In January of 2021, the UK announced that it would no longer apply such restrictions to the importation of cultural goods as stipulated by 2019 European Union legislation. Though it is legally within the rights of the UK government to disregard these regulatory efforts, doing so fundamentally undermines their commitment to upholding key tenets of international law, specifically the Rome Statute of the International Criminal Court. When it comes to regulating the sale of blood antiquities, the UK government should thus rely upon international legal statutes and precedent to inform a prudent, long-term approach, rather than bowing to pressure from wealthy antiquities dealers.
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Banksy, whose real name and identity have never been formally disclosed, has long made anonymity central to his work and identity as an artist. His anonymity is not only central to his artistic persona, but it also contributes to the value of his creations, many of which have fetched seven and eight-digit prices at the world’s most prestigious auction houses. Yet as Banksy’s fame and notoriety have increased, so too have the number of people profiting off the appropriation and sale of his designs. However, Banksy’s anonymity made the fulfillment of this wish difficult: in order to allege copyright infringement on his designs, Banksy would have to reveal his full, legal identity to prove he is the “unquestionable owner,” which would severely, if not irreparably, undermine his persona and the value of his work.
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