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Banksy Does New York (2014)

Not Rated | | Documentary | 26 March 2016 (Japan)
2:27 | Trailer
Documentary chronicling the famed street artist's "31 works of art in 31 days" in New York city.


Chris Moukarbel
1 nomination. See more awards »



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Cast overview, first billed only:
Beth Stebner Beth Stebner ... Herself, reporter with the New York Daily News
Keegan Hamilton Keegan Hamilton ... Himself, journalist, The Village Voice
Jaime Rojo Jaime Rojo ... Himself, co-founder of art blog BrooklynStreetArt
Steven P. Harrington Steven P. Harrington ... Himself, co-founder of art blog BrooklynStreetArt
Rebecca Encalada Rebecca Encalada ... Herself
Robert Stevens Robert Stevens ... Himself, artist
Luna Park Luna Park ... Herself, street art photographer
Caroline Caldwell Caroline Caldwell ... Herself, Vandalog contributor
R.J. Rushmore R.J. Rushmore ... Himself, Vandalog contributor
Hrag Vartanian Hrag Vartanian ... Himself, editor-in-chief and co-founder of Hyperallergic blog
Brad Lander Brad Lander ... Himself, member for the 39th District of the New York City Council
Marie Cecile Flageul Marie Cecile Flageul ... Herself (as Marie)
Jonathan Cohen Jonathan Cohen ... Himself (as Meres)
Claw Money Claw Money ... Herself, graffiti writer
Carol Diehl Carol Diehl ... Herself, art critic


Documentary chronicling the famed street artist's "31 works of art in 31 days" in New York city.

Plot Summary | Add Synopsis


The street is at play.




Not Rated | See all certifications »


Official Sites:

Official site [Japan]





Release Date:

26 March 2016 (Japan) See more »

Also Known As:

Banksy i New York See more »

Filming Locations:

New York City, New York, USA

Company Credits

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Technical Specs



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Did You Know?


References Debbie Does Dallas (1978) See more »


Der Dritte Raum - Swing Bop [Acid Pauli Remix]
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User Reviews

The title is telling
14 May 2019 | by skepticskepticalSee all my reviews

Banksy really did DO New York CIty, commanding the attention of throngs of fans who directed their entire lives toward finding his daily pop-up piece throughout the month of October 2013. This is one of the better films about Banksy because it manages to capture the many contradictions that the street artist represents and how he has transformed himself into some sort of messiah in the eyes of his followers. It is impossible to say what he is really doing, and whether, if ever, his seemingly clearly stated manifestos about art are meant by him to be taken seriously.

The undeniable truth about Banksy is that he has proven himself to be powerful by commanding the sympathies of so many people and causing them to march in lockstep and salute at his every move. Pretty impressive, especially given that these people have no idea how they have been seduced by him to rush to his defense when others try to deface his works or take them down to sell.

The idea that graffiti artists have a right to deface buildings and leave their marks wherever they wish to do so--whatever message they wish to convey--simply because they claim to be ARTISTS, is uncritically assumed to be true by nearly everyone who gushes over Banksy. But if one thinks of the building on which he leaves a message as already containing a message (perhaps one of simplicity, in the case of a blank slate) which he destroys by tagging with his name and his latest quip (usually a gag of some sort), then one could argue that anyone who defends Banksy should, in consistency, defend the integrity of the person who first designed the building to look as it did, before he essentially urinated on it.

What all of this demonstrates is that Western people have developed a somewhat contradictory view of art and artists. We like art when we agree with the artist. When we disagree, then we either deny that what he produces is art, or we say that it is bad. If Banksy left a bunch of politically incorrect, anti-liberal, far-right graffiti, no one would like him, and everyone would rush to suppress his speech. But he seems to convey a liberal, antiwar, pro- little people message, even as what he does ends up corrupting some of the adulators whom he pretends to want to save--the ones who decide to jump on the gravy train and abscond with his work with the intention of selling it to the highest bidder. Banksy might retort that it is the art world which has caused these people to act in such a way, but he seems to know what he is doing and is indeed (as maligned and despised gallery owner Stephan Keszler correctly observes) quite effectively building and protecting his brand.

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