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Banksquiat

Banksy's street art is accessible and democratic; Banksquiat pays homage to one of street art's most famous names, Jean-Michel Basquiat. By reusing the motifs of another street artist, Banksy reminds us that street art is constantly evolving, with new artists adding to and erasing existing artwork in a competitive and democratic arena.

Banksquiat Value (5 Years)

With £235545 in the past 12 months, Banksy's Banksquiat series is one of the most actively traded in the market. Prices have varied significantly – from £30000 to £131040 – driven by fluctuations in factors like condition, provenance, and market timing. Over the past 12 months, the average selling price was £33649, with an average annual growth rate of -17.29% across the series.

Banksquiat Market value

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Meaning & Analysis

Banksquiat presents a striking union between two of the biggest names in Street & Urban Art past and present: Jean-Michel Basquiat and Banksy. The monochromatic work depicts a family queuing to board a ferris wheel, the carriages of which are replaced with Basquiat's iconic crown motif. The work is an homage not only to Basquiat but also to the democratic art of graffiti itself, which Banksy sees as threatened by capitalism and consumerism.

Throughout his elusive career, Banksy has always been keen to acknowledge his predecessors in Street Art. Made popular in the 1980s by the likes of Basquiat and Keith Haring, these young mavericks of Pop Art took to the streets to bring their art to the masses. Their ethos had a clear and profound influence on Banksy, as we see in his reference to Haring in Choose Your Weapon, and to Basquiat in this series. In fact, the monochromatic style of Banksquiat might be interpreted as an ode to Haring's early Subway Drawings, executed in chalk on the New York subway. This is also not the first time Banksy has paid homage to Basquiat. Back in 2017, Banksy sprayed two murals outside the Barbican centre, where a retrospective exhibition of Basquiat's work was being held.

As much as Banksquiat champions the history of Street Art, it also satirises the commodification of it. Basquait's work, much like Haring's, Andy Warhol's and Banksy's, has been used for countless commercial campaigns. His artwork has been stripped of its meaning, plastered on consumer products, and sold to make profits that were never intended by the artist. It is his opposition to this commodification of art which forms the linchpin of Banksy's work. The Basquiat crown ferris wheel seems to represent the relentless cycle of capitalism and consumerism. Originally sold on Banksy's pop-up online store, Gross Domestic Product, Banksquiat was described as a work "in which Banksy is cleverly questioning the relentless commodification of Basquiat in recent time - by crassly adding to the relentless commodification of Basquiat in recent times."

Banksquiat is, therefore, yet another of Banksy's tongue-in-cheek critiques of the art world and its bourgeois institutions. Indeed, it is ironic that the two Banksquiat works were sold on GDP for £500 a piece, but the series proves our persistent obsession with iconic artwork as an object rather than 'Art'.

10 Facts About Banksy’s Banksquiat

A grey-toned Ferris wheel made of chalk-like Basquiat crowns, watched by waiting figures against a flat, dark backdrop.

Banksquiat (grey) © Banksy 2019

1. Banksquiat unites Banksy with the legacy of Jean-Michel Basquiat

Banksquiat is Banksy’s deliberate attempt to stage a dialogue between two legends of street art. Drawing on Basquiat’s iconic visual language, he traces a clear line from the SAMO-era graffiti of late-1970s New York to his own Bristol-born stencil practice. The work frames street art as a dynamic, democratic field where new images overwrite the old, exploring both homage and competition. By fusing their names into “Banksquiat”, Banksy emphasises continuity as well as influence, channelling the rebellious energy that took Basquiat from street to gallery and redirecting it to keep his own art public, legible, and culturally consequential.

A raw neo-expressionist painting with a crowned head, scrawled text and bold, gestural marks in Basquiat’s signature style.

Back Of The Neck © Jean-Michel Basquiat 1983

2. Banksquiat depicts a Ferris wheel made of Basquiat crowns

Banksquiat depicts a Ferris wheel whose carriages are Basquiat’s three-point crowns, watched by a queue of figures. The image places the public circulating around a symbol long associated with Basquiat’s authority, ambition and Black empowerment, while the fairground setting turns the crown into mass entertainment. This is Banksy’s critique of how traditionally counter-culture graffiti languages get repackaged as commodifiable icons, inviting viewers to question how meaning shifts as symbols change through commercialisation.

A graphic Haring composition with thick black lines and energetic figures orbiting a globe, echoing his subway-drawing aesthetic.

Fight Aids Worldwide © Keith Haring 1990

3. Banksquiat references Keith Haring’s chalk subway drawings

The grey palette, chalk crowns and black background are an intentional reference to Keith Haring’s early subway drawings, executed in chalk on blank ad panels. Banksy’s prints translate that ephemeral, public-facing urgency into a fixed object while keeping Haring’s style in play. By paying tribute to Basquiat and Haring, Banksy maps a genealogy of street art that treats subways, posters and pavements as galleries. The result is a series that honours the speed, skill, and clarity required for images to be created in an urban landscape.

A Pop portrait of Kate Moss in Warhol-style blocks, black outlines and a rich dark-pink ground.

Kate Moss (dark pink) © Banksy 2005