27. One Nation Under CCTV, 2008
Location: London
Banksy's One Nation Under CCTV was one of many digs aimed at Big Brother. This piece, however, is memorable for the way Banksy pulled off the stunt. The Royal Mail granted permission for the creation of an enormous piece on the wall within the Post Office yard on Newman Street, without knowing what the work would look like. Scaffolding was constructed, reaching multiple stories and standing for a large portion of the week.
Much to the surprise of the Royal Mail and surrounding residents, the scaffolding would be removed to unveil the message "One Nation Under CCTV." The piece shows a young boy on the sixth rung of a tall ladder, rolling out the block lettering. To the left of the subject is a police officer and watchdog. The piece was seen as a bold statement against CCTV, perfectly placed directly to the left of a number of closed-circuit cameras. The work was later painted over.
地点：伦敦
班克斯的一个国家在中央电视台是许多挖掘旨在大哥之一。这一块，但是，是令人难忘的方式班克斯被拉断的绝技。皇家邮政获准用于创建于内上纽曼街邮政局院子墙上一个巨大的一块，不知道工作是什么样子。脚手架被修建，达到多个故事和站立一周一大截。
多以英国皇家邮政和周边居民的惊喜，脚手架将被删除揭幕消息“一个国家在中央电视台。” 这件作品显示了一个高大的阶梯第六梯级一个年轻的小伙子，轧出块刻字。被摄物体的左侧是一名警察和看门狗。这件作品被视为对中央电视台一个大胆的声明，直接完全有条件的一些闭路摄像头的左侧。这项工作后来被画了。
1. Flower Thrower, 2003
Location: Jerusalem
This iconic stencil illustration continues to stand out among all of the Bristol artist's work. The subject, who appears to be involved in a riot, wears a handkerchief and backwards cap and is depicted armed with a bouquet of flowers instead of a Molotov cocktail. The complete work is done in black and white, except the flowers, which are in color. The work has been reproduced in the form of prints, phone cases, T-shirts, and even tattoos.
Banksy leads us to believe the subject has armed himself for a riot or a war. The substitute of the flowers for a weapon portrays peace and hope in place of destruction. The work appears on the front and back cover of Banksy Wall and Piece, the widely popular 2005 compilation book featuring the artist's work.
地点：耶路撒冷
这个标志性的模板图继续脱颖而出所有布里斯托艺术家的作品。这个问题，谁似乎参与了骚乱，戴着一块手帕和向后帽，被描绘手持一束鲜花，而不是一个燃烧弹。完整的工作是在黑色和白色进行，除了花，它是彩色的。这项工作已转载于印刷品，手机套，T恤，甚至纹身的形式。
班克斯让我们相信这个问题已经武装了自己的暴动或战争。的鲜花为武器替代描绘和平与希望的地方销毁。工作出现的封面和封底班克斯墙和片，广为流行的2005汇编的书特色的艺术家的作品。
21. Sorry! The lifestyle you ordered is currently out of stock, 2011
Location: London
Banksy has always been one to point out the obvious, especially when it comes to economic concerns with his native county. In 2011, Banksy was busier than ever. Capping off the year was a batch of pieces in London, one of which read, "Sorry! The lifestyle you ordered is currently out of stock." The piece appeared in Canary Wharf, one of London's two financial districts, on the side of a vacant building within a rectangular space for advertisements. Banksy's placement of this piece allowes for the backdrop of London's financial skyscrapers in the distance. The message was an appropriate satire on London's economic recession.
地点：伦敦
班克斯一直是一个点出了明显的，特别是当它涉及到经济问题与他的家乡县城。2011年，班克西比以前更忙。加盖的一年，是一批作品在伦敦，其中一个写着“对不起！您订购的生活方式是目前缺货。” 这件作品出现在金丝雀码头，伦敦两大金融区之一，在空置的建筑物的侧面为广告的矩形空间内。这片班克斯的位置allowes为伦敦金融摩天大楼在远处的背景下。该消息是在伦敦的经济衰退适当的讽刺。
14. Follow Your Dreams, 2010
Location: Boston
Banksy's Follow Your Dreams piece appeared in the Chinatown district of Boston in May of 2010. The image displays a fatigued painter beside the painted words "Follow Your Dreams" in capital letters. The phrase becomes secondary to the word "Cancelled," which is sprawled across the empowering message. Banksy gives the male painter a typical black and white color, while the initial words appear in a green tint. The word "Cancelled" is done in white capital letters housed by a red rectangle, resembling a stamp. The placement of this work on Essex Street, in the low-income district of Boston, gives the piece a deeper meaning, a commentary on class stratification.
地点：波士顿
班克斯的追随梦想一块出现在波士顿的唐人街区，在2010年的五月。图像显示绘文字大写字母“跟随你的梦想”旁边一个疲惫的画家。这句话成为次要的是整个授权信息趴“取消”二字。班克斯给男性画家典型的黑白配色，而最初的词出现在一个绿色的色调。“取消”这个词在安置了一个红色的长方形白色的大写字母完成，类似一个印记。这项工作在埃塞克斯街的位置，在波士顿的低收入区，使片更深层的意义，在阶级分层的一篇评论。
37. Every Picture Tells A Lie, 2003
Location: Berlin
Banksy's Every Picture Tells A Lie was a mural curated by the contemporary arts space Kuenstlerhaus Bethanien back in 2003. The mural was unfortunately painted over numerous times, ruining the work for good—or so everyone thought. The project was later restored in 2011 by Brad Downey during a exhibition called "What Lies Beneath," a task that required hours of work to remove layers of paint. Downey's relationship with the Every Picture Tells A Lie mural dates back to his work at the exhibition that housed it back in 2003.
Unlike another early work, Gorilla In A Pink Mask, this piece was able to be restored to its original look. The piece features five of Banksy's smiley face police troopers, which would become recurring characters in his later works. Above the arch-like formation are the words and title of the work, which read, "Every Picture Tells A Lie."
位置： 柏林
Banksy 的每张照片告诉 A 撒谎是一幅壁画由当代艺术策展空间 Kuenstlerhaus Bethanien 2003 年回来。壁画不幸的是画了无数次，毁了良好的工作 — — 或所以每个人都想。该项目后来恢复了 2011 年由布拉德 · 唐尼称为"什么谎言下面，"一个任务，需要几个小时的工作要移除的漆层展览期间。与每个图片告诉 A 说谎壁画日期，回到他的工作在展览，安置它在 2003 年回的多尼的关系。
与另一个早期的作品，大猩猩在 A 粉色面具，不同的是这片就能够恢复到其原来的样子。片特点五 Banksy 的笑脸脸警察骑兵，将成为他以后的作品中反复出现的字符。以上拱桥状形成是单词和标题工作，阅读，"每张照片告诉谎言"。
19. Peel Fiction/Tribute To Ozone, 2007
Location: London
Banksy's 2007 Peel Fiction piece, which was an adaptation of a scene from Quentin Tarantino's 1994-cult-classic,Pulp Fiction, showed Samuel L. Jackson and John Travolta pointing bananas instead of guns. The piece was removed by order of Transport for London, who cited that the piece encouraged crime. Banksy returned to the scene this time, placing the actors in banana suits to mock Transport's claim. That second installment was ragged by a young artist named Ozone, who critiqued the piece with a dig at Banksy. Beside Ozone's work, the 19-year-old left a comment, "If it's better next time I'll leave it." Ozone and fellow artist, Wants, were hit and killed by an underground train. Banksy would return for a third installment at the site, this with a great amount of compassion. Banksy painted a gloomy piece in a grey tone that showed an angel protected by a bulletproof vest gripping a skull—a heartfelt tribute to the fallen young artist.
位置： 伦敦
涂鸦的 2007年皮小说片断，是适应的昆汀塔伦蒂诺的 1994年-崇拜-经典，纸浆小说，表明塞缪尔 L.杰克逊和约翰 · 特拉沃尔塔指向香蕉而不是枪的一景。片断中移除了运输为伦敦引片断鼓励犯罪的人的命令。Banksy 返回现场这一次，把演员放在香蕉西装来嘲笑运输的索赔。那第二部分是由年轻的艺术家命名为臭氧，批评片断与 Banksy 挖苦不齐整。旁边臭氧的工作，今年 19 岁留了评论，"如果它是更好下一次我就会离开它"。臭氧和同胞艺术家想要、 被打和地下火车被杀害。Banksy 将返回的第三部分： 在该站点，这以很大的同情。Banksy 绘一块阴沉在灰色色调，表明受扣人心弦的头骨一件防弹背心的天使 — — 堕落的年轻艺术家的诚挚感谢。
12. Mona Lisa Rocketlauncher, 2007-2008
Location: London
Banksy's Mona Lisa Rocketlauncher first appeared in the Soho district of West London. A video briefly surfaced online where Banksy appears to be at work on this piece. The video shows the process of whitewashing, and the person on camera places an image of Mona Lisa holding a bazooka gun on the wall. The setting of the video appears to be Noel Street.
The work remains true to Mona Lisa's lackluster expression, but she has a rocketlauncher placed on her shoulder and wears a headset. Her hands are no longer folded in the traditional manner, instead bracing the weight of the weapon she holds. A bit of a comical and less-thought provoking piece, Mona Lisa is seen calm and collected even in the face of war.
位置： 伦敦
Banksy 的 Mona Lisa Rocketlauncher 首次出现在 Soho 区的西伦敦。简要地哪里出现在线视频 Banksy 似乎也在这一块的工作。视频显示的粉饰，过程和照相机上的人的地方拿着火箭筒枪在墙上的蒙娜丽莎的图像。设置视频的似乎是诺埃尔街。
工作仍然对蒙娜丽莎的平淡无奇表达，但她已放在她的肩上 rocket launcher，戴着耳机。她的手不再被折叠的传统方式，而支撑她持有的武器的重量。有点滑稽的思想较少一块挑衅，蒙娜丽莎是见过的平静和收集即使面对战争。
Image v13. Napalm, 2004
Location: N/A (work on canvas)
Banksy's Napalm piece depicts a nine-year-old girl named Kim Phuc. Phuc was the subject of a photo in 1972, which showed the naked young girl running from her home after a Napalm blast. Banksy removed Phuc from Nick Ut's original photo and placed her hand-in-hand with two of the United States' most famous pop-culture characters. The piece presents a biting critique of the United States. Other critics saw the piece as a take on the treatment of Vietnamese civilians during war.班克斯的凝固汽油弹作品描绘了一个9岁的女孩叫金福。福是在1972年的照片，显示了赤裸的年轻女孩凝固汽油弹爆炸后从她家跑的主题。班克斯移除福从尼克UT的原始照片，放在她的手在手的两个美国最著名的流行文化人物。这件作品呈现美国的咬批判。其他批评者看到了一块作为作为在越南平民战争期间的治疗。
CULTURE TALKS /// WULLAE WRIGHT
I am naturally more skilled in the arts than in any other academic or life skills – for instance I am terrible at Maths. From a young age I’ve had a keen interest in art; later this opening up to music too. I can be quite critical of art, particularly modern art. I am neither a qualified critic nor have a degree level of academia in art; however I know what I like and what I feel passionate about. From my own subjective point of view, I feel much modern art lacks any real substance or meaning; and rarely evokes any emotive strand in my body other than frustration.
Graffiti artist Banksy definitely thwarts that tainted view and horrid feeling I have about modern art. I respect the artist for their anonymity, keeping the art about the art. The obvious and underlying statements Banksy’s work has can be an incredible paradox – powerful and moving whilst terribly humorous. Graffiti art is not a new or pioneering style in the art world; however Banksy’s work is unique. Banksy’s modern stencilled combinations are already iconic, withintelligent political and social messages. They have meaning, they are well thought out concoctions, and they evoke different feelings and thoughts – you engage with it.
My particular favourite works of Banksy are the Mona Lisa with the Rocket Launcher, and Ronald McDonald, Mickey Mouse and the Vietnamese Girl holding hands.
With the Mona Lisa piece, I love Banksys use of satire with a classic painting to make a modern political statement in such a humorous way, is intelligent and creative. It is a captivating piece, and is ingrained in my mind.
The Ronald McDonald, Mickey Mouse and the Vietnamese Girl holding hands struck a particularly uncomfortable chord with me. The devastation felt by innocent Vietnamese people due to the chemical bombing and war in the 1970s is a terrible and shameful tragedy, and the picture of the naked girl fleeing encapsulates that so well. Banksy combining this with two symbols of Capitalist America – Ronald McDonald and Mickey Mouse, holding her hands with smiles on their faces, to me, helps illustrate how ridiculous and horrible politics in this world can be.
There are very few artists like Banksy, who have such an impact on the art world and have such important statements and messages. In my opinion, there are so many pretentious artists who waste our time with pointless metaphors about their pointless, meaningless work. Banksy, in my opinion, is one of the best artists of all time.
我自然比其他任何学术或生活技能更熟练的艺术 - 比如我是可怕的数学。从小我已经在艺术有着浓厚的兴趣，后来这个开放的音乐了。我可以是相当关键的艺术，尤其是现代艺术。我既不是一个合格的批评家也没有学艺术的一定程度的水平，但是我知道我喜欢什么，我感到充满激情。但从我自己的主观角度来看，我觉得很多现代艺术没有任何实质内容或意义，而很少唤起任何感情链在我的身体比其他的无奈。
涂鸦艺术家班克斯无疑阻挠了被污染的看法和可怕的感觉，我对现代艺术。我尊重的艺术家为他们的匿名性，保持对艺术的艺术。最明显的和潜在的报表班克斯的作品有可能是一个令人难以置信的悖论-强大和移动，而可怕的幽默。涂鸦艺术是不是一个新的或开创性的风格在艺术世界，但是班克斯的作品是独一无二的。班克斯的现代喷刷组合已经标志性的，具有智能化的政治和社会讯息。他们的意思，他们是经过深思熟虑的调酒，以及它们所唤起不同的感受和想法-你搞它。
班克斯的我特别喜欢的作品是蒙娜丽莎的火箭发射器，以及麦当劳叔叔，米老鼠和越南女孩手牵着手。
与蒙娜丽莎片，我爱Banksys使用讽刺采用了经典的绘画，以现代政治声明中这样的幽默方式，是智能和创造性。这是一个迷人的一块，而且是根深蒂固在我的脑海。
在麦当劳，米老鼠和越南女孩手牵着手拨动了特别难受我的心弦。由于化学轰炸和战争在20世纪70年代感受到无辜的越南人民造成的破坏是可怕的和可耻的悲剧，而赤身裸体的少女逃亡的画面封装的那么好。班克斯与资本主义美国的两个符号相结合这一点 - 麦当劳叔叔和米老鼠，握着她的手，在他们脸上的笑容，对我来说，有助于说明在这个世界荒谬和可怕的政治怎么都可以。
很少有艺术家像班克斯，谁拥有对艺术世界如此大的影响，并有这样重要的声明和消息。在我看来，有这么多自命不凡的艺术家谁浪费我们的时间与毫无意义的隐喻对他们毫无意义的，毫无意义的工作。班克西，在我看来，是有史以来最优秀的艺术家之一。
At first glance, and out of context, this image looks like Ronald McDonald and Mickey Mouse are kidnapping some naked child. Within that creepiness is her face, and what makes it worse is when you learn the context of the girl from the original image:
This Photograph from the Vietnam War taken June 8, 1972 shows Kim Phuc, as a 9 year-old-girl running from her home by Trang Bang after it was attacked in a Napalm blast. Photographer Nick Ut captured this moment of terror and immortalized it for the world to see. So why did Banksy pick this girl, as the child holding the hands of the 2 most recognizable faces in the world? The two main faces of America in pop-culture? It seems like Banksy, a British street/graffiti artist, is making a comment on the way other cultures look at Americans in respect to how we see ourselves, and the vise-versa of how America sees itself through the eyes of other cultures. The original image itself is printed very large, and with only a warm sepia tone for the design, white as the fill, and grey for the background. It’s great that it is printed large, because that speaks to how the conflict of American consumerism versus the outside world should be viewed. On the large scale. Mickey Mouse and Ronald McDonald almost seem arrogant in their smiles, while this poor girl with burns on her back is screaming, running, trying to get away. It also makes Banksy seem smug in his views on America and our capitalist society. What’s ironic, is that this image has been replicated numerous times for consumption to the masses of American pop culture. Banksys’ work has a following. Not just this image, but much of his work, so it seems funny that prints of this image are for purchase, as well as Banksy Mugs and tote bags. Maybe its just a strange coincidence. That this image shows a big social commentary on the United States treatment of people during not just the Vietnam War, but today with job outsourcing and labor being shipped overseas while all of our products are still made in Eastern Asia. This image was printed at the start of our own economic decline as well. Hmmm…Maybe its just a strange coincidence.
The color scheme may or may not have do with just the original photograph being black and white. Banksy chose to alter it only slightly in the mute tone of brown. The fact that its almost monochromatic adds to the drama of the content. If Mickey had those red buttons, or Ronald with that big red afro, shoes, & smile…It wouldn’t be as effective. Color in this instance, would have taken away from the message to be read from his work. There have been prints made since with slight alterations to the color, and you can get them pocket sized for your convenience. Either way, its a strong comment, and something people should look at warily, especially if you have a strong political opinion.
这张照片从越南战争采取了1972年6月8日显示金福，一个9岁的女孩由庄浜从她家跑了被攻击的凝固汽油弹爆炸后。摄影师尼克Ut的捕捉到这一瞬间的恐怖和永生它让全世界都看到。那么，为什么班克斯挑这个女孩，因为孩子拿着2最熟悉的面孔在世界的手中？美国的流行文化的两个主表面？这似乎是班克斯，英国街/涂鸦艺术家，正在途中其他文化看美国人就到我们如何看待自己，和反之亦然美国如何看待自己通过其他文化眼中的评论。原始图像本身的印刷非常大，只有一个温暖的棕褐色调设计，白色作为填充，和灰色的背景。这是伟大的，它是印刷大，因为这充分说明美国是如何消费与外部世界的冲突应该被看作。在大的规模。米老鼠和麦当劳叔叔几乎傲慢似乎在他们的一颦一笑，而这个可怜的女孩，在她的背上烧伤尖叫，奔跑，试图摆脱。这也使得班克斯似乎踌躇满志的他对美国和我们的资本主义社会的看法。什么是具有讽刺意味的是，这一形象已被复制无数次食用，以美国流行文化的群众。Banksys的工作有以下几点。不只是这个形象，但他的大部分工作，因此它似乎好笑，这个形象的版画是您的报价，以及班克斯杯和手提袋。也许它只是一个奇怪的巧合。这个图像显示过程中不只是越南战争对美国治病人一个很大的社会评论，但今天的工作外包和劳务被运往海外，而我们所有的产品在东亚仍在进行。此图片被印在我们自己的经济衰退开始时也是如此。嗯......也许它只是一个奇怪的巧合。
配色方案可能会或可能不会做的只是原来的照片是黑白的。班克斯选择改变它仅稍高于棕色静音音。其几乎单色添加到该内容的连续剧的事实。如果有米奇的红色按钮，或者罗纳德与大红色的黑人，鞋子，和微笑...它不会被视为有效。色彩在这种情况下，会采取远离从他的作品阅读邮件。曾有以来取得，稍作修改的彩色打印，而且你可以让他们口袋大小方便您使用。无论哪种方式，它是一个强大的评论，一些人应该看看警惕，特别是如果你有一个强大的政治见解。
Mountains of Garbage
http://www.inspirationgreen.com/chinese-artist-yao-lu.html read time 26th Nov 2013
Chinese artist Yao Lu, photographs mounds of garbage covered in green construction nets and digitally reworks them to re-create traditional Chinese landscape paintings.
Ancient Springtime Fey, 2006.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Clear Cliff Shrouded in Floating Clouds, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Viewing the City's Places of Interest in Springtime, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Mount Zhung in the Mist, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Viewing the Waterfall from the Pine Rocks, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Autumn Mist in the Mountain with Winding Streams, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Dwelling in the Mount Fuchun, 2008.
C-Print and Epson Ultra Giclee.
Green Cliffhanger, 2008.
C-Type print; 70 7/8" x 32 1/4".
Yao Lu (b. 1967) is an emerging Chinese artist and teacher at the photography department of the Central Academy of Fine Arts in Beijing. His work has been shown in numerous festivals and collective exhibitions around China, he is newly exhibiting in the west.
The artist photographs mounds of garbage covered in green protective nets which he assembles and reworks by computer to create bucolic images of mountain landscapes shrouded in the mist inspired by traditional Chinese paintings. Lying somewhere between painting and photography, between the past and the present, Yao Lu's work speaks of the radical mutations affecting nature in China as it is subjected to rampant urbanization and the ecological threats that endanger the environment. A twixt between nature and pollution and the past and present.
Chinese artist Yao Lu, photographs mounds of garbage covered in green construction nets and digitally reworks them to re-create traditional Chinese landscape paintings.
Ancient Springtime Fey, 2006.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Clear Cliff Shrouded in Floating Clouds, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Viewing the City's Places of Interest in Springtime, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Mount Zhung in the Mist, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Viewing the Waterfall from the Pine Rocks, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Autumn Mist in the Mountain with Winding Streams, 2007.
Chromogenic print, Edition of 8, 47 1/4 x 47 1/4 inches.
Dwelling in the Mount Fuchun, 2008.
C-Print and Epson Ultra Giclee.
Green Cliffhanger, 2008.
C-Type print; 70 7/8" x 32 1/4".
Yao Lu (b. 1967) is an emerging Chinese artist and teacher at the photography department of the Central Academy of Fine Arts in Beijing. His work has been shown in numerous festivals and collective exhibitions around China, he is newly exhibiting in the west.
The artist photographs mounds of garbage covered in green protective nets which he assembles and reworks by computer to create bucolic images of mountain landscapes shrouded in the mist inspired by traditional Chinese paintings. Lying somewhere between painting and photography, between the past and the present, Yao Lu's work speaks of the radical mutations affecting nature in China as it is subjected to rampant urbanization and the ecological threats that endanger the environment. A twixt between nature and pollution and the past and present.
姚陆 (b.1967) 是一个新兴的中国艺术家和摄影系的中央美院在北京的老师。他的工作已表明在许多节日和中国各地的集体展览他新参展在西部。
艺术家照片成堆的垃圾覆盖在绿色的防护网，他汇编，并由计算机创建的山风景雾蒙蒙的启发的中国传统绘画的田园风味十足图像附近你整顿。姚陆工作介于绘画和摄影作品，在过去与现在之间讲话影响自然在中国，因为它受到猖獗的城市化和危害环境的生态威胁的激进突变。A 除了用自慰性质和污染和过去与现在之间。
我希望世界能够使一个良性的转变。人们必须保护环境。这项工作意味着世界应该变得越来越和谐。
摄影可以理解的传统的方式：它可以“记录”许多历史悠久我们自己的时间之前，它可以带人回时间和情况在很多年前。但摄影也很现代。它可以重新组装和重新编辑，我们才能产生错觉，人们看到，当他们在这样的摄影作品前看到的东西。在这些作品中，你看到的都是真实的，虚构的图像。
关于我的作品的风格，相信在保持美丽的感觉，在图像的帧，包括组成，线，密度和框架，所有经常包含在绘画的元素。我认为一个好的艺术作品是由许多元素，它应该反映的知识和艺术家的技能。一个好的艺术作品具有智能。
摄影的灵活性提供了我一个表达的空间。我可以用它在使我的创作工作，在许多方面。
In America Yao Lu is represented by: brucesilverstein.com
Images: prixpictet.com, brucesilverstein.com, miamibiennale.org
Images: prixpictet.com, brucesilverstein.com, miamibiennale.org
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