the contextual life

thoughts without borders

the underground surfaces

with 2 comments

exit through the gift shop is as entertaining as Banksy’s art, and warrants the same double take

the elusive street artist Banksy has earned an incredible amount of recognition over the past few years. his public displays of political satire have since expanded from the confides of his hometown, bristol. the attention reached new heights when, in 2005, he painted nine ironic images onto the separation wall in the west bank. before that he’d caused a stir at a number of prominent museums in new york and one in brooklyn when he put a few paintings of his own up on the walls. now, the documentary exit through the gift shop, which he both stars in and is given credit for directing, is up for an Oscar.

for people unfamiliar with the big names in street art—shepard fairey, hands-down the most recognizable in the film; space invader, a true up-and-comer; swoon, a woman who knows how to use a haunting image; and ron english, a contemporary artist who turns pop-advertising on its head—this documentary is a great intro not only to the cast of deviant characters and their works but also to the essence of the movement: a rebellious world where smart asses and class clowns reign.

street artists—whether they use paint, stencils, or mixed media installations—go to great lengths to thwart fines, arrest, and injury; most of the time it’s hard to tell if they do it in spite of or because of the risks involved. these talented and determined artists use the street as their canvas. they don’t create for the money but will most likely admit that fame plays a factor. Fame: not in the lindsay lohan and lady gaga sense but fame: the ubiquity of their signature character or style. like puppies on the first day in a new home they tag every spot, leaving no corner, wall, or fixed object unmarked; the harder to reach the better. even when a person’s technique or image isn’t the best, if they reach new levels of visibility, they earn respect.

this is why thierry guetta, a frenchman living in los angeles, is the perfect documentor for an authentic film on street art. just like the people he follows, he’s driven to take it one step further.

from the day thierry held his first video camera, the context of its arrival now forgotten,  it became an appendage. this new extension was always on, filming every moment to the annoyance of strangers and movie stars, and to the resignation of family members.

as luck would have it, one of those family members, thierry’s cousin, is the french artist space invader. during a visit to france, thierry collects footage of invader’s stealth gluing adventures. space invader, for all who have not yet had the pleasure of spying his work, is the creator of small mosaics featuring much-loved 1980s video game characters. these tiled squares, ranging from small to medium in size, have since made their way to many cities around the world—berlin, bangkok, bilbao, lyon, los angeles, and new york.

in a scene where the camera is turned on the filmmaker the audience is privvy to thierry’s sincere appreciation for what his cousin is doing; pasting up art in a public space for all to enjoy without having to pay an entrance fee. the experience changes him, his focus, and sparks an obsession; all of which only adds to his quirky charm.

thierry, obviously prone to obsessive behavior, digs deeper into the haphazard project, stubbornly pursuing and building relationships with the top names in the industry.

his first non-familial subject is shepard fairey, a connection made in 2002 through space invader. thierry goes to kinkos where shepard is printing out large sheets of his trademark image: a tightly-cropped face of wrestling legend Andre the Giant with the vague command, “obey,” written overhead. shepard had become used to increased media attention, his art having been recognizable for a few years at that point, but repeat interviews was something new and like any sane person, after a few mildly-intrusive days with the odd frenchman, shepard questions thierry about his plans.

thierry claims he’s working on a documentary about street art; fairey, convinced, allows him unprecedented, near-continuous access. soon thierry takes off for days at a time, leaving his wife and three kids at home, to travel the world documenting shepard’s wheatpasting escapades.

through thierry’s adventure videography, and because of his unrelenting desire to capture everything, viewers experience the streets with these graffiti-world heroes, witnessing firsthand what it’s like to scale the highest point of a building, dodge the police, and remain incognito—sometimes unsuccessfully—while committing unlawful acts, often on a large scale.

after embarking on a dogged pursuit thierry tracks down Banksy, the one artist notorious for keeping his face out of the press. his encounter with the indispensable figure, who appears on film only in the shadows and with his voice digitally altered, fundamentally changes the course of the film (or, the film that wasn’t, to be more precise).

in 2006, the art world experienced a shock: banksy’s show, “barely legal,” drew lines which, until that time, were reserved only for major museum exhibit openings. adding to the awe, the line wasn’t just for the first night, it persisted for three consecutive days; and even more incredible, it was in a warehouse located in downtown LA’s skid row, an area that contains one of the largest homeless populations in the US. big-time collectors started coming out to auction houses and paying good money for these pieces that were once categorized as crude vandalism. but now shepard fairey’s work hung side-by-side with rothko’s in the homes of international elites.

concerned with the commercialization of the work, banksy told thierry it was the time to finish the documentary—to show the artists for the anti-establishment, adrenaline addicts that they were and not some money-seeking flashes in the pan.

nearly a thousand, possibly more, hours of tape sat in thierry’s garage, uncategorized and abandoned without future. under pressure thierry does something he never expected: he edits the footage into a full-length feature; the end product is akin to acid visions on speed. filmmaker thierry is not but compulsive collector his is and banksy, with the eye and instincts of a world-class artist, takes over, turning the camera on thierry in the process.

along the way thierry had come up with his own character, an image of himself with a video camera, and had begun stickering and stenciling alongside his mentors. with this in mind banksy sends thierry back to LA with the idea of curating an art show in his head. it was a way of getting thierry out of his hair so he could sift through the footage but thierry, apparently very literal-minded, took it as a direct order. moving full-steam ahead as his newly-adopted street art persona, mr. brainwash, what becomes of thierry is comical—or horrific—depending on your sense of humor. rather quickly he sets up a studio ala warhol, hiring artists to create his mashed up visions pulled from a variety of art books and pop culture resources.

the speculation surrounding the film has become trite. skeptics believe banksy staged it all as another one of his sarcasm-soaked critiques of society. it probably didnt help that around the same time, joaquin phoenix came out with a documentary that supposedly followed him during his alleged nervous breakdown. both were a hoax, confirmed by the director and mentally-healthy star a few days after it hit the theaters. real street art fans won’t care; after all, they crave intelligent, well-crafted pranks; and anyway, exit through the gift shop, is so amazingly absurd it can’t help but be genuine.

exit through the gift shop‘s official site
interview with producer and editor on KCRW’s the treatment
space invader’s website
extra special thanks to laughing squid for running a giveaway of the dvd, which i won

Written by Gabrielle

February 24, 2011 at 8:53 am

Posted in art, film

Tagged with , , ,

2 Responses

Subscribe to comments with RSS.

  1. This film has been sitting in my Netflix queue for some time, and I may dive in to watch it tonight (if it’s still streaming). Great review.


    February 28, 2011 at 4:20 pm

    • definitely worth watching! and thanks, i owe it to massive amounts of coffee.


      February 28, 2011 at 4:48 pm

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: