Authentic and Unauthorized: Graffiti, the Market, and The Art of Banksy in Christchurch

This preprint revisits the author’s 2009 conference paper on graffiti and capitalist art in light of the Banksy trademark rulings, the Love is in the Bin auction, and the rise of unauthorized touring exhibitions. It presents a single-visit case study of The Art of Banksy at Te Pae Christchurch (December 2025 to January 2026) and argues that the market sells the artist’s refusal of the market, while the wall itself cannot be sold. Recommendations are offered for producers, cities, exhibitors, and researchers.

Authors

Publication Details

Journal
Zenodo (CERN European Organization for Nuclear Research)
Published
2026-10-08
DOI
https://doi.org/10.5281/zenodo.23248638
Primary Topic
Public Spaces through Art
Type
preprint
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preprint

Authentic and Unauthorized: Graffiti, the Market, and The Art of Banksy in Christchurch

Bianca Dené Williams
Zenodo (CERN European Organization for Nuclear Research)
Public Spaces through Art
preprint

Authentic and Unauthorized: Graffiti, the Market, and The Art of Banksy in Christchurch

Bianca Dené Williams
preprint en

Abstract

This preprint revisits the author’s 2009 conference paper on graffiti and capitalist art in light of the Banksy trademark rulings, the Love is in the Bin auction, and the rise of unauthorized touring exhibitions. It presents a single-visit case study of The Art of Banksy at Te Pae Christchurch (December 2025 to January 2026) and argues that the market sells the artist’s refusal of the market, while the wall itself cannot be sold. Recommendations are offered for producers, cities, exhibitors, and researchers.

Zenodo (CERN European Organization for Nuclear Research)
Public Spaces through Art
DOIOpen Access PDFOpenAlex
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Authentic and Unauthorized: Graffiti, the Market, and The Art of Banksy in Christchurch — Bianca Dené Williams · Zenodo (CERN European Organization for Nuclear Research) (2026) | TGRS Research Map | TGRS