Arts and Crafts Utopia

How we live, and how we might live.

Grayson Perry: The Most Popular Exhibition Ever!

Grayson Perry – Alan Measles and Claire Visit the Rust Belt (one side), 2017

The New York Review of Books has a nice review of a recent exhibition of work by English artist Grayson Perry at the Serpent Galleries — “Grayson Perry: The Most Popular Exhibition Ever!” Perry, an irreverent iconoclast of English art (he won the Turner Prize in 2003), is probably known as much for his cross-dressing and cheeky wit as for his clever ceramic vases. He belongs to the Arts and Crafts tradition of using decorative art as a subversive strategy; his vases, tapestries, woodcuts, and banners blur the lines between high and low culture, fine art and trade-union propaganda.

In an article for London Times back in 2006, “Let the Artisans Craft Our Future,” Perry made his commitment to an artisanal utopian vision clear: “Maybe I am being sentimental and nostalgic about horny-handed men in leather aprons wielding a spokeshave, but I think that there is a place for the commissioned one-off handmade object in our future because, as we know, the future has to be green…Handmade is often a byword for pricey, and local means unadventurous or lack of choice. But what about when the oil runs out and the forests are all cut down, when we can’t just drive to Furniture Barn and buy a table, designed in Scandinavia, made in China with wood from South America, for the price of a round of drinks?”

From the review:

“The deepest appeal [of Perry’s art] lies in the combination of original concepts and craftsmanship. Perry makes his own pots, but most of his art is collaborative and he’s the first to acknowledge the astounding skill of the foundry workers and tapestry weavers involved. He returns constantly, too, to the people’s art, the folk art of Africa, or of Ruritania and Lithuania, the junk creations of outsider artists—like a totemic Alan Measles made from pebbles and sea-shore debris—and to the banners, and the bikes and sheds and graffiti, of “ordinary people.” It’s here, in showing that craft is also “art,” and that it belongs to us all, even more than in his overt political statements, that Perry is truly democratic and profoundly “popular.”

2 Comments

  1. There is indeed a conundrum here for many (most of us) who love the work of horny-handed men in leather aprons: we can only afford the mediocre knock-offs at Furniture Barn. But I suspect Perry’s right that the time will come when we no longer have the cheap (in the short run, expensive in the long run) option.

    • Thought-provoking artist-craftsman. His take on our collective future is simultaneously chilling and hopeful–a wasteland with more locally crafted household items. Thanks for sharing this perspective.

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