Diverted Coal
Owing to trackwork around the Lidcombe area, freight trains heading West to North or vice-versa, were required to go via Regents Park for the weekend. On this occasion, CEY005, CEY007 and CEY001 head through Regents Park station as VP02 bound for Vales Point Power Station with a load of coal from Western NSW. Sunday 23rd March 2019
Sydney Bus Museum - Australia Day Treat - 8
Australia Day 2019 This year the Sydney Bus Museum's contribution to our city's Australia Day celebrations took vintage buses across the Sydney Harbour Bridge, to Bradfield Park, Kirribilli and North Sydney. We caught up with them, at the corner of Miller and Berry Streets. Ironically, right near the future Victoria Cross Metro Station. Fleet Nuber 2643 - AEC Regent III
Broadway Beauties: (Former) Bank of New South Wales, Central Sydney.
The "Eora people" was the name given to the coastal Aborigines around Sydney. Central Sydney is therefore often referred to as "Eora Country". Within the City of Sydney local government area, the traditional owners are the Cadigal and Wangal bands of the Eora. There is no written record of the name of the language spoken and currently there are debates as whether the coastal peoples spoke a separate language "Eora" or whether this was actually a dialect of the Dharug language. Remnant bushland in places like Blackwattle Bay retain elements of traditional plant, bird and animal life, including fish and rock oysters. With the invasion of the Sydney region, the Cadigal and Wangal people were decimated but there are descendants still living in Sydney today. All cities include many immigrants in their population. Aboriginal people from across the state have been attracted to suburbs such as Pyrmont, Balmain, Rozelle, Glebe and Redfern since the 1930s. Changes in government legislation in the 1960s provided freedom of movement enabling more Aboriginal people to choose to live in Sydney. The Bank of New South Wales has occupied this site continuously from the 1860s. It was part of an important financial group; a gold refinery and smelter was based in the next building making the bank important in the gold bullion trade. The building now on this site dates from 1894. It was designed by Varney Parkes and was built by the McLeod Brothers at a contract price of 17,400 pounds. It was substantially extended in 1915 to a design by John Reid. At the same time alterations were made to the existing building. John Reid & Son continued to be responsible for changes to the building during the 1920s and 1930s. In 1921 for example, the firm designed a garage and coke bunker. Throughout the later 1940s and 1950s several alterations were made to the offices including major works by Robertson & Marks in 1949. Another significant program of alterations and additions was initiated in 1969 at a cost of $90,000. In 1975, alterations were made to the ground floor. The final and significant work on the building occurred in 1989-90 when Westpac undertook a program to refurbish the building. Significance: The Westpac Bank at 824-826 George Street is listed on Schedule 1 and the Heritage Streetscape Map in the Heritage LEP 2000. The bank is an important record of the influence and distribution of banking in the centralised pattern of commercial development in central Sydney. It was also associated with the gold smelting operations of the Bank of NSW. The combination of the two functions is unusual and it is considered of regional significance. It is also associated with Varney Parkes, a prominent and skilled architect in late nineteenth and early twentieth century. The Wespac Bank illustrates a rare use of the Federation Romanesque style in a bank building, being well proportioned and skilfully detailed. It is a significant landmark on a prominent corner of George Street, designed to accentuate its location through corner chamfer, arched main entry and cupolas above the parapet. ✓✓ Criteria A: Historical significance: The Westpac Bank at the corner of George and Regent Streets records the influence and distribution of banking in central Sydney up to the turn of the century. Originally built as the Bank of NSW it was associated with a gold smelting operation for bullion, which is unusual. The building was designed by prominent architect Varney Parkes, son of Sir Henry Parkes. It contributes to documenting the growth of Sydney at the turn of the century. ✓✓ Criteria C: Aesthetic significance. A trough from gold smeltering activities remains extant in the basement. The corrugated steel used as permanent formwork for concrete floor above the basement is characteristic of late nineteenth century building technology. The Westpac Bank demonstrates an unusual use of the Federation Romanesque style in a city commercial building, creating a refined image for, what was at the time, the major Bank in Australia. An arched entry and cupolas at a chamfered corner distinguish the building and contribute to its strong streetscape presence. Its has a landmark presence at a prominent corner on George Street. A three storey eastern addition, although more Italianate in style, complements the original well. ✓✓ Criteria F: Rarity. The Westpac Bank at 824-826 George Street is a rare and well executed example of the Federation Romanesque style for a branch bank. Few Romanesque style buildings of the Federation period exist. Although on a smaller scale, the Westpac Bank compares favourably architecturally with the Queen Victoria Building. The association of the Bank of NSW with gold smelting operations is rare. Source: New South Wales Heritage Register.
The Replacement
S Sets, S100 & S113, were rostered to work 10-run, and replace the usual M Set. Here we see S113 & S100 arrive into Regents Park while working run number 10-H from Lidcombe. Friday, 26th April 2019.
44061 (1044) 02-09-018 J Stuart's Hino 78485-H Sydney Bus Museum AEC Regent III 32267-H (2338) parked on driveway at the bus museum, Leichhardt, Sydney, N.S.W., Australia.
I D No 44061 (1044) photographed by John Ward on the date of 2018-09-02. Jonathan Stuart's Hino RG197K 78485-H ex BZ-84-BA and ex Harris Park Transport Co m/o 8219, sold to Tunarama Coachlines, Port Lincoln, South Australia as XJH-724 in 2008, deregistered in 10-2013 and sold to Jonathan Stuart, Sydney for preservation on 2014-01-13 and reregistered as BZ-84-BA on 2014-05-23. The body was built by Custom Coaches on 1991-02-14 and is showing Citybus Direct. Alongside is Sydney Bus Museum's AEC Regent III 32267-H (ex Department of Road Transport and Tramways 2338) with a body built by Comeng in 10-1949 showing Route 456 Leichhardt Depot. Parked in the driveway of the Sydney Bus Museum, Derbyshire Road, Leichhardt, Sydney, N.S.W Australia..
Training
S Sets, S103 & S61 were running around the Bankstown Line doing crew training as run 734E and would later form 34 run for the peak, Wednesday, 1st May 2019.
Banksy in Boston: F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED, Essex St, Chinatown, Boston
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 (US$576,000), 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 $50 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: Portrait from the F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED piece in context on Essex St, Chinatown, Boston
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 (US$576,000), 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 $50 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
Camden Town
Located in the northwest London inner city suburb of Camden Town. The Gaumont Palace opened 25th January 1937 with Paul Robson in “Show Boat” and James Dunn in “The Two Fisted Gentleman” plus the GB Revels on stage. Built by the Gaumont British Theatres chain as a 2,742 seat, super luxury theatre with full stage facilities, the proscenium was 44 feet wide and the stage 31 feet deep. There were 12 dressing rooms for the artistes and a cafe/restaurant was provided for the convenience of patrons. The architects were William E. Trent, W. Sydney Trent and Daniel Mackay. The auditorium was wide and decorated with horizontal bands of colour on the walls under a stepped ceiling containing very pendulous light fittings. The screen opening had large backlit grilles with a metal meshwork in front. The Compton 4Manual/10Rank organ was opened by Terance Casey and was on a platform which emerged through an archway at the side of the stage rather than up through the pit. Initially known as the Gaumont Palace, Regents Park, it was renamed Gaumont (dropping the Palace name and advertising itself in its actual location in Camden Town) very soon after opening. It became an Odeon 1964 ahead of alterations which created a bingo hall in the stalls with a new 1,198 seat cinema in the circle which opened in 1968. The Odeon closed in 1979, was reopened (reduced in size to 434 seats) as the Gate Cinema from 1980 to 1982. Re-opened again, restored to 1,000 seats as the Parkway Kings Cinema in 1983 with another screen being added in the former restaurant area, known as the Parkway Regency (90 seats). Both were closed in 1993 when the lease was terminated. Odeon took back the building in 1997 and created a 5-screen multiplex in the space. The screens now seat; 403, 88, 226, 88 and 105. Bingo continues in the stalls area. Contributed by Ian Grundy cinematreasures.org/theaters/6281
Red Wattlebird (Anthochaera carunculata)_DSC0983
Red Wattlebird (Anthochaera carunculata) The red wattlebird (Anthochaera carunculata) is a passerine bird native to southern Australia. At 33–37 cm (13–14 1⁄2 in) in length, it is the second largest species of Australian honeyeater. It has mainly grey-brown plumage, with red eyes, distinctive pinkish-red wattles on either side of the neck, white streaks on the chest and a large bright yellow patch on the lower belly. The sexes are similar in plumage. Juveniles have less prominent wattles and browner eyes. John White described the red wattlebird in 1790; three subspecies are recognized. The species is found in southeast Queensland, New South Wales, Victoria, South Australia and southwest Western Australia in open forest and woodland, and is a common visitor to urban gardens and parks. Loud and conspicuous, the red wattlebird is generally found in trees, where it gets most of its food; occasionally it forages on the ground. It is one of the largest nectarivorous birds in the world, feeding from a wide variety of flowering plants. Insects also comprise part of its diet. It is territorial and at times aggressive to birds of other species, often defending rich sources of nectar. Breeding throughout its range, the red wattlebird builds a cup-shaped nest in a tree and raises one to two broods a year. Although it has declined in places from land clearing, it is classified as Least Concern on the IUCN Red List. Taxonomy The red wattlebird was first described as the wattled bee-eater by the Irish surgeon and naturalist John White in his Journal of a Voyage to New South Wales, which was published in 1790. He wrote that it was the "size of a missel thrush, but much larger in proportion". The taxonomic descriptions in White's book are believed to have been written by the English naturalist George Shaw, who is generally credited as the author by subsequent authorities. The specific epithet, carunculata, was introduced later in the same year by John Latham. The word is derived from caruncula, Latin for a small piece of flesh.[9] Both Shaw and Latham assigned the red wattlebird to the genus Merops. The species was moved to Anthochaera in 1827 by the naturalists Nicholas Aylward Vigors and Thomas Horsfield. Common names include gillbird, gilly warbler, barkingbird, muttonbird, butcherbird, what's o clock and chock. Unlike many species in southwestern Australia, the red wattlebird was given names by the local indigenous people that were onomatopoeic (sounding like the calls they make). Names recorded include wodjalok, durdal, doongorok, and djoongong (this last name is also applied to the western wattlebird). In the Eyre Peninsula in South Australia, the local Barngarla people knew it as ngarkarko or ngarkabukko. The local people of Denial Bay in South Australia called it noggal, and the Ngarrindjeri people of the Lower Murray region in South Australia knew it as rungkan. There are three recognised subspecies, though there is a zone of intermediate birds across western Victoria and eastern South Australia, bordered by western Port Phillip Bay to the east, Mount Lofty Ranges to the West and Little and Big Desert parks to the north. The differences in plumage are not generally prominent enough to be noticeable in the field. A. c. carunculata (Shaw, 1790) – found in southeast Australia, namely Victoria, eastern New South Wales, and southeastern Queensland. A. c. clelandi (Mathews, 1923) – Kangaroo Island (off south Australia). Of a similar size to the nominate subspecies, it tends to have darker plumage, a longer bill, and shorter tarsus. A. c. woodwardi Mathews, 1912 – southwest and south-central Australia west of the Mount Lofty Ranges. This subspecies is a little smaller than the nominate subspecies and has shorter wings. Its plumage is similar though the yellow patch on the belly is more prominent. Analysis of DNA showed that the closest relative of the red wattlebird is the yellow wattlebird of Tasmania, the pair splitting from the ancestor of the regent honeyeater—their next closest relative. Honeyeaters are related to the Pardalotidae (pardalotes), Acanthizidae (Australian warblers, scrubwrens, thornbills, etc.), and Maluridae (Australian fairy-wrens) in the large Meliphagoidea superfamily. Description The sexes of the red wattlebird are similar in size and plumage, the length of the adult male ranging from 33 to 37 cm (13 to 14 1⁄2 in) and adult female 34 to 37 cm (13 1⁄2 to 14 1⁄2 in). With an average weight of 100–120 g (3 1⁄2–4 1⁄4 oz), the red wattlebird is one of the largest nectar-feeding birds in the world, and second largest species of honeyeater native to Australia, eclipsed only by the yellow wattlebird. The crown, forehead and upper lores (area between the eyes and nostrils) are dark brown, streaked with pale brown at the front of the crown and white at the rear of the crown. The nape (back of the neck) is slightly paler brown, with white streaks. A whitish triangular marking covers the lower lores and anterior ear covert feathers, bordered below by a dark brown stripe from the lower mandible down to the wattle and around to behind the eye. The throat is dark brown streaked with white. The iris of the eye is orange-red to crimson. The distinctive pinkish-red wattles dangle from the lower rear corner of the ear coverts on either side of the neck, and there is a sliver of pink bare skin at the lower border of the white patch on the face. The chest and belly are streaked white, and there is a bright yellow patch towards the tail. The strong legs and feet are pink or pinkish-brown and the downward-curving bill is black. The average length of the bill is around 23.5 mm (1 in), and 6.7 mm (1⁄4 in) wide and 6.8 mm (1⁄4 in) high at its base. The gape is grey-black, while the inside of the mouth is orange. In common with other honeyeaters, the red wattlebird has a long specialized tongue to extract nectar from flowers. The tongue can extend well beyond the tip of the bill and is divided at the end to form a brush-like structure with over a hundred bristles that soak up nectar by capillary action. The red wattlebird begins moulting after the breeding season, starting with the primary flight feathers in November or December and finishing between the following March and May. The feathers of the breast, back, median and lesser covert feathers are moulted before those of the crown, remiges and retrices. Immature red wattlebirds are generally less flamboyant. Juveniles have much less prominent wattles, brown irises, a pale crown and much less yellow on the belly. They moult into first immature plumage within a few months of leaving the nest. First immature birds are more similar to adults overall, having red irises with brown rings, wattles larger but still smaller than adults, and a greyish pink gape. The red wattlebird is hard to confuse with any other species, though in poor visibility might be mistaken for the spiny-cheeked honeyeater, or little or western wattlebirds. Call Red wattlebirds are noisy animals, producing a range of raucous calls. Pairs of birds appear to duet, particularly at food sources, with the male producing a loud cackle and the female a whistling call. The male's cackle is loudest between 1 and 3 kHz frequency. A guttural-sounding call, it has been variously described as having a squawking, coughing or hiccuping sound. Males cackle when foraging by themselves, when with other birds, or when declaring their territory to other birds. The whistling call consists of up to five rapid whistles that may or may not ascend in tone and are repeated 3–4 times. Both sexes commonly utter a single chock note that may be harsh and guttural or have 4–5 harmonics. This is thought to be a contact call. These calls all carry over long distances. Red wattlebirds utter two types of alarm calls, alternating between them while mobbing other animals. One is a harsh call over a wide frequency (1.3 to 5.9 kHz) that is louder at lower frequencies. The other a lower-pitched staccato call with a frequency of 1.1–2.2 kHz. They give a harsh call when trying to distract intruders from the vicinity of the nest or when picked up, often trying to flap or peck the handler. Distribution and habitat The red wattlebird is found in southeast Queensland, where it occurs south of Noosa and Cooloola, becoming more common south of Brisbane and Toowoomba. Further south into New South Wales it is found most places east of (and including) the Great Dividing Range and stretching west to the southern North-West Plain, Central Western Slopes and eastern Riverina, and is an occasional visitor to points along the Murray River valley. It is found across Victoria, though is uncommon in the northwest of the state. In South Australia, Devonborough Downs Station, Manunda, Wilpena Pound and Nullarbor Station mark the northern limits of its range. There are scattered records from the Nullarbor Plain, but the species is common in Western Australia west of 125 °E and south of 29 °S. The yellow wattlebird replaces it in Tasmania. The red wattlebird has become more common in some localities, such as the Sunraysia district in the 1960s and Nambucca Heads and Lefevre Peninsula in the 1980s. Numbers breeding have increased in Sydney and Adelaide. The red wattlebird is a rare vagrant to New Zealand, with confirmed records at Matakana in 1865 and Rohutu, Taranaki in 1885, and a third unconfirmed from Motupiko in 1938. The red wattlebird appears to be a permanent resident in much of its range, though its movements are poorly known. It appears to be partly migratory in Western Australia and the north coast of New South Wales. In southeastern New South Wales and the Australian Capital Territory, it appears to move to lower altitudes for winter. For instance, birds vacate the Brindabella Range over the cooler months. Overall, little pattern is discernible in the species' movements, though red wattlebirds appear to move to feed on populations of flowering banksias and eucalypts, such as winter-flowering banksias in Perth over the cooler months. Large numbers arrive in time to feed on flowering native apples (Angophora) in Mudgee and Cobbora districts in central-western New South Wales, and on white box (Eucalyptus albens) at Barrington in central-northern New South Wales. A mainly resident population on the Swan Coastal Plain north of Perth is supplemented during winter by more arriving from inland areas. South of Perth, red wattlebirds are more locally nomadic, moving to new patches of blooming wildflowers. East of Perth in areas around Kellerberin, Kwolyin and Nangeenan, the red wattlebird is present from late autumn to spring, breeding in August and September. Around Lake Grace, the red wattlebird is present year-round. Open sclerophyll forest and woodland, generally dominated by eucalypts, is the most common habitat of the species. It is more common in forests with ample shrubby or grassy understory. It is less commonly encountered in shrubland, heath, or margins of wet sclerophyll forest. It is rarely found in mature pine plantations. Within urban areas, it is abundant in parks and reserves, gardens and golf courses, as well as orchards and vineyards. It occasionally ventures into subtropical, semi-arid or subalpine regions, and has been found up to 1,900 m (6,000 ft) above sea level. The red wattlebird is rarer in forests that have been affected by dieback (infection by the pathogen Phytophthora cinnamomi). Behaviour A loud and active bird, the red wattlebird is found in pairs, in a small family group, or alone during the breeding season, and gathers in larger groups of up to several hundred birds over winter. It flies straight or with a slightly undulating pattern, alternating between gliding and flapping its wings with quick shallow beats, at or slightly above the level of the tree canopy. The red wattlebird moves on the ground by hopping, cocking its tail upwards slightly. Aggressive and territorial, the red wattlebird defends its nest and sources of food against other birds. It either calls at, snaps at the tails of, or flies at other birds, sometimes scuffling with members of the same species or other large honeyeaters in the air. Displacement is a dominant display in which a red wattlebird will land on a perch that has been immediately vacated by another bird. A smaller red wattlebird adopts a horizontal appeasement posture side-on to the aggressor in which it lowers its head, flutters its wings and edges closer to the other bird. As well as smaller bird species, red wattlebirds can mob and chase larger species such as the Australian magpie (Gymnorhina tibicen), butcherbirds and currawongs, the black-faced cuckooshrike (Coracina novaehollandiae), the olive-backed oriole (Oriolus sagittatus), crows and ravens, the laughing kookaburra (Dacelo novaeguineae) and even small raptors like the collared sparrowhawk (Accipiter cirrocephalus). Breeding The red wattlebird breeds throughout its range, with nesting taking place between July and December, though occasionally outside these months if conditions are favourable. One or two broods are laid each year. Birds generally nest as solitary pairs. The nest is a cup-shaped structure formed from sticks and leaves lined with bark, grass and hair, between 2 and 16 metres (7 and 50 ft) above ground, usually in the forked branches of a tree—generally a eucalypt. The nest is generally centrally located rather than in the periphery of the tree. A study in Eastwood State Forest near Armidale in New South Wales found that red wattlebirds preferred to nest in manna gum (Eucalyptus viminalis) and apple box (E. bridgesiana). A clutch of two or three pale brown- and lavender-spotted pinkish eggs are normally laid. They measure 33 mm × 22 mm (1 1⁄4 in × 7⁄8 in) and are a tapered oval in shape. The eggs are normally incubated by both parents, but sometimes just by the female. They hatch after 16–21 days. The chicks are born almost naked with a small amount of grey down on their head and body. They are mostly brooded by the female but sometimes the male will also do so. The nestlings are fed by both parents, and occasionally immature birds will also contribute. Their eyes open at around 7 days. They fledge 15–20 days after hatching and both parents continue to feed them for a further 2–3 weeks. Young are given manna (crystallised plant sap) and insects such as beetles, bugs and flies. Feeding The red wattlebird is predominantly a nectar-feeder, foraging mostly in trees, in particular climbing along branches (rather than the trunk) and at flower heads, and probing flowers with its bill. One study in Bondi State Forest in southern New South Wales revealed that the species foraged at a height of 5.9 ± 5.8 m (19 ± 19 ft). They seldom look for food on the ground, though do so to feed on shrubs such as the cats paw (Anigozanthos humilis). The red wattlebird prioritises visiting flowers that produce a lot of nectar, such as those of eucalypts, banksias, grasstrees (Xanthorrhoea) and emu bushes (Eremophila). It often prefers plants with easy access to nectar rather than those with tubular flowers (and thus difficult-to-access nectar). The red wattlebird seeks out yellow flower heads of holly-leaved banksia (Banksia ilicifolia), which have much higher nectar content than the more mature red flower heads. The species forages much more often in native than exotic plants, though the introduced coral tree (Erythrina) is popular. In addition to nectar, it takes insects and other small creatures, usually by hawking, and also berries and other fruit. A field study in the Mount Lofty Ranges found that it spent twice as much time feeding on nectar compared to insects. One field study found that red wattlebirds foraged for longer periods when nectar concentrations in flowers were low, and consumed fewer insects at this time. However, this could have been because the temperature was lower and hence insects were less active. In Gingin, Western Australia, 97% of red wattlebirds at a site of two mixed kangaroo paw species were observed feeding on a single species at its peak flowering: cats paw in August and red-and-green kangaroo paw (A. manglesii) in September, with very few visits to the other species or hybrids. In central New South Wales, the red wattlebird forages more often on the foliage of the grey gum (Eucalyptus punctata) over other trees, though it does also show some preference for narrow-leaved ironbark (E. crebra) if grey gum is not present. Red wattlebirds tend to oust noisy friarbirds (Philemon corniculatus) if both species were present.[56] The red wattlebird often forages alongside the New Holland honeyeater (Phylidonyris novaehollandiae), little friarbird (P. citreogularis), western and little wattlebirds, rainbow lorikeet (Trichoglossus moluccanus), purple-crowned lorikeet (Glossopsitta porphyrocephala), satin bowerbird (Ptilonorhynchus violaceus), pied currawong (Strepera graculina) and crimson rosella (Platycercus elegans), though they generally chase other nectar-feeding birds away from a horde of eucalypt flowers. A field study conducted in winter 1978 on Kangaroo Island found red wattlebirds to be territorial around a rich source of nectar, namely a large cup gum (Eucalyptus cosmophylla), driving off smaller honeyeaters. This indicated the species would exclude other species if food was scarce. In New England National Park, red wattlebirds would be more aggressive if there were moderate amounts of nectar in groves of flowering banksias but less so at lean or abundant times. The red wattlebird has a brush-tipped tongue, with a 17 mm (5⁄8 in) long segment bearing around 120 individual bristles. It feeds by placing the bill in a flower and inserting the tongue into its nectar chamber, drawing the nectar up by capillary action. The bristles increase the surface area of the tongue available for the uptake of nectar. Predators and parasites The nests of red wattlebirds are often parasitized by the pallid cuckoo (Cacomantis pallidus), and less commonly by the Pacific koel (Eudynamys orientalis). Nest predators include the brown goshawk (Accipiter fasciatus), black falcon (Falco subniger), pied currawong, Australian raven (Corvus coronoides), common brushtail possum (Trichosurus vulpecula), domestic cat, and snakes. Isospora anthochaerae is an Apicomplexan parasite that has been isolated from the red wattlebird in Western Australia, from oocytes collected from faecal samples.[59] Species of bird louse that have been recorded on the red wattlebird include Menacanthus eurysternus and members of the genera Brueelia, Myrsidea and Philopterus. Interactions with people Red wattlebirds are adversely impacted by land and undergrowth clearing, and have vanished from some habitats thus altered. Despite this, they are classified as Least Concern on the IUCN Red List as they occur over a wide range, have a large population, and the population decline is not rapid. Red wattlebirds are regularly killed by cats and dogs, as well as being hit by cars on roads. In 1924 in northern Victoria, the red wattlebird was described as very wary, on account of being highly regarded (and shot) for its meat. Indeed, it was shot widely for food or sport, or because it was held to be a pest of vineyards or orchards. On occasion, red wattlebirds have raided vineyards and orchards for grapes, stone fruit, figs, olives, loquats, apples, pears and berries, which they puncture and extract the juice or flesh from. The red wattlebird has been kept as an aviary bird in Sydney. It is not difficult to look after but can be very aggressive to other cage birds. Grevillea 'Robyn Gordon' is a useful companion shrub as it bears flowers all year round. [Credit: en.wikipedia.org]
Rusted
S61 passes under a rusted overhead stanchion at Regents Park as run 734E. S Sets, S103 & S61 were running around doing crew training and would later form 34 run for the peak, Wednesday, 1st May 2019.
Sydney Bus Museum 2338 at Millers Point - Lower Fort St
Taken from the Observatory Hill park. The famous Sydney Harbour Bridge is quite an imposing structure in the background of this Pioneer suburb,. Taken during an on road photo shoot
Sydney Bus Museum 2338 at Milsons Point - Luna Park
Posed under the Sydney Harbour bridge just outside Luna Park. Taken during an on road photo shoot
Brisbane. Mirrored false balconies on the entrance foyer of the old Regent Cinema. Built in 1929 as Hoyts Picture Palace.
Some History of Brisbane. The first European settlement in Queensland was a small convict colony which was established at Redcliffe, now a northern beach suburb, in 1824. The settlement was soon moved in 1825 to a better location on the Brisbane River in what is now the CBD of Brisbane. John Oxley suggested this change of location and that the town be known as Brisbane after Sir Thomas Brisbane, Governor of NSW who visited this settlement in 1826. Prior to this the settlement was known as the Moreton Bay. By 1831 Moreton Bay had 1,241 people, but 86% were convicts, and almost all the rest were guards and administrators. One of the founding free men to settle in Brisbane was Andrew Petrie, a government clerk, who arrived in the settlement in 1837. His son later became the first mayor of Brisbane. In 1842 (six years after the settlement of SA) Moreton Bay penal settlement was closed and the area opened to free settlers. Half the convicts at Moreton Bay were Irish Catholics which influenced the development of the settlement thereafter as many stayed on. By 1846 Moreton Bay had a population of 4,000 people, considerably less than that of Burra at the time which had over 5,000 people! In 1848 the first immigrants direct from Britain arrived, as did some Chinese. In 1849 three ship loads of Presbyterians arrived in Brisbane, the first ship being the Fortitude- hence the naming of Fortitude Valley. The colony was still far from self-sufficient in terms of food production. In the mid-1850s German immigrants also started to arrive in the settlement. The only building still standing built by convict labour is the Old Windmill in Wickham Park. During the late 1840s a few grand houses were built in Brisbane like Newstead House at Hamilton and the city began to take shape. All the central streets were named after members of Queen Victoria’s family- Adelaide, Alice, Ann, Charlotte, Elizabeth, Margaret, Mary for the streets parallel to Queen Street, and Albert, Edward, George and William for the streets perpendicular to Queen Street. In 1859 the population had grown sufficiently, to about 30,000 people, for Queensland to be proclaimed a separate colony from NSW with Brisbane (about 6,000 people) as the capital city. It was now a self-governing independent colony. Old Government House was built shortly after this in 1862 followed by numerous colonial government buildings. The French Empire style Parliament House opposite the old Botanical Gardens was erected in 1865 to a design by Charles Tiffin. It had perfect symmetry a mansard roof and an arcaded loggia. It is still one of the most distinctive buildings in Brisbane. Nearby the pastoralists and wealthy built the Queensland Club in Alice Street in 1882 with classical columns but with Italianate style bay windows. The location near parliament house is much like the situation of the Adelaide Club on North Terrace almost adjacent to the SA parliament. The wealthy and pastoralists in both states had immeasurable influence over early colonial politics. One of the other finest colonial buildings of Brisbane is the Old Customs House with the circular copper domed roof on the edge of the Brisbane River. It was erected in 1888. Although Brisbane grew quickly through the following decades it was not incorporated as a city until 1902.Part of the reason for the relatively slow of growth of Brisbane, compared to Adelaide, Melbourne, Perth and Sydney was that it was not the focal point of the state railway network. Queensland always had other major regional centres. The railway from Brisbane reached out to southern Queensland only- Ipswich in 1864, Toowoomba in 1867, and Charleville in 1888. There was no early push to have a railway link between the coastal cities. They were not linked by a railway until 1927 when road transport had already taken over the transport of livestock and freight. The coastal railway to Cairns was always for passenger traffic as much as freight traffic. Unlike the other Australian state capitals, Brisbane City Council governs most of the metropolitan area of Brisbane. In 1925 over twenty shires and municipalities were amalgamated into the City of Brisbane. It was at this time that the landmark Brisbane city Hall was built in Art Deco style. It was opened in 1930. During World War Two, Brisbane had a distinctive history as Prime Minister John Curtin had the “Brisbane Line” as a controversial defense plan, whereby if there was a land invasion of Australia, the northern half of the country would be surrendered at a line just north of Brisbane! Brisbane also became the headquarters for the American campaign in the South Pacific with General Douglas MacArthur based there at times. In 1942 a violent clash erupted between American and Australian service personnel in Brisbane. Between 2,000 and 5,000 men were involved in the riots which spread over two days. One soldier was killed and eight injured by gun fire as well as hundreds injured with black eyes, swollen faces, broken noses etc. On the second night 21 Americans were injured with 11 of them having to be hospitalised. This was The Battle of Brisbane. Yet around 1 million American troops passed through Queensland between December 1941 (just after the bombing of Pearl Harbour) and the end of 1945. They were here to spearhead attacks to take back the Philippines and to prevent the Japanese from taking New Guinea. Black American soldiers were especially unpopular in Brisbane as their landing contravened the “White Australia Policy” of those times. In response to this policy General Douglas MacArthur announced his support for the Australian government’s insistence that no more Black American troops be sent to Brisbane after 1942. The Black American units in Australia were later sent to New Guinea and New Caledonia. Black American troops in New Guinea were not allowed to visit Australia for rest and recreation leave although white American troops were allowed to visit Australia, mainly to Mackay. Resentment between American and Australian troops in Brisbane had to be contained and suppressed. Riots between troops also occurred in Townsville during the War. Today Brisbane is a fast growing city that has far outstripped Adelaide in terms of population, growth and infrastructure.
Banksy in Boston: View of F̶O̶L̶L̶O̶W̶ ̶Y̶O̶U̶R̶ ̶D̶R̶E̶A̶M̶S̶ CANCELLED on Essex St, Chinatown, Boston, with rush hour traffic
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 (US$576,000), 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 $50 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: Overview of the NO LOITRIN piece on Essex St in Central Square, Cambridge
Posted via email to ☛ HoloChromaCinePhotoRamaScope‽: cdevers.posterous.com/banksy-no-loitrin. • • • • • • • • • • 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 is a scan of this Banksy photo running in the the Boston Globe on May 13, 2010. This is the first time I've made the newspaper with one of my photos 🙂 (The Globe later ran a longer article, titled Tag — we’re it: Banksy, the controversial and elusive street artist, left his mark here. Or did he? with a photo taken by one of their staff photographers, Essdras M. Suarez. • 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. • The photo has also appeared, among other places, on CafeBabel, a European online affairs magazine based in Paris. • • • • • 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 (US$576,000), 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 $50 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
Red Wattlebird (Anthochaera carunculata)_DSC0968
Red Wattlebird (Anthochaera carunculata) The red wattlebird (Anthochaera carunculata) is a passerine bird native to southern Australia. At 33–37 cm (13–14 1⁄2 in) in length, it is the second largest species of Australian honeyeater. It has mainly grey-brown plumage, with red eyes, distinctive pinkish-red wattles on either side of the neck, white streaks on the chest and a large bright yellow patch on the lower belly. The sexes are similar in plumage. Juveniles have less prominent wattles and browner eyes. John White described the red wattlebird in 1790; three subspecies are recognized. The species is found in southeast Queensland, New South Wales, Victoria, South Australia and southwest Western Australia in open forest and woodland, and is a common visitor to urban gardens and parks. Loud and conspicuous, the red wattlebird is generally found in trees, where it gets most of its food; occasionally it forages on the ground. It is one of the largest nectarivorous birds in the world, feeding from a wide variety of flowering plants. Insects also comprise part of its diet. It is territorial and at times aggressive to birds of other species, often defending rich sources of nectar. Breeding throughout its range, the red wattlebird builds a cup-shaped nest in a tree and raises one to two broods a year. Although it has declined in places from land clearing, it is classified as Least Concern on the IUCN Red List. Taxonomy The red wattlebird was first described as the wattled bee-eater by the Irish surgeon and naturalist John White in his Journal of a Voyage to New South Wales, which was published in 1790. He wrote that it was the "size of a missel thrush, but much larger in proportion". The taxonomic descriptions in White's book are believed to have been written by the English naturalist George Shaw, who is generally credited as the author by subsequent authorities. The specific epithet, carunculata, was introduced later in the same year by John Latham. The word is derived from caruncula, Latin for a small piece of flesh.[9] Both Shaw and Latham assigned the red wattlebird to the genus Merops. The species was moved to Anthochaera in 1827 by the naturalists Nicholas Aylward Vigors and Thomas Horsfield. Common names include gillbird, gilly warbler, barkingbird, muttonbird, butcherbird, what's o clock and chock. Unlike many species in southwestern Australia, the red wattlebird was given names by the local indigenous people that were onomatopoeic (sounding like the calls they make). Names recorded include wodjalok, durdal, doongorok, and djoongong (this last name is also applied to the western wattlebird). In the Eyre Peninsula in South Australia, the local Barngarla people knew it as ngarkarko or ngarkabukko. The local people of Denial Bay in South Australia called it noggal, and the Ngarrindjeri people of the Lower Murray region in South Australia knew it as rungkan. There are three recognised subspecies, though there is a zone of intermediate birds across western Victoria and eastern South Australia, bordered by western Port Phillip Bay to the east, Mount Lofty Ranges to the West and Little and Big Desert parks to the north. The differences in plumage are not generally prominent enough to be noticeable in the field. A. c. carunculata (Shaw, 1790) – found in southeast Australia, namely Victoria, eastern New South Wales, and southeastern Queensland. A. c. clelandi (Mathews, 1923) – Kangaroo Island (off south Australia). Of a similar size to the nominate subspecies, it tends to have darker plumage, a longer bill, and shorter tarsus. A. c. woodwardi Mathews, 1912 – southwest and south-central Australia west of the Mount Lofty Ranges. This subspecies is a little smaller than the nominate subspecies and has shorter wings. Its plumage is similar though the yellow patch on the belly is more prominent. Analysis of DNA showed that the closest relative of the red wattlebird is the yellow wattlebird of Tasmania, the pair splitting from the ancestor of the regent honeyeater—their next closest relative. Honeyeaters are related to the Pardalotidae (pardalotes), Acanthizidae (Australian warblers, scrubwrens, thornbills, etc.), and Maluridae (Australian fairy-wrens) in the large Meliphagoidea superfamily. Description The sexes of the red wattlebird are similar in size and plumage, the length of the adult male ranging from 33 to 37 cm (13 to 14 1⁄2 in) and adult female 34 to 37 cm (13 1⁄2 to 14 1⁄2 in). With an average weight of 100–120 g (3 1⁄2–4 1⁄4 oz), the red wattlebird is one of the largest nectar-feeding birds in the world, and second largest species of honeyeater native to Australia, eclipsed only by the yellow wattlebird. The crown, forehead and upper lores (area between the eyes and nostrils) are dark brown, streaked with pale brown at the front of the crown and white at the rear of the crown. The nape (back of the neck) is slightly paler brown, with white streaks. A whitish triangular marking covers the lower lores and anterior ear covert feathers, bordered below by a dark brown stripe from the lower mandible down to the wattle and around to behind the eye. The throat is dark brown streaked with white. The iris of the eye is orange-red to crimson. The distinctive pinkish-red wattles dangle from the lower rear corner of the ear coverts on either side of the neck, and there is a sliver of pink bare skin at the lower border of the white patch on the face. The chest and belly are streaked white, and there is a bright yellow patch towards the tail. The strong legs and feet are pink or pinkish-brown and the downward-curving bill is black. The average length of the bill is around 23.5 mm (1 in), and 6.7 mm (1⁄4 in) wide and 6.8 mm (1⁄4 in) high at its base. The gape is grey-black, while the inside of the mouth is orange. In common with other honeyeaters, the red wattlebird has a long specialized tongue to extract nectar from flowers. The tongue can extend well beyond the tip of the bill and is divided at the end to form a brush-like structure with over a hundred bristles that soak up nectar by capillary action. The red wattlebird begins moulting after the breeding season, starting with the primary flight feathers in November or December and finishing between the following March and May. The feathers of the breast, back, median and lesser covert feathers are moulted before those of the crown, remiges and retrices. Immature red wattlebirds are generally less flamboyant. Juveniles have much less prominent wattles, brown irises, a pale crown and much less yellow on the belly. They moult into first immature plumage within a few months of leaving the nest. First immature birds are more similar to adults overall, having red irises with brown rings, wattles larger but still smaller than adults, and a greyish pink gape. The red wattlebird is hard to confuse with any other species, though in poor visibility might be mistaken for the spiny-cheeked honeyeater, or little or western wattlebirds. Call Red wattlebirds are noisy animals, producing a range of raucous calls. Pairs of birds appear to duet, particularly at food sources, with the male producing a loud cackle and the female a whistling call. The male's cackle is loudest between 1 and 3 kHz frequency. A guttural-sounding call, it has been variously described as having a squawking, coughing or hiccuping sound. Males cackle when foraging by themselves, when with other birds, or when declaring their territory to other birds. The whistling call consists of up to five rapid whistles that may or may not ascend in tone and are repeated 3–4 times. Both sexes commonly utter a single chock note that may be harsh and guttural or have 4–5 harmonics. This is thought to be a contact call. These calls all carry over long distances. Red wattlebirds utter two types of alarm calls, alternating between them while mobbing other animals. One is a harsh call over a wide frequency (1.3 to 5.9 kHz) that is louder at lower frequencies. The other a lower-pitched staccato call with a frequency of 1.1–2.2 kHz. They give a harsh call when trying to distract intruders from the vicinity of the nest or when picked up, often trying to flap or peck the handler. Distribution and habitat The red wattlebird is found in southeast Queensland, where it occurs south of Noosa and Cooloola, becoming more common south of Brisbane and Toowoomba. Further south into New South Wales it is found most places east of (and including) the Great Dividing Range and stretching west to the southern North-West Plain, Central Western Slopes and eastern Riverina, and is an occasional visitor to points along the Murray River valley. It is found across Victoria, though is uncommon in the northwest of the state. In South Australia, Devonborough Downs Station, Manunda, Wilpena Pound and Nullarbor Station mark the northern limits of its range. There are scattered records from the Nullarbor Plain, but the species is common in Western Australia west of 125 °E and south of 29 °S. The yellow wattlebird replaces it in Tasmania. The red wattlebird has become more common in some localities, such as the Sunraysia district in the 1960s and Nambucca Heads and Lefevre Peninsula in the 1980s. Numbers breeding have increased in Sydney and Adelaide. The red wattlebird is a rare vagrant to New Zealand, with confirmed records at Matakana in 1865 and Rohutu, Taranaki in 1885, and a third unconfirmed from Motupiko in 1938. The red wattlebird appears to be a permanent resident in much of its range, though its movements are poorly known. It appears to be partly migratory in Western Australia and the north coast of New South Wales. In southeastern New South Wales and the Australian Capital Territory, it appears to move to lower altitudes for winter. For instance, birds vacate the Brindabella Range over the cooler months. Overall, little pattern is discernible in the species' movements, though red wattlebirds appear to move to feed on populations of flowering banksias and eucalypts, such as winter-flowering banksias in Perth over the cooler months. Large numbers arrive in time to feed on flowering native apples (Angophora) in Mudgee and Cobbora districts in central-western New South Wales, and on white box (Eucalyptus albens) at Barrington in central-northern New South Wales. A mainly resident population on the Swan Coastal Plain north of Perth is supplemented during winter by more arriving from inland areas. South of Perth, red wattlebirds are more locally nomadic, moving to new patches of blooming wildflowers. East of Perth in areas around Kellerberin, Kwolyin and Nangeenan, the red wattlebird is present from late autumn to spring, breeding in August and September. Around Lake Grace, the red wattlebird is present year-round. Open sclerophyll forest and woodland, generally dominated by eucalypts, is the most common habitat of the species. It is more common in forests with ample shrubby or grassy understory. It is less commonly encountered in shrubland, heath, or margins of wet sclerophyll forest. It is rarely found in mature pine plantations. Within urban areas, it is abundant in parks and reserves, gardens and golf courses, as well as orchards and vineyards. It occasionally ventures into subtropical, semi-arid or subalpine regions, and has been found up to 1,900 m (6,000 ft) above sea level. The red wattlebird is rarer in forests that have been affected by dieback (infection by the pathogen Phytophthora cinnamomi). Behaviour A loud and active bird, the red wattlebird is found in pairs, in a small family group, or alone during the breeding season, and gathers in larger groups of up to several hundred birds over winter. It flies straight or with a slightly undulating pattern, alternating between gliding and flapping its wings with quick shallow beats, at or slightly above the level of the tree canopy. The red wattlebird moves on the ground by hopping, cocking its tail upwards slightly. Aggressive and territorial, the red wattlebird defends its nest and sources of food against other birds. It either calls at, snaps at the tails of, or flies at other birds, sometimes scuffling with members of the same species or other large honeyeaters in the air. Displacement is a dominant display in which a red wattlebird will land on a perch that has been immediately vacated by another bird. A smaller red wattlebird adopts a horizontal appeasement posture side-on to the aggressor in which it lowers its head, flutters its wings and edges closer to the other bird. As well as smaller bird species, red wattlebirds can mob and chase larger species such as the Australian magpie (Gymnorhina tibicen), butcherbirds and currawongs, the black-faced cuckooshrike (Coracina novaehollandiae), the olive-backed oriole (Oriolus sagittatus), crows and ravens, the laughing kookaburra (Dacelo novaeguineae) and even small raptors like the collared sparrowhawk (Accipiter cirrocephalus). Breeding The red wattlebird breeds throughout its range, with nesting taking place between July and December, though occasionally outside these months if conditions are favourable. One or two broods are laid each year. Birds generally nest as solitary pairs. The nest is a cup-shaped structure formed from sticks and leaves lined with bark, grass and hair, between 2 and 16 metres (7 and 50 ft) above ground, usually in the forked branches of a tree—generally a eucalypt. The nest is generally centrally located rather than in the periphery of the tree. A study in Eastwood State Forest near Armidale in New South Wales found that red wattlebirds preferred to nest in manna gum (Eucalyptus viminalis) and apple box (E. bridgesiana). A clutch of two or three pale brown- and lavender-spotted pinkish eggs are normally laid. They measure 33 mm × 22 mm (1 1⁄4 in × 7⁄8 in) and are a tapered oval in shape. The eggs are normally incubated by both parents, but sometimes just by the female. They hatch after 16–21 days. The chicks are born almost naked with a small amount of grey down on their head and body. They are mostly brooded by the female but sometimes the male will also do so. The nestlings are fed by both parents, and occasionally immature birds will also contribute. Their eyes open at around 7 days. They fledge 15–20 days after hatching and both parents continue to feed them for a further 2–3 weeks. Young are given manna (crystallised plant sap) and insects such as beetles, bugs and flies. Feeding The red wattlebird is predominantly a nectar-feeder, foraging mostly in trees, in particular climbing along branches (rather than the trunk) and at flower heads, and probing flowers with its bill. One study in Bondi State Forest in southern New South Wales revealed that the species foraged at a height of 5.9 ± 5.8 m (19 ± 19 ft). They seldom look for food on the ground, though do so to feed on shrubs such as the cats paw (Anigozanthos humilis). The red wattlebird prioritises visiting flowers that produce a lot of nectar, such as those of eucalypts, banksias, grasstrees (Xanthorrhoea) and emu bushes (Eremophila). It often prefers plants with easy access to nectar rather than those with tubular flowers (and thus difficult-to-access nectar). The red wattlebird seeks out yellow flower heads of holly-leaved banksia (Banksia ilicifolia), which have much higher nectar content than the more mature red flower heads. The species forages much more often in native than exotic plants, though the introduced coral tree (Erythrina) is popular. In addition to nectar, it takes insects and other small creatures, usually by hawking, and also berries and other fruit. A field study in the Mount Lofty Ranges found that it spent twice as much time feeding on nectar compared to insects. One field study found that red wattlebirds foraged for longer periods when nectar concentrations in flowers were low, and consumed fewer insects at this time. However, this could have been because the temperature was lower and hence insects were less active. In Gingin, Western Australia, 97% of red wattlebirds at a site of two mixed kangaroo paw species were observed feeding on a single species at its peak flowering: cats paw in August and red-and-green kangaroo paw (A. manglesii) in September, with very few visits to the other species or hybrids. In central New South Wales, the red wattlebird forages more often on the foliage of the grey gum (Eucalyptus punctata) over other trees, though it does also show some preference for narrow-leaved ironbark (E. crebra) if grey gum is not present. Red wattlebirds tend to oust noisy friarbirds (Philemon corniculatus) if both species were present.[56] The red wattlebird often forages alongside the New Holland honeyeater (Phylidonyris novaehollandiae), little friarbird (P. citreogularis), western and little wattlebirds, rainbow lorikeet (Trichoglossus moluccanus), purple-crowned lorikeet (Glossopsitta porphyrocephala), satin bowerbird (Ptilonorhynchus violaceus), pied currawong (Strepera graculina) and crimson rosella (Platycercus elegans), though they generally chase other nectar-feeding birds away from a horde of eucalypt flowers. A field study conducted in winter 1978 on Kangaroo Island found red wattlebirds to be territorial around a rich source of nectar, namely a large cup gum (Eucalyptus cosmophylla), driving off smaller honeyeaters. This indicated the species would exclude other species if food was scarce. In New England National Park, red wattlebirds would be more aggressive if there were moderate amounts of nectar in groves of flowering banksias but less so at lean or abundant times. The red wattlebird has a brush-tipped tongue, with a 17 mm (5⁄8 in) long segment bearing around 120 individual bristles. It feeds by placing the bill in a flower and inserting the tongue into its nectar chamber, drawing the nectar up by capillary action. The bristles increase the surface area of the tongue available for the uptake of nectar. Predators and parasites The nests of red wattlebirds are often parasitized by the pallid cuckoo (Cacomantis pallidus), and less commonly by the Pacific koel (Eudynamys orientalis). Nest predators include the brown goshawk (Accipiter fasciatus), black falcon (Falco subniger), pied currawong, Australian raven (Corvus coronoides), common brushtail possum (Trichosurus vulpecula), domestic cat, and snakes. Isospora anthochaerae is an Apicomplexan parasite that has been isolated from the red wattlebird in Western Australia, from oocytes collected from faecal samples.[59] Species of bird louse that have been recorded on the red wattlebird include Menacanthus eurysternus and members of the genera Brueelia, Myrsidea and Philopterus. Interactions with people Red wattlebirds are adversely impacted by land and undergrowth clearing, and have vanished from some habitats thus altered. Despite this, they are classified as Least Concern on the IUCN Red List as they occur over a wide range, have a large population, and the population decline is not rapid. Red wattlebirds are regularly killed by cats and dogs, as well as being hit by cars on roads. In 1924 in northern Victoria, the red wattlebird was described as very wary, on account of being highly regarded (and shot) for its meat. Indeed, it was shot widely for food or sport, or because it was held to be a pest of vineyards or orchards. On occasion, red wattlebirds have raided vineyards and orchards for grapes, stone fruit, figs, olives, loquats, apples, pears and berries, which they puncture and extract the juice or flesh from. The red wattlebird has been kept as an aviary bird in Sydney. It is not difficult to look after but can be very aggressive to other cage birds. Grevillea 'Robyn Gordon' is a useful companion shrub as it bears flowers all year round. [Credit: en.wikipedia.org]
Sydney water supply pipelines
I shot this in a Sydney suburb called Regent's Park. It is the main water supply pipeline of Sydney carrying fresh water from Waragamba dam to the population of Sydney. It goes for about 30 kms from the Prospect reservoir. HDR
Regents Park train
A Millennium stops at Homebush on a Regents Park service.
Regents Park Hotel, Regents Park, Sydney, NSW
2 Amy Street, Regents Park, NSW.
Electric Museum
On it’s third and final night of dropping rail S.E.T.S Loco 8606 enters the City Inner and passes through Museum on Train #E702 Robel Rail Set bound for Circular Quay where rail dropping would begin and continue dropping rail all the way to Town Hall. Upon arrival at Central, 8144 would be waiting at Central to tow 8606 and the rail set to Enfield via the SMFL (South Metropolitan Freight Line) instead of via Regents Park as a possession was in place that morning between Sefton Park Junctions and Lidcombe Loop. I tried to stay out for this movement but I gave up 0200 due to fatigue.
Regents Park Hotel, Regents Park, NSW
2 Amy Street, Regents Park, NSW.
Sydney Bus Museum - Australia Day Treat - 1
Australia Day 2019 This year the Sydney Bus Museum's contribution to our city's Australia Day celebrations took vintage buses across the Sydney Harbour Bridge, to Bradfield Park, Kirribilli and North Sydney. We caught up with them, at the corner of Miller and Berry Streets. Ironically, right near the future Victoria Cross Metro Station. Fleet numbers 1579 and 1792, Leyland Titan and an AEC Regent.
Regents Park, Sydney, NSW.
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Regents Park II
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