Arts and Crafts Utopia

How we live, and how we might live.

Category: printmaking

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.”

Review of “What May Come” at the AIC

Here’s a link to my review of “What May Come: The Taller de Gráfica Popular and the Mexican Political Print” at the Art Institute of Chicago. The Prints & Drawings room at the AIC does brilliant work; I’m still haunted by a gorgeous exhibition on The Artist and The Poet that was there last year. “What May Come” continued the high standard.

Here’s the first paragraph of my review:

Exhibition Catalogue

Exhibition Catalogue

From 1937 until the mid-1950s, the Taller de Gráfica Popular (TGP) workshop produced the most inventive, provocative and topically relevant prints in Mexico. Published as broadsides, posters, books, handbills and portfolios, TGP prints showcased the possibilities of graphic art as a powerful and polemical instrument. Founding members Leopoldo Méndez, Pablo O’Higgins and Luis Arenal stated in their group’s Declaration of Principles that “art must reflect the social reality of the times” but that art “can only truly serve the people if it is of the very highest plastic quality.” The Declaration outlined the TGP’s ambitions to make work collectively of a quality that would engage with contemporary issues and events, “serve the people,” contribute to Mexican culture, oppose reactionary forces and establish solidarity with international progressive movements.