On September 8, 2006, the guerrilla artist Banksy staged another of his politico-artistic interventions, installing an inflatable doll dressed as a Guantánamo Bay detainee on the grounds of Disneyland, in Anaheim, California. Banksy has achieved international fame as both a street and a guerrilla artist. His graffiti projects have commented on everything from the Iraq war to the wall built by Israel on Palestinian land. He has also, as guerrilla artist, made significant interventions that have called into question the cultural politics of museums and art galleries by clandestinely installing "fake" paintings and pseudo-archaeological artifacts that have often remained on gallery walls for days before being discovered by museum staff.1 Banksy's work consistently brings into focus the often effaced or naturalized relations of power and violence that underpin "legitimate" social sites and established cultural practices.
|Title of host publication||Torture|
|Subtitle of host publication||power, democracy, and the human body /|
|Editors||Shampa Biswas, Zahi Zalloua|
|Place of Publication||Seattle, US|
|Publisher||University of Washington Press|
|Number of pages||30|
|Publication status||Published - 2011|