This gallery illustrates my whistle-stop trip to Tallinn, Estonia. I was invited to deliver a paper at a seminar, part of the 7th Tallinn Applied Art Triennial, for an edited version of that paper, see here. This post is about … Continue reading →
Not just an exhibition; it’s a six-tapestry cycle, “The Vanity of Small Differences”; a three-programme television series, “All in the best possible taste with Grayson Perry” on Channel 4; a London show and national tour; a book by Hayward Publishing and now an app by Aimer Media; the multiple-media by which Grayson Perry has disseminated his thesis on British class and taste is an impressive exemplar of cross-platform marketing and, in academic terms, of engagement and impact. If Perry were earning REF (Research Excellence Framework) points for a higher education institution, it would score off the scale.
Last summer I watched the TV shows (thanks 4oD) and then stood in front of the tapestries on a sunny Saturday afternoon. It felt like half the Guardian readers of London were doing likewise, but the Victoria Miro gallery was spacious and calm (thanks to a recent addition by minimalist-maestro Claudio Silvestrin). Because it’s a commercial gallery and doesn’t attempt to capture visitors for an all-day session (with cafes and shops), the crowd milled and departed. It was a diverse audience too (possibly because of the TV-tie-in), providing an excellent opportunity for people watching and eavesdropping. A second gallery sofa would have been nice.
A reinterpretation of William Hogarth’s “A Rake’s Progress” (1732-1733), the project is a moral tale for 21st-century Britain. In the TV shows we hear Perry’s aims and motivation, travel with him around the country and go behind the scenes, witnessing his working process, a blend of research, drawing and making. Continue reading →