15 Iconic Banksy Artworks You’ve Never Seen on the Streets

When we think of Banksy, it’s often the rebellious street art that come to mind.

But did you know that this creative artist has also dabbled in creating captivating indoor pieces? In this blog post, we’ll journey through 15 of Banksy’s less-known artworks that found their home away from the bustling streets.

From intricate canvases to sculptural wonders, these indoor creations carry the same poignant messages and iconic imagery, but in a more intimate setting. Join us as we delve into this intriguing blend of comfort and chaos, showcasing Banksy’s versatility beyond the walls.

More!: 24 artworks by Banksy: Who Is The Visionary of Street Art

‘Fat Tourist and Rickshaw’ from the Banksy vs. Bristol Museum exhibition at Bristol Museum, Bristol, 2009. This Banksy artwork portrays two overweight tourists sitting in a rickshaw, comfortably taking a selfie under the shade of an umbrella. The rickshaw is pulled by a young boy who appears strained, symbolizing exploitation and social inequality. The contrasting dynamic between the relaxed tourists and the struggling child offers a critique on privilege and the often overlooked labor of marginalized communities. Banksy’s stencil art style and choice of subdued colors enhance the impact of this thought-provoking scene.

“Fat Tourist and Rickshaw”, from Banksy vs. Bristol Museum exhibition at Bristol Museum, Bristol, 2009.

'Trolleys' by Banksy from the Barely Legal show in Los Angeles, USA, 2006. This artwork features three silhouetted hunter-gatherer figures crouching in tall grass, armed with spears and sticks, as they appear to stalk two abandoned shopping carts in the distance. The juxtaposition of primitive hunting tactics with modern shopping carts creates a satirical commentary on consumerism and its impact on society. The blue sky and beige ground emphasize the barren setting, enhancing the surreal and ironic nature of the scene.

“Trolleys” hunters from Barely Legal show in Los Angeles, USA in 2006.

Artwork titled 'Love Is In The Air' from Banksy's first non-street art exhibition in Easton, Bristol, 1997. The painting depicts a group of masked and hooded protesters in an urban setting, their hands raised, but instead of throwing stones or weapons, they hold and throw flowers. The vibrant colors of the flowers contrast sharply with the dark, gritty surroundings, creating a powerful commentary on peace and resistance. The background features a cityscape with damaged buildings, symbolizing conflict and civil unrest, while the act of hurling flowers introduces an ironic twist that advocates for non-violent protest.

“Love Is In The Air” from Banksy’s first non-street art exhibition took place in a flat in Easton, Bristol in 1997.

'Cushion War,' a painting by Banksy from The Walled Off Hotel exhibition in Palestine, 2017. The artwork humorously depicts a pillow fight between two figures: a soldier in military gear on the left and a civilian with a keffiyeh scarf covering his face on the right. Each figure holds a pillow mid-swing, with feathers flying through the air, symbolizing an ironic and lighthearted take on conflict in a setting typically associated with tension. The soft feathers against a warm backdrop add a surreal twist, contrasting the typical imagery of resistance with a scene of childlike play.

“Cushion War” from The Walled Off Hotel exhibition by Banksy in Palestine in 2017.

'I Hate Mondays' by Banksy, exhibited at The Museum of Contemporary Art Los Angeles (MOCA) in 2011. The artwork features a young child in a barren landscape, holding a metal bucket and stick, wearing a worn T-shirt that humorously reads 'I HATE MONDAYS!' in bold letters. Surrounding him are other children engaged in labor, highlighting the contrast between Western complaints about mundane inconveniences and the harsh realities faced by many in impoverished regions. The muted color palette underscores the somber tone of the scene.

“I Hate Mondays” at The Museum of Contemporary Art Los Angeles (MOCA) in 2011.

'Copyright Boy' by Banksy, created in 2012. The artwork shows a young boy standing with one foot on a large '©' symbol, symbolizing copyright, as if it's a toy ball. The glass frame around the artwork is deliberately cracked, radiating from the area near the symbol, adding a raw, rebellious element to the piece. The image critiques the commercialization and ownership of art, juxtaposing the innocence of childhood with the concept of intellectual property.

“Copyright Boy” from 2012.

Artwork titled 'You’ve Got To Be Kidding Me' from Banksy’s 'Banksy vs. Bristol Museum' exhibition at Bristol Museum in 2009. The piece shows a simplistic black figure with a surprised expression, holding a tiny version of itself in one hand, with a speech bubble that says, 'You have got to be kidding me.' The image is framed in an ornate gold frame with a red price tag hanging below, displaying £100,013, adding a layer of satire about the commercialization of art.

“You’ve Got To Be Kidding Me” from Banksy vs. Bristol Museum exhibition at Bristol Museum, Bristol, 2009.

Artwork titled 'Ballerina' by Banksy from 2012. The piece features a stenciled image of a ballerina in a graceful pose, painted on the reverse side of a worn canvas with a distressed, aged surface. The ballerina appears mid-pirouette with one leg extended, her tutu and pose capturing a moment of elegance. The piece is framed in a simple wooden frame with visible nails and a string, evoking a raw, unfinished aesthetic that contrasts with the delicate subject matter.

“Ballerina” from 2012.

Artwork titled 'Sorry The Lifestyle You Ordered is Currently Out of Stock' by Banksy from 2012. The piece features a classic landscape painting with mountains, trees, and a serene lake in the background, overlaid with bold, white text reading, 'Sorry The Lifestyle You Ordered is Currently Out of Stock.' The artwork is framed in an ornate, vintage-style gold frame, contrasting with the modern, ironic message layered over the idyllic scene. The underlying landscape is painted in a traditional, tranquil style, while the phrase disrupts this peace with a commentary on consumer culture and unfulfilled expectations.

“Sorry The Lifestyle You Ordered is Currently Out of Stock” from 2012.

'Devolved Parliament,' a painting by Banksy displayed at the Banksy vs. Bristol Museum exhibition in 2009. The artwork depicts the British House of Commons, but instead of human politicians, the seats are filled with chimpanzees engaged in debate and discussion. The detailed rendering of the historical chamber contrasts with the satirical portrayal of apes in place of members of parliament, suggesting a critique of political discourse. The scene is both humorous and thought-provoking, raising questions about governance, representation, and the nature of political power.

“Devolved Parliament” from Banksy vs. Bristol Museum exhibition at Bristol Museum, Bristol, 2009.

'Forgive Us Our Trespassing,' a large-scale mural created in 2011 by Banksy in collaboration with over 100 students from the City of Angels School. The artwork depicts a young figure in a hoodie, kneeling in prayer with hands clasped, positioned beneath a towering Gothic-style stained glass window filled with colorful graffiti. The vibrant, chaotic layering of tags, hearts, and peace signs contrasts with the solemn stance of the praying figure, blending religious iconography with urban street art to convey themes of forgiveness, rebellion, and the transformative power of creativity.

“Forgive Us Our Trespassing” – The 7-meter work was created in 2011 with the participation of over 100 6th-9th grade students at the City of Angels School in a project aimed to encourage children to create art.

'Picasso Quote,' an artwork by Banksy displayed in the 2009 Banksy vs. Bristol Museum exhibition. The piece is a large stone slab with the inscription, 'THE BAD ARTISTS IMITATE, THE GREAT ARTISTS STEAL,' a famous quote attributed to Pablo Picasso. In a rebellious twist, the name 'Picasso' is crossed out and replaced with 'Banksy,' claiming the sentiment as his own and making a statement on originality, influence, and artistic identity

“Picasso Quote” from Banksy vs. Bristol Museum exhibition at Bristol Museum, Bristol, 2009.

‘Game Changer,’ a 2020 artwork by Banksy created as a tribute to NHS healthcare workers. The monochrome piece depicts a young boy in overalls, kneeling and lifting a nurse doll wearing a cape, face mask, and Red Cross emblem like a superhero. In the background, discarded superhero toys, including Batman and Spider-Man, lie in a wastebasket, symbolizing a shift in admiration towards real-life heroes during the COVID-19 pandemic.

“Game Changer” from 2020. Tribute To the Health Workers from the NHS.

‘Vandalized Oil Painting #31,’ created by Banksy for the 2005 Santa’s Ghetto exhibition in London, depicts a modern interpretation of the Biblical Nativity scene. Mary and Joseph are seen approaching Bethlehem, but their path is obstructed by the towering, graffiti-covered Israeli West Bank barrier, which stretches across the landscape. The contrast between the traditional Nativity figures and the imposing concrete wall adds a poignant commentary on contemporary political tensions in the region.

“Vandalized Oil Painting #31” from Santa’s Ghetto exhibition, London, 2005.

‘Agency Job (The Gleaners)’ by Banksy, displayed at the Banksy vs. Bristol Museum exhibition in 2009, reimagines Jean-François Millet's classic painting ‘The Gleaners.’ Banksy has modified the artwork to show a figure-shaped cutout through the canvas, with a woman dressed in modern clothing, holding a cigarette, sitting on the edge of the frame as if she has just stepped out of the painting. The juxtaposition between the traditional peasants in the field and the contemporary figure offers a humorous yet critical perspective on art, labor, and modern society.

“Agency Job (The Gleaners)” from Banksy vs. Bristol Museum exhibition at Bristol Museum, Bristol, 2009.

More: Banksy’s Identity Unveiled? The Artist Speaks Out in a Rare BBC Interview

What do you think of Banksy’s indoor art?

.fb-background-color {
background: #ffffff !important;
}
.fb_iframe_widget_fluid_desktop iframe {
width: 100% !important;
}

Source link