 2007, it was reported that Banksy’s The Drinker had been stolen.[33][34]
• In October 2007, most of his works offered for sale at Bonhams auction house in London sold for more than twice their reserve price.[35]

• Banksy has published a "manifesto" on his website.[36] The text of the manifesto is credited as the diary entry of one Lieutenant Colonel Mervin Willett Gonin, DSO, which is exhibited in the Imperial War Museum. It describes how a shipment of lipstick to the Bergen-Belsen concentration camp immediately after its liberation at the end of World War II helped the internees regain their humanity. However, as of 18 January 2008, Banksy’s Manifesto has been substituted with Graffiti Heroes #03 that describes Peter Chappell’s graffiti quest of the 1970s that worked to free George Davis of his imprisonment.[37] By 12 August 2009 he was relying on Emo Phillips’ "When I was a kid I used to pray every night for a new bicycle. Then I realised God doesn’t work that way, so I stole one and prayed for forgiveness."
• A small number of Banksy’s works can be seen in the movie Children of Men, including a stenciled image of two policemen kissing and another stencil of a child looking down a shop.
• In the 2007 film Shoot ‘Em Up starring Clive Owen, Banksy’s tag can be seen on a dumpster in the film’s credits.
• Banksy, who deals mostly with Lazarides Gallery in London, claims that the exhibition at Vanina Holasek Gallery in New York (his first major exhibition in that city) is unauthorised. The exhibition featured 62 of his paintings and prints.[38]

2008

• In March, a stencilled graffiti work appeared on Thames Water tower in the middle of the Holland Park roundabout, and it was widely attributed to Banksy. It was of a child painting the tag "Take this Society" in bright orange. London Borough of Hammersmith and Fulham spokesman, Councillor Greg Smith branded the art as vandalism, and ordered its immediate removal, which was carried out by H&F council workmen within three days.[39]
• Over the weekend 3–5 May in London, Banksy hosted an exhibition called The Cans Festival. It was situated on Leake Street, a road tunnel formerly used by Eurostar underneath London Waterloo station. Graffiti artists with stencils were invited to join in and paint their own artwork, as long as it didn’t cover anyone else’s.[40] Artists included Blek le Rat, Broken Crow, C215, Cartrain, Dolk, Dotmasters, J.Glover, Eine, Eelus, Hero, Pure evil, Jef Aérosol, Mr Brainwash, Tom Civil and Roadsworth.[citation needed]
• In late August 2008, marking the third anniversary of Hurricane Katrina and the associated levee failure disaster, Banksy produced a series of works in New Orleans, Louisiana, mostly on buildings derelict since the disaster.[41]
• A stencil painting attributed to Banksy appeared at a vacant petrol station in the Ensley neighbourhood of Birmingham, Alabama on 29 August as Hurricane Gustav approached the New Orleans area. The painting depicting a hooded member of the Ku Klux Klan hanging from a noose was quickly covered with black spray paint and later removed altogether.[42]
• His first official exhibition in New York, the "Village Pet Store And Charcoal Grill," opened 5 October 2008. The animatronic pets in the store window include a mother hen watching over her baby Chicken McNuggets as they peck at a barbecue sauce packet, and a rabbit putting makeup on in a mirror.[43]
• The Westminster City Council stated in October 2008 that the work "One Nation Under CCTV", painted in April 2008 will be painted over as it is graffiti. The council says it will remove any graffiti, regardless of the reputation of its creator, and specifically stated that Banksy "has no more right to paint graffiti than a child". Robert Davis, the chairman of the council planning committee told The Times newspaper: "If we condone this then we might as well say that any kid with a spray can is producing art". [44] The work was painted over in April 2009.
• In December 2008, The Little Diver, a Banksy image of a diver in a duffle coat in Melbourne Australia was vandalised. The image was protected by a sheet of clear perspex, however silver paint was poured behind the protective sheet and later tagged with the words "Banksy woz ere". The image was almost completely destroyed.[45].

2009

• May 2009, parts company with agent Steve Lazarides. Announces Pest Control [46] the handling service who act on his behalf will be the only point of sale for new works.
• On 13 June 2009, the Banksy UK Summer show opened at Bristol City Museum and Art Gallery, featuring more than 100 works of art, including animatronics and installations; it is his largest exhibition yet, featuring 78 new works.[47][48] Reaction to the show was positive, with over 8,500 visitors to the show on the first weekend.[49] Over the course of the twelve weeks, the exhibition has been visited over 300,000 times.[50]
• In September 2009, a Banksy work parodying the Royal Family was partially destroyed by Hackney Council after they served an enforcement notice for graffiti removal to the former address of the property owner. The mural had been commissioned for the 2003 Blur single "Crazy Beat" and the property owner, who had allowed the piece to be painted, was reported to have been in tears when she saw it was being painted over.[51]
• In December 2009, Banksy marked the end of the 2009 United Nations Climate Change Conference by painting four murals on global warming. One included "I don’t believe in global warming" which was submerged in water.[52]

2010

• The world premiere of the film Exit Through the Gift Shop occurred at the Sundance Film Festival in Park City, Utah, on 24 January. He created 10 street pieces around Park City and Salt Lake City to tie in with the screening.[53]
• In February, The Whitehouse public house in Liverpool, England, is sold for £114,000 at auction.[54] The side of the building has an image of a giant rat by Banksy.[55]
• In April 2010, Melbourne City Council in Australia reported that they had inadvertently ordered private contractors to paint over the last remaining Banksy art in the city. The image was of a rat descending in a parachute adorning the wall of an old council building behind the Forum Theatre. In 2008 Vandals had poured paint over a stencil of an old-fashioned diver wearing a trenchcoat. A council spokeswoman has said they would now rush through retrospective permits to protect other “famous or significant artworks” in the city.[56]
• In April 2010 to coincide with the premier of Exit through the Gift Shop in San Francisco, 5 of his pieces appeared in various parts of the city.[57] Banksy reportedly paid a Chinatown building owner for the use of their wall for one of his stencils.[58]
• In May 2010 to coincide with the release of "Exit Through the Gift Shop" in Chicago, one piece appeared in the city.

Notable art pieces

In addition to his artwork, Banksy has claimed responsibility for a number of high profile art pieces, including the following:

• At London Zoo, he climbed into the penguin enclosure and painted "We’re bored of fish" in seven foot high letters.[59]
• At Bristol Zoo, he left the message ‘I want out. This place is too cold. Keeper smells. Boring, boring, boring.’ in the elephant enclosure.[60]
• In March 2005, he placed subverted artworks in the Museum of Modern Art, Metropolitan Museum of Art, the Brooklyn Museum, and the American Museum of Natural History in New York.[61]
• He put up a subverted painting in London’s Tate Britain gallery.
• In May 2005 Banksy’s version of a primitive cave painting depicting a human figure hunting wildlife whilst pushing a shopping trolley was hung in gallery 49 of the British Museum, London. Upon discovery, they added it to their permanent collection.[62]

Near Bethlehem – 2005

• Banksy has sprayed "This is not a photo opportunity" on certain photograph spots.
• In August 2005, Banksy painted nine images on the Israeli West Bank barrier, including an image of a ladder going up and over the wall and an image of children digging a hole through the wall.[22][63][64][65]

See also: Other Banksy works on the Israeli West Bank barrier

• In April 2006, Banksy created a sculpture based on a crumpled red phone box with a pickaxe in its side, apparently bleeding, and placed it in a street in Soho, London. It was later removed by Westminster Council. BT released a press release, which said: "This is a stunning visual comment on BT’s transformation from an old-fashioned telecommunications company into a modern communications services provider."[66]
• In June 2006, Banksy created an image of a naked man hanging out of a bedroom window on a wall visible from Park Street in central Bristol. The image sparked some controversy, with the Bristol City Council leaving it up to the public to decide whether it should stay or go.[67] After an internet discussion in which 97% (all but 6 people) supported the stencil, the city council decided it would be left on the building.[67] The mural was later defaced with paint.[67]
• In August/September 2006, Banksy replaced up to 500 copies of Paris Hilton‘s debut CD, Paris, in 48 different UK record stores with his own cover art and remixes by Danger Mouse. Music tracks were given titles such as "Why am I Famous?", "What Have I Done?" and "What Am I For?". Several copies of the CD were purchased by the public before stores were able to remove them, some going on to be sold for as much as £750 on online auction websites such as eBay. The cover art depicted Paris Hilton digitally altered to appear topless. Other pictures feature her with a dog’s head replacing her own, and one of her stepping out of a luxury car, edited to include a group of homeless people, which included the caption "90% of success is just showing up".[68][69][70]
• In September 2006, Banksy dressed an inflatable doll in the manner of a Guantanamo Bay detainment camp prisoner (orange jumpsuit, black hood, and handcuffs) and then placed the figure within the Big Thunder Mountain Railroad ride at the Disneyland theme park in Anaheim, California.[71][72]

Technique

Asked about his technique, Banksy said:

“I use whatever it takes. Sometimes that just means drawing a moustache on a girl’s face on some billboard, sometimes that means sweating for days over an intricate drawing. Efficiency is the key.[73]

Stencils are traditionally hand drawn or printed onto sheets of acetate or card, before being cut out by hand. Because of the secretive nature of Banksy’s work and identity, it is uncertain what techniques he uses to generate the images in his stencils, though it is assumed he uses computers for some images due to the photocopy nature of much of his work.

He mentions in his book, Wall and Piece, that as he was starting to do graffiti, he was always too slow and was either caught or could never finish the art in the one sitting. So he devised a series of intricate stencils to minimise time and overlapping of the colour.

Identity

Banksy’s real name has been widely reported to be Robert or Robin Banks.[74][75][76] His year of birth has been given as 1974.[62]

Simon Hattenstone from Guardian Unlimited is one of the very few people to have interviewed him face-to-face. Hattenstone describes him as "a cross of Jimmy Nail and British rapper Mike Skinner" and "a 28 year old male who showed up wearing jeans and a t-shirt with a silver tooth, silver chain, and one silver earring".[77] In the same interview, Banksy revealed that his parents think their son is a painter and decorator.[77]

In May 2007, an extensive article written by Lauren Collins of the New Yorker re-opened the Banksy-identity controversy citing a 2004 photograph of the artist that was taken in Jamaica during the Two-Culture Clash project and later published in the Evening Standard in 2004.[6]

In October 2007, a story on the BBC website featured a photo allegedly taken by a passer-by in Bethnal Green, London, purporting to show Banksy at work with an assistant, scaffolding and a truck. The story confirms that Tower Hamlets Council in London has decided to treat all Banksy works as vandalism and remove them.[78]

In July 2008, it was claimed by The Mail on Sunday that Banksy’s real name is Robin Gunningham.[3][79] His agent has refused to confirm or deny these reports.

In May 2009, the Mail on Sunday once again speculated about Gunningham being Banksy after a "self-portrait" of a rat holding a sign with the word "Gunningham" shot on it was photographed in East London.[80] This "new Banksy rat" story was also picked up by The Times[81] and the Evening Standard.

Banksy, himself, states on his website:

“I am unable to comment on who may or may not be Banksy, but anyone described as being ‘good at drawing’ doesn’t sound like Banksy to me.[82]

Controversy

In 2004, Banksy walked into the Louvre in Paris and hung on a wall a picture he had painted resembling the Mona Lisa but with a yellow smiley face. Though the painting was hurriedly removed by the museum staff, it and its counterpart, temporarily on unknown display at the Tate Britain, were described by Banksy as "shortcuts". He is quoted as saying:

“To actually [have to] go through the process of having a painting selected must be quite boring. It’s a lot more fun to go and put your own one up.[83]

Peter Gibson, a spokesperson for Keep Britain Tidy, asserts that Banksy’s work is simple vandalism,[84] and Diane Shakespeare, an official for the same organization, was quoted as saying: "We are concerned that Banksy’s street art glorifies what is essentially vandalism".[6]

In June 2007 Banksy created a circle of plastic portable toilets, said to resemble Stonehenge at the Glastonbury Festival. As this was in the same field as the "sacred circle" it was felt by many to be inappropriate and his installation was itself vandalized before the festival even opened. However, the intention had always been for people to climb on and interact with it.[citation needed] The installation was nicknamed "Portaloo Sunset" and "Bog Henge" by Festival goers. Michael Eavis admitted he wasn’t fond of it, and the portaloos were removed before the 2008 festival.

In 2010, an artistic feud developed between Banksy and his rival King Robbo after Banksy painted over a 24-year old Robbo piece on the banks of London’s Regent Canal. In retaliation several Banksy pieces in London have been painted over by ‘Team Robbo’.[85][86]

Also in 2010, government workers accidentally painted over a Banksy art piece, a famed "parachuting-rat" stencil, in Australia’s Melbourne CBD. [87]

Bibliography

Banksy has self-published several books that contain photographs of his work in various countries as well as some of his canvas work and exhibitions, accompanied by his own writings:

• Banksy, Banging Your Head Against A Brick Wall (2001) ISBN 978-0-95417040-0
• Banksy, Existencilism (2002) ISBN 978-0-95417041-7
• Banksy, Cut it Out (2004) ISBN 978-0-95449600-5
• Banksy, Wall and Piece (2005) ISBN 978-1-84413786-2
• Banksy, Pictures of Walls (2005) ISBN 978-0-95519460-3

Random House published Wall and Piece in 2005. It contains a combination of images from his three previous books, as well as some new material.[16]

Two books authored by others on his work were published in 2006 & 2007:

• Martin Bull, Banksy Locations and Tours: A Collection of Graffiti Locations and Photographs in London (2006 – with new editions in 2007 and 2008) ISBN 978-0-95547120-9.
• Steve Wright, Banksy’s Bristol: Home Sweet Home (2007) ISBN 978-1906477004

External links

Official website
Banksy street work photos