Opinion / Robert Bound
Stirring the pot
Grayson Perry’s first commercial show for seven years, at London’s Victoria Miro gallery, is titled “Super Rich Interior Decoration”. It features the sort of witty vases that made the artist famous as well as wall-hangings, a rug and a selection of arch items – handbags, a yoga mat – that are a little easier on the pocket. From the vibrant colours and clever titles to the uncanny social commentary it’s all über-Grayson (come on, darling, it’s Frieze week and you always call living artists by their first name).
This time, however, Perry’s faultless crosshairs are trained on that biggest of contemporary art big game, the collectors themselves. “Thin Woman with Painting” is a vase featuring a cartoonish art maven stultified by a canvas; “Shopping for Meaning” features Perry in drag looking rich and Xanax’d-to-hell outside Bond Street boutiques; “Large Expensive Abstract Painting” is a tapestry emblazoned with “woke” buzzwords stitched to resemble that most treasured of contemporary art trophies, a Gerhard Richter abstract (this last work was designed to be an amalgam of dozens of tasteful and expensive paintings Perry found when googling “art collectors’ homes”).
Perry is a fine artist: he fires beautiful pots, draws well and mixes beauty with intellect and the decorative with the significant with the raw talent of few others. His work is important to see during this, London’s unofficial art week, because it comments on the commercial at the same time as being so, while Perry’s great gifts as a communicator send up the contemporary art world’s seriousness-for-cash and its flaccid critical muscle with gay abandon. Biting the hands that feeds him or just nuzzling a manicured mitt? Perry’s are pots with purpose indeed.
To hear more, tune in to Monocle on Culture, which airs this evening (London time) on Monocle 24.