Banksy’s Ironic ‘Show Me the Monet’ Sells for $9 Million at Sotheby’s Auction

Banksy’s work. Image courtesy of Pixabay.

By Hiba Nawaid ’23

Staff Writer

“Show me the Monet,” Banksy’s reworking of Claude Monet’s impressionist painting “Bridge over a Pond of Water Lillies,” was auctioned for $9.8 million (£7.6 million) at Sotheby’s last week, becoming the artist’s second most expensive painting, according to CNN.

Known for his provocative street art, Banksy created a series of oil paintings for an exhibition in 2005 called “Crude Oils: A Gallery of Re-mixed Masterpieces, Vandalism and Vermin,” which featured “Show me the Monet.” These paintings were reinterpretations of famed works by Edward Hopper, Vincent van Gogh, Andy Warhol and more and were showcased by collectors Roland and Jane Cowan in West London. The couple purchased “Show me the Monet” after the show closed for £15,000, according to Banksy’s former agent Steve Lazarides.

After nine minutes of bidding on Oct. 21, a collector bought “Show me the Monet.” The painting features an orange traffic cone and two overturned metal shopping carts in the pond of water lilies under Monet’s originally painted Japanese-style bridge near Giverny, France. These additions, which strike the eye as interruptions in an otherwise peaceful scene, are a nod to the ever-increasing material consumption and environmental pollution levels of the modern world.

Following the auction, “Show me the Monet” became Banksy’s second most expensive piece of artwork. His most expensive piece, “Devolved Parliament,” sold last year at Sotheby’s in London for $12.2 million. “Devolved Parliament” depicts chimpanzees debating in the House of Commons in place of British politicians and was auctioned off during the Brexit negotiations.

In relation to Banksy’s street art, a medium which is often shunned by the art world and regarded as vandalism, there is irony in “Show me the Monet” fetching nearly $10 million. 

The artist’s graffiti-based works often critique controversial social and political issues; “Show me the Monet” itself is a commentary on the impact of excessive consumerism. “Monet” replaces “Money” in the title, pointing to the larger theme of art commodification. While street art is able to escape such commodification, this Banksy painting arguably has been objectified as a result of its lucrative auctioning to a private collector.

This irony can also be traced back to 2018, when another Banksy painting, titled “Girl With Balloon,” appeared to fall down from the frame in shreds minutes after being auctioned off for $1.4 million. The satirical stunt, which involved a secret installation of a paper shredder in the painting frame by Banksy himself, was arguably a criticism of the art world. However, according to Leon Benrimon, the director of modern and contemporary art at Heritage Auctions, the market worth of the painting doubled following the stunt. The painting was renamed to “Love Is in the Bin” and was claimed by the buyer in its tattered condition. 

Despite the paradoxical relationship between the themes of Banksy’s art and the art collectors who spend millions to own his work, the art world’s fixation with Banksy shows no sign of slowing down. What remains to be seen is how the artist continues to expand his practice and how he will respond to the sentiments of art buyers through his provocative pieces.

Stream These Family Favorites and Thrillers for Halloween

Image courtesy of Flickr

By Rose Cohen ’22 

Staff Writer

This year, Halloween fanatics will have to switch up their spooky game plan of large parties, festive parades and crowded haunted houses for safer celebrations. But those dressed as Frankenstein’s monster can still carve pumpkins or snack on their beloved apple cider donuts. They also can certainly enjoy these eerie movies and funky jams. 

“The Addams Family” (1991)

Before the science fiction action comedy “Men in Black,” Barry Sonnenfeld directed this Halloween classic, which is now available on Netflix. Distraught Gomez Addams (Raul Julia) is missing his long-lost older brother, Fester, who disappeared 25 years ago. Unbeknownst to him, Abigail Craven, a loan shark, knows about the family’s hidden chamber of jewels and riches. She forces her son, a Fester look-alike, to pretend to be the estranged Addams sibling. The quirkiness of the characters makes this film one to watch with the family while in quarantine. 

“Psycho” (1960)

An Alfred Hitchcock psychological horror film should accompany any Halloween party. “Psycho” follows the fleeing Marion Crane (Janet Leigh), who steals $40,000 to pay off her boyfriend’s debts. On the way to deliver the money to her partner in Fairvale, California, Marion stays the night at the vacant Bates Motel. There, she encounters the seemingly normal proprietor, Norman Bates (Anthony Perkins), who lives with his reclusive mother. If you are obsessing over Norman after your viewing, binge-watch all five seasons of “Bates Motel,” the disturbing prequel series that premiered on A&E starring Freddie Highmore and Vera Farmiga. 

“The Silence of the Lambs” (1991)

Follow the journey of the determined FBI trainee Clarice M. Starling (Jodie Foster) as she interviews Hannibal Lecter (Anthony Hopkins), a renowned psychiatrist and cannibalistic serial killer imprisoned in a maximum security facility. In an attempt to draw up a psycho-behavioral profile and catch Buffalo Bill (Ted Levine), Clarice builds a relationship with Hannibal, despite the fact that he hisses at her and torments her about her childhood. The torturous images of Buffalo Bill’s prey might make you turn away from your screen once or twice. This movie is also available on Netflix. 

“Scream” (1996)

Neve Campbell plays the tough Sidney Prescott in the first of the slasher tetralogy brought to you by Wes Craven, the director of the 1984 horror classic “A Nightmare on Elm Street.” In this film, we meet Ghostface, who hides behind a rubber Halloween mask and threatens his victims on the phone. Maybe the numerous jump scares or the iconic blood-soaked dagger will pull you in. Find this movie on Hulu.

“Halloweentown” (1998)

Perhaps Director Duwayne Dunham’s Disney Channel Original Movie will be more your speed this year. It is the tale of an adventurous teen witch, Marnie Piper (Kimberly J. Brown), who journeys to the supernatural Halloweentown with her grandmother (Debbie Reynolds). Once there and surrounded by goblins, vampires and citizens who have pumpkins for heads, Marnie must save the town from an evil being. It’s family-friendly and allows you to admire the magical creatures that we associate with the holiday. We also get a glimpse of the dearly departed Debbie Reynolds. If you have a Disney+ account, this heartfelt film is a great way to celebrate Halloween!

SNL Is ‘Live From New York’ Again

Image courtesy of Flickr

By Kenna Hurtuk ’23

Staff Writer

Season 46 of “Saturday Night Live” kicked off on Oct. 3 with unique guidelines and protocols in place for its cast members, crew and audience. Yes, audience — a select number of viewers, with a limited ticket selection for the general public as well as a special selection for health care workers, donned masks to enter the studio after being rigorously tested for COVID-19 and its symptoms. This is an unprecedented shift from the last several episodes of season 45, which were all aired virtually and filmed from cast members’ homes. Show creator and producer Lorne Michaels defended the decision to include a live audience. “With comedy, when you don’t hear the response, it’s just different. With the kind of comedy we do, which quite often is broad, timing gets thrown off without an audience,” he reflected.

For this episode, timing in general was a major challenge, as just one day before the show went live, President Donald Trump announced that he had tested positive for COVID-19. Writers scrambled to incorporate information surrounding his diagnosis into the cold open which parodied the presidential debate between Trump (played by Alec Baldwin) and Joe Biden (played by Jim Carrey). They ultimately went the ironic route with Carrey as Biden remarking, “Imagine if science and karma could somehow team up to send us all a message about how dangerous this virus can be. I'm not saying I want it to happen, but just imagine it did.”” Later, in host Chris Rock’s monologue, the comedian quipped, “President Trump’s in the hospital from COVID[-19], and I just want to say, my heart goes out to COVID[-19].”

After the show aired, writers were accused of mocking Trump’s diagnosis. Baldwin responded to claims that the jokes were in poor taste. “We only have the words of the White House itself and the people who work there themselves to go on and all of them have been saying he is not in any danger. We only have their word to go by. If their word had been that he was in serious trouble, then we wouldn't have done it,” Baldwin said. Additionally, the (albeit morbid) irony of Trump’s diagnosis would have been difficult to ignore, especially in the context of that week’s debate, in which Trump mocked Biden for wearing masks in public. 

Following the cold open, Rock brought both levity and urgency to the nature of presidential elections themselves. “I think we need to renegotiate our relationship to the government,” he explained. “Does it work? I mean, I think Joe Biden should be the last president ever. Like, we need a whole new system.” 

He added that “we’ve agreed in the United States that we cannot have kings, yet we have dukes and duchesses running the Senate and the Congress, making decisions for poor people. Rich people making decisions for poor people — that’s like your handsome friend giving you dating advice.” The comedian reminded the audience — both the socially distanced audience present and the millions of viewers watching from home — that “we’ve got to take this serious, man.” 

His monologue called into question what the role of comedy should be during this unprecedented time. Can shows like SNL justify the playfulness with which their platform addresses serious structural issues, even in the name of comedy? It is a delicate balance to tread.

Megan Thee Stallion tackled this interplay between entertainment and advocacy in her performance of “Savage.” Midway through the number, she and her dancers raised their fists as the screen behind them shattered and the sound of gunshots rang through the studio. As they stared directly into the audience, an audio clip from Malcolm X’s speech “Who Taught You to Hate Yourself?” began to play, while the screen projected the quote, “The most disrespected, unprotected, neglected person in America is the Black woman.” 

When Megan Thee Stallion broke her silence, she said, “We need to protect our Black women and love our Black women, ’cause at the end of the day, we need our Black women. We need to protect our Black men and stand up for our Black men, ’cause at the end of the day, we’re tired of seeing hashtags of our Black men.” She and her dancers ended the song with emphasis on the message that had been projected onto the back wall of the stage: “Protect Black Women.”

Megan Thee Stallion’s appearance enabled her to make a powerful statement while still being able to enjoy her time on set and showcase her lyrical and comedic talents. The rapper and singer-songwriter continued her SNL debut with a performance of “Don’t Stop” featuring Young Thug. Later, she also joined cast members Chris Redd, Kenan Thompson, Pete Davidson and Ego Nwodim in “Bottom of Your Face,” a music video commentary on dating while wearing masks.

Since the first at-home episode of SNL, COVID-19 has been a recurring cast member, and it framed much of the context for this in-person episode. Despite limitations of social distancing, time constraints and the sheer volume of material to be packed into a single episode, this was a show to remember.