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The following is an academic essay written as a final paper for a Media Theory class at
The New School for Public Engagement, submitted in December 2013.
Ramy Zabarah
Better Out Than In
Culture Industry and Banksy’s illicit New York residency
Better Out Than In 2
Abstract: This essay aims to analyze Banksy’s month‐long New York residency
titled ‘Better Out Than In’ in October 2013 based primarily on the work of Frankfurt
School philosophers Theodor Adorno and Max Horkheimer in their text, ‘Dialectic
of Enlightenment (1944),’ and more specifically concerning their established theory
of ‘Culture Industry’. In the text, Adorno and Horkheimer address similarities
between mass culture and capitalist mass production, making connections such as
homogeneity, manipulation, and consumer or audience passivity. Banksy, delivering
a popular, yet unconventional style of creative cultural expression, challenges the
Culture Industry on a regular basis, as exemplified by ‘Better Out Than In.’
Better Out Than In 3
Graffiti, Banksy, and the Culture Industry
As prone as it is to maintain relevance and new‐age popularity, street art is no new
phenomenon. The first example of graffiti dates back to the time of Ancient Greece,
in what is now Turkey, and is nothing but a simple advertisement for a nearby
brothel drawn on a city wall. ‘Graffiti,’ rooted in the Greek word ‘graffiato,’ which
literally translates to ‘scratched,’ is historically attributed to any piece of art created
by scratching a design onto a surface. The modern, more recognizable form of
graffiti, however, corresponds more accurately to the works of such artists as Keith
Haring, Jean‐Michel Basquiat, and Kenny Scharf in the urban setting of the 1980’s,
and refers to the illicit drawings, writings, and other visual pieces of art often
displayed on bridges, buildings, subway cars, and various other public forums. The
legacy is continued today by more recognizable names as Shepard Fairey, Futura
2000, and Banksy, who is arguably the most influential street artist to date. Graffiti
is now associated with political dissidence, opposition to authority, social
commentary, as well as many other facets of popular culture. Often considered
vandalism, and outlawed in most countries, it has consistently been (at least for the
last few decades) considered a virtually limitless medium for creative expression,
free from the restrictions of conventional art and feasible for anyone with access to
a spray paint can, stencil, or marker. In a way, modern street art provides an
opportunity for artists and non‐artists alike to step out of the conformist nature of
mass culture, and into a place of individuality unmatched in the realm of
conventional art or popular culture.
Better Out Than In 4
In an extremely influential text titled ‘Dialectic of Enlightenment (1944),’
critical media theorists Theodor Adorno and Max Horkheimer asserted that due to
its homogenous nature and immense accessibility, mass culture is akin to the
culture of mass production adopted by corporations and capitalist figures in the
twentieth century, promoting passivity in its audiences and threatening
individuality or active participation, most notably in high culture. According to
them, “Films, radio and magazines make up a system which is uniform as a whole
and in every part. Even the aesthetic activities of political opposites are one in their
enthusiastic obedience to the rhythm of the iron system (p.120).” Alternatively,
graffiti is characterized by its opposition to mass culture and its expression of
dissidence in an often ironic manner. In addressing various sociopolitical issues
during his month‐long residency in New York City titled “Better Out Than In,”
Banksy challenged the homogeneity of mass culture and Adorno and Horkheimer’s
idea of Culture Industry while appealing to a mass audience by successfully striking
a balance between popularity and expressing an opposition to the political and
cultural forces his audiences are so accustomed to and dependent on.
The Culture Industry: Enlightenment as Mass Deception
Written at the height of World War II, and at a time when media was rapidly
advancing, becoming available to more people, and crossing boundaries — physical
and social — Adorno and Horkheimer’s ‘Dialiectic of Enlightenment’ sought to
establish a new approach to critical theory wherein socialism, capitalism, and mass
culture could be incorporated, which ultimately led to a pessimistic view of critical
Better Out Than In 5
theory. In it, they also established the term ‘Culture Industry,’ likening mass culture
to the standardized nature of the mass production of goods in the post‐industrial
West:
It is alleged that because millions participate in [the Culture Industry],
certain reproduction processes are necessary that inevitably require
identical needs in innumerable places to be satisfied with identical
goods. The technical contrast between the few production centers and
the large number of widely dispersed consumption points is said to
demand organization and planning by management (p.121).
Adorno and Horkheimer’s description of mass production and its relationship to the
consumption of mass media are parallel in more ways than one. Most implicitly,
however, is the notion that like the mass production and distribution of goods,
centralized management or planning is required to standardize and distribute the
media to various audiences who seek to consume it. Examples could range from film
production company executives to television producers and marketers to
newspaper or magazine editors and otherwise gatekeepers of those media, and
since the power of production and distribution is now in the hands of a select few,
less power is given to the majority, thus manipulating them (the audience) into
passivity. It was Adorno and Horkheimer’s position that mass media and mass
culture promoted docility by doing most of the work for the audience, hence leaving
the audience to simply consume, without actively participating.
The man with leisure has to accept what the culture manufacturers
offer him. Kant’s formalism still expected a contribution from the
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individual, who was thought to relate the varied experiences of the
senses to fundamental concepts; but industry robs the individual of
his function. Its prime service to the customer is to do his
schematizing for him (p.124).
Graffiti culture’s tendency to speak out against homogeneity and promote active
participation allows artists to uniquely express their opinions in a forum that
ensures active media consumerism, where the audience must seek out the art, often
within a certain window of time, as due to its unlawful nature, graffiti tends to only
be displayed in its true authentic form temporarily. “Better Out Than In” was as
great an example as ever of graffiti successfully garnering active audience
participation, as it encouraged large groups of people to go out of their way to find
the numerous pieces before they were defaced or taken down. Additionally, graffiti
incites self‐motivated creative expression in many otherwise less motivated youth
or inner city individuals, among which Banksy and other graffiti artists tend to be
especially popular. In a book depicting her extensive research on Hip Hop graffiti
culture titled ‘Painting Without Permission (2002),’ Janice Rahn addresses the
importance of graffiti in the backdrop of urban youth culture, stating, “Graffiti
culture provides a structure for self‐directed learning through visual perception,
experience, and critical reflection (p.xii).”
Better Out Than In
A reference to impressionist Paul Cezanne, who once said “All pictures painted
inside, in the studio, will never be as good as those done outside (New York Times,
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2013),” Banksy’s month‐long mobile exhibit was named ‘Better Out Than In,’ due to
its guerilla nature, where Banksy set out to create, perform, or otherwise exhibit at
least one piece of art for every day in the month of October, 2013. “Better Out Than
In” was covered heavily by various citywide and national media outlets, as well as
by Banksy himself via his online website and social media accounts, most notably
Instagram, a social network based on visual media (photos and videos). Banksy’s
work has historically and notoriously been politically motivated, often revolving
around censorship and the rejection of authority, and this particular example was
no different. Some of his pieces included a stencil drawing of a child writing the
words “Ghetto 4 Life” on the wall of a building in the Bronx, a scultpture of the
Sphinx made out of cinder blocks in Queens, and a small drawing of the World Trade
Center’s twin towers before the terrorist attacks of September 11, 2001 with a red
flower in place of the explosion from the impact of one of the hijacked airplanes in
TriBeCa (Vincent, Quilty‐Harper, Thompson, Lewis, 2013), which caused much
controversy, as the FDNY and the city of New York spoke out against Banksy’s
alleged insensitivity.
(Instagram, 2013)
Better Out Than In 8
Throughout his month‐long endeavor, Banksy encouraged large numbers of people
to go out and find his works as they were being displayed, and due to the popularity
and the controversial nature of his work, vandals and other artists began to write
over, take down, or deface them shortly after they were done. Therefore, in order to
catch a glimpse of Banksy’s elusive works, people needed to rush to the sites right
after they were announced in order to attempt to beat the vandals there. Some say
the motivation behind defacing Banksy’s work lies in jealousy, while others claim
that Banksy lacks authenticity and dedication to the unspoken rules of graffiti, one
of which involving a claim to turf. In an article titled “Why Taggers Hate Banksy,” the
New York Post states:
New York City writers in particular strive to maintain a “locals only”
policy on who gets to play in the graffiti game. Banksy is an English
international art star; New York’s writers don’t feel he should get to
just waltz in and grab all this attention. Many have been working for
decades for their fame and they know how hard it is to get noticed in a
city of almost 9 million. Banksy’s seemingly effortless notoriety
rankles. There is a feeling that he is not entitled to the recognition he
is receiving (Mitman, 2013).
Another example of outside interference with Banksy’s work included a group of
East New Yorkers who used Banksy’s drawing of a beaver breaking a sign post as an
opportunity to turn a profit, covering up the beaver with a piece of cardboard and
charging people twenty dollars to see it.
Better Out Than In 9
(Slate, 2013) (Gothamist, 2013)
The sensationalized nature of Banksy’s residency provided audience members an
opportunity to actively participate in the media they were consuming, bringing up
many challenges to the original theory of Culture Industry.
Culture Industry in Context
Clearly, Adorno and Horkheimer did not have graffiti in their thoughts whilst
writing ‘Dialectic of Enlightenment,’ but the early analysis of mass culture holds
relevance even in today’s diverse context. The passivity of mass media’s audiences
can still be seen in the general public’s willingness to easily accept outside political
influence from pundits and politicians, the influence violent films and video games
has proven to have on impressionable youth, and the immense influence major
media outlets have on people’s perceptions of foreign affairs. Adorno and
Horkheimer assert that like capitalist culture, mass media and mass culture create a
state of illusion in its audiences that provides them with the hope of achieving
Better Out Than In 10
pleasure, but keeps the audiences docile by perpetuating that illusion with no
ultimate pleasurable end product.
The culture industry perpetually cheats its consumers of what it
perpetually promises. The promissory note which, with its plots and
staging, it draws on pleasure is endlessly prolonged; the promise,
which is actually all the spectacle consists of, is illusory: all it actually
confirms is that the real point will never be reached, that the diner
must be satisfied with the menu (p.139).
The theory of culture industry, however, does not account for the various media and
methods of consumption that are becoming increasingly popular such as social
media and online news. Gatekeepers are becoming less and less significant in the
way media is produced and delivered. Where in the past, the options for consuming
media were extremely limited, and therefore empowered the media themselves, the
sources are now virtually endless. Of course, credibility is sacrificed to a certain
extent, but it most certainly provides more room for creativity, individuality, and
active participation, taking away from the traditional passive nature of media
consumption, according to the culture industry theory. Alternatively, while inciting
active participation by calling on consumers to go out and witness his art while it
was temporarily displayed, the presence of social media and extremely accessible
Internet access compromised some of Banksy’s defiance to the culture industry, as
instead of actively seeking out the various works of art, consumers could just as
easily click a button and see photos of them online without leaving the comfort of
their own homes or offices. They allow the producers and distributers of the media
Better Out Than In 11
the power to schematize the cultural content for them. Despite the passive nature of
consuming art on a computer as opposed to actively seeking it out in the world,
however, Banksy’s effort to elicit participation from his audiences was nonetheless
successful. By delivering an unconventional method of cultural expression, he
challenged the culture industry’s stigma of inciting docility in its audiences while
still maintaining popularity and prompting a sociopolitical dialogue among media
consumers.
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Works Cited
Adorno, Theodor W., Max Horkheimer, and John Cumming. "The Culture Industry:
Enlightenment as Mass Deception." Dialectic of Enlightenment. New York:
Continuum, 1987. 120‐67. Print.
Rahn, Janice. "Introduction." Introduction. Painting without Permission: Hiphop
Graffiti Subculture. Westport, CT: Bergin & Garvey, 2002. N. pag. Print.
Editorial Board, ed. "Banksy’s New York Welcome." New York Times 16 Oct. 2013:
A26. Print.
Vincent, Alice, Conrad Quilty‐Harper, Jessie Thompson, and Matt Lewis. "Banksy
Better Out Than In Map: See Where the Street Artist Has Painted." The
Telegraph. Telegraph Media Group, 31 Oct. 2013. Web. 11 Dec. 2013.
Tribeca. 2013. Photograph. Instagram: Banksy, New York City. Instagram. Comp.
Banksy. Instagram, 15 Oct. 2013. Web. 11 Dec. 2013.
Mitman, Tyson. "Why Taggers Hate Banksy." New York Post. New York Post, 25 Oct.
2013. Web. 11 Dec. 2013.
Carnage/Flickr. Banksy_beaver. 2013. Photograph. New York City. Slate. Slate, 10
Oct. 2013. Web. 11 Dec. 2013.
2013. Photograph. New York City. Gothamist. Gothamist, 10 Oct. 2013. Web. 11 Dec.
2013.