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WILL ELLSWORTH-JONES was chief reporter and then New York correspondent for the Sunday Times as well as holding senior editorial positions at the Telegraph Magazine, The Independent Magazine and Saga Magazine. His previous book for Aurum was a history of conscientious objectors in the First World War, We Will Not Fight. He lives in London.
'pacy account of street-artist Banksy's rise to fame' Art Quarterly 'impressed by this measured account of his career' Independent on Sunday 'a joy to read' The Independent "Not an unmasking but an investigative look at the street's extraordinary rise from Bristol graffitist to lucrative 'national treasure' - and all the contradictions that entails" -- Holly Kyte Seven, Sunday Telegraph 'don't miss!' Country & Town House 'An admirer yet also an accomplished investigative reporter, [Will Ellsworth-Jones] casts a detailed and enthusiastic eye over all aspects of Banksy's career' Scotsman 'This is a fascinating portrait that elicits admiration for a man who, despite his increasingly unconvincing efforts to retain some shreds of his vandal status, has had an undeniable impact on art' The Times 'Ellsworth-Jones casts a detailed and enthusiastic eye over all aspects of Banksy's career, from the Bristol graffiti scene where he first experimented in the 1980's, through the development of Banksy's trademark stencilled style, to his growing audacity and success and the controlling and sophisticated publicity and business machine of today' Evening Standard 'A fascinating history of a wholly likeable art phenomenon' The Sunday Times 'Ellsworth-Jones writes perceptively about the "ethical dilemmas" created by Banksy's marketing techniques, yet still communicates the excitement of a "treasure hunt" for traces of his work in the scruffier purlieus of London' Observer 'A credible and intelligent portrait of a unique artist, reluctant capitalist and control freak struggling to preserve his own myth and maintain his outsider status' Independent on Sunday 'Britain's unlikeliest national treasure' -- Simon Usborne Independent 'a relentless following of the money, and the exploration of the tortured interface between art and commerce' Guardian