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The article focuses on the work of the (in)famous graffiti artist Banksy, as a way into discussing the wider artistic and textual aspects of graffiti-art. Banksy has famously declared that the wall is 'just as good a place to publish' – a statement that certainly invites a study of graffiti-art as a movement to appropriate both the wall and the surrounding cityscape as a space to situate the 'texts'. A graffiti-artist has to remain, to use Baudelaire's expression, incognito, and the implications of a necessarily anonymous artist on both the nature and ownership of the 'text' created have to be considered when examining graffiti art. The transient and ephemeral nature that Baudelaire attributes to modernity constitutes the very essence of graffiti. Indeed, graffiti-art is doubly ephemeral – because the authorities ‘buff’ (remove) it with depressing regularity, and because its roadside existence means that the viewers themselves are usually in motion relative to the artwork. Graffiti artists like Banksy, therefore exemplify sociological criticism of early cinema (Georg Simmel’s "Metropolis and Mental Life", for example.) and as such, should be an essential part of ‘urban studies’ of art and aesthetics. [

‘Just as good a place to publish’: Banksy, Graffiti and the Textualisation of the Wall