On Monday, prolific yet still anonymous British artist Banksy confirmed the image and location of his latest work. The mural depicted a bewigged judge beating a protestor with his gavel, and was spray-painted onto London’s Royal Courts of Justice. The protestor was shown holding up a bloody poster, but there were no indicators of any specific cause. In this instance Banksy’s commentary was universal, so it would seem. Predictably, the graffitied artwork raised the collective blood pressure of the Royal Society for the Guardianship of Pristine English White Walls, as by Wednesday the mural was quite literally being whitewashed off the building on the grounds that the courthouse was “valued for its historical significance and must maintain its original character.” Yes, above all else, the facade of character must be maintained.
The verdict on Banksy’s artwork on a courthouse wall of a judge beating a protestor was that it had to go.
Unlike the elusive artist’s other provocative works that are sometimes stolen or carefully removed and displayed in galleries or sold at auction for millions, his latest mural was being erased Wednesday from the record.
The stenciled spray-painting of a protestor lying on the ground holding a blood-splattered placard while a judge in a traditional wig and black gown beats him with a gavel was scrubbed from the wall of the iconic Royal Courts of Justice.
The order to remove it came from court administrators because the 143-year-old Victorian gothic revival style building is valued for its historical significance and must maintain its original character, a spokesperson said.
Metropolitan Police said officers were investigating a complaint that the work was an act of criminal damage.
Banksy’s spokesperson did not immediately return an email seeking comment.
The work appeared Monday and was quickly covered up after Banksy posted a photo of it on Instagram, his usual method of authenticating his work.
One thing I find absolutely hilarious is that the existing photos we have of this since-disappeared mural clearly show a security camera right above it! In Banksy’s original photo the camera is pointing away, but in a snap taken on Tuesday (in CNN’s article) we see it pointed towards the art. If you’re wondering how Banksy pulls off his stunts in general, and even more specifically in cases like these with a palpable security presence, then I direct you to the website of his official reps, Pest Control: “If you’re thinking of writing to ask Banksy to paint your sitting room or design your company logo – please don’t. If you’re thinking of writing in because you have privileged access to a secure facility that needs vandalising – please do.” Love it, it’s like Ocean’s Eleven meets The Thomas Crown Affair.
While linking the artwork to the recent Palestine Action protest is certainly plausible — especially given that Banksy has publicly supported Palestinian freedom for over a decade — I actually think the work is stronger overall for Banksy having left it open for interpretation. A fill in the blank, if you will, for any of the numerous, glaring injustices plaguing the world today. And the fact that the mural was removed in the name of “criminal damage!” to the building, without any response issued as to the content and commentary of the piece, well, that feels very much in character. It’s in the same vein as all the royal press screeching in horror that the Sussexes saying someone in the royal family made racist comments to them was a greater crime in and of itself than, you know, the actual racism. Also, I realize this wasn’t a part of Banksy’s messaging with this latest piece (or was it???), but the dedication to the wearing of the wigs in the British justice system tickles me no end, as if they were essential to the proceedings. Don’t get me wrong, I love a costume as much as the next queen!
Photos credit: Justin Ng/Avalon and via Instagram
Do we know what Banksy looks like? London is one of the most CCTVd places on the planet ,why dont they ever stop him if they really want.
It’s a very apt and timely piece of work and the institutions response just underlines the message even more effectively.
I’ve read so many interviews with older people who are going along to demonstrations to be arrested for supporting Palestine Action (by holding signs) saying that they have nothing to lose by becoming part of the criminal justice system at their age (or the disabled blind guy who was arrested quite recently, he’s amazing) and honestly they bring me to tears. I’d love to join in but I work freelance and regularly have to complete police checks as part of contacting with new clients so I feel horribly selfish but I’m staying at home.
The US may be more visibly trying to be an authoritarian state but we have plenty of serious problems right here that we can’t afford to ignore.
I love Banksy’s work. Keep it up.
This is a powerful piece of art. I’m glad we will at least have photos of it. And yes, with the rise of authoritarianism everywhere, this picture speaks to how the justice system has become yet another tool of oppression instead of relief.
The washed wall still has the shadow of the paint and it is just as effective. It’s eerie and haunting in its shadow form. It’s arguably more powerful now given how hard they tried to erase it and the ghost of the image is still there.
@Truthiness, totally agree.
Bansky is amazing. I wonder if they realized that the courts would try and remove it and created it so that the ghost would remain.
@ABRITDEBBIE I think that was exactly the intention; because it emphasises the message of the artwork even more now. We know every work is planned and, like the girl with the balloon when it shredded itself at the auction, it doesn’t end at the creation.
Chef’s kiss.
The sign represents how Palestine Action was criminalized in the UK.