But Brandler has moved the work to a new Street Art Museum (SAM) in the town, alongside works by other famous street artists such as Blek le Rat and Pure Evil. The decision to sell the Banksy sparked some controversy, with the most prominent concern being that Brandler would take the work away from Port Talbot, removing a valuable tourist draw. And by January 2019 there was so much interest in it that art dealer John Brandler paid a “ six-figure sum” for the graffiti. The piece, titled “Season’s Greetings”, very quickly brought thousands of visitors to the town. But dodgy graff art aside we'd like to continue giving Radiohead thunderous applause for taking care of their own shit and continuing not to be our generation's Pink Floyd.On the side of a garage in Port Talbot, south Wales, a new Banksy artwork appeared. We will leave you to figure out how something can border on the subliminal. "Harmon's use of Banksy's often controversial imagery borders on the subliminal, though various bits of Banksy stencils jump out at the viewer - namely iconic references to Mickey Mouse, Ronald McDonald and Banksy's own Rat imagery." "In the meantime Harmon's video has caused quiet a stir, it's epilepsy inducing pace fits comfortably with the tempo of The Hollow Earth, which Yorke quotes as being "a bass menace that was born out of the Eraser period but needed a little more time."
"The song appears as the flip side to the 12' singleįeelingPulledApartbyHorses - which the Radiohead site claims will be availabel as a free download on Oct 6th.
"The video for Thom Yorke's The Hollow Earth, which was released on September 22nd via the Radiohead website, utilizes a blindingly fast montage of Banksy imagery superimposed over various time lapse shots of London city life. Joined together two of Britain's most recognizable icons - graffiti artist Banksy and Thom Yorke, lead singer of Radiohead. Here is what some PR firm have to say about it: "Media artist and experimental filmmaker Raymond Salvatore Harmon has It is entirely possible that the sheer rapidity of visual information contained within might be enough to stop people from actually thinking about the fact that a stencil of a little girl letting go of a heart shaped balloon is actually this year's equivalent of the monochromatic Athena poster of a muscular black man holding a white baby, or one of a female tennis player scratching her bare arse cheek. At time of publication it has not be ascertained whether or not the speed of the film is a clever ploy to distract people from the sheer vacuity at the core of BANKSY's art.
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