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Review
"This book presents Perry's curious artistic collaboration with [the BM collection]; a clever mix of Perry's own work and objects selected from the British Museum. It forms a tribute to the countless unknown craftsmen who have left behind an array of weird and wonderful goods which we now treasure" --The Bookseller, 2 September 2011
"... a clever mix of Perry's own work and objects selected from the British Museum" --The Bookseller, 2 September 2011
"...forms a tribute to the countless unknown craftsmen who have left behind an array of weird and wonderful goods which we now treasure"
--The Bookseller, 2 September 2011
"... a clever mix of Perry's own work and objects selected from the British Museum" --The Bookseller, 2 September 2011
"...forms a tribute to the countless unknown craftsmen who have left behind an array of weird and wonderful goods which we now treasure"
--The Bookseller, 2 September 2011
Product Description
The Tomb of an Unknown Craftsman is of a treasure hoard from a distinct civilisation. The difference is that it is a civilisation of one. The territory it springs from is my imagination. ... The relationship between my personal themes and obsessions and the vastness of world culture as represented in the British Museum is like a narrow pilgrimage trail across an infinite plain. Grayson Perry Grayson Perrys centrepiece to this fascinating journey is a major artwork: a metal tomb in the form of a ship, encrusted with reliefs and artistic cargo based on, or actually cast from, objects in the collection of the British Museum. The occupant sails into the afterlife surrounded by the talismans of many faiths and peoples. This is a memorial to all the anonymous craftsmen that over the centuries have fashioned the man-made wonders of the world, many of which are on display in the Museum. Around the tomb, the other artworks - ceramics, tiles, cast metal sculpture, textiles and prints - are laid out in ritualistic symmetry as if they once belonged somewhere else. Alongside his own works, Grayson Perry presents a personal selection of objects from the British Museum that are the inspiration for his pieces or connected strongly with them thematically or aesthetically. Including an introduction by Grayson Perry and lavishly illustrated, this book takes us to the fantasy world of a contemporary artist who never fails to challenge and unsettle his audience. "Grayson Perry is winner of the 2012 South Bank Sky Arts Award for visual arts, for the British Museum exhibition, The Tomb of the Unknown Craftsman."
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Most Helpful Customer Reviews
10 of 10 people found the following review helpful
Format:Hardcover
I once heard Grayson Perry speak. He arrived for the event on a motorcycle and wearing a printed dress. You never know what to expect from this artist but you will not be disappointed by this enjoyable book made to accompany his exhibition. It is a treat.
Artists always have a unique way of looking at visual material. Mr. Perry curated with a sensibility that one might not expect,judging from his own work. He is a articulate man. I wish more artists were give the opportunity he was. He is a rare talent.
Artists always have a unique way of looking at visual material. Mr. Perry curated with a sensibility that one might not expect,judging from his own work. He is a articulate man. I wish more artists were give the opportunity he was. He is a rare talent.
7 of 7 people found the following review helpful
Format:Hardcover|Amazon Verified Purchase
Shortest ever review.... BUY IT.
Perry's art is captivating, thought provoking and challenging.
The book is a complete joy. Beautifully produced and worth every penny.
Marvellous.
Perry's art is captivating, thought provoking and challenging.
The book is a complete joy. Beautifully produced and worth every penny.
Marvellous.
4 of 4 people found the following review helpful
Format:Hardcover
Waves after waves of modern tedia crash onto the vast burning sand dunes of nullified boredom. All stretching across the frozen coast line of the yawn of the new. For me, a red brick sea wall has been stoically built to block out these resounding waves of the sterile blank modernity. Alienated art for tedious moderne personalities, the two enmesh.
Modern culture for me, is so much landfill trying to block out the vastness of the universe. The type of dross that creates constant clutter, is instantly jettisoned. This sparkling gem, shows however there are hidden lights twinkling with hidden awe, glittering amonst this morass that piles up high in modern lives.
The book resonates with imagination, a rare quality in modernity, as it is also harnessed to craftsmanship. Most modern art requires little of the latter. Grayson's life pattern has intersect points, chiefly going to Chancellor Hall and the Rock Club at the Chelmsford football ground in the late 70's. Being held in thrall by Siouxsie, Adam, Pauline, Poly, Ari and everyone else who made the decade so compelling. Out of this mix, documenting his life, Grayson produces echoes of an emotional world that has faded. This stands opposed to the alienated impersonation that surrounds most neu kunst. It lays silently undisturbed, under layers of the accumulated tedia of living in the now. This is encased in the bland sterile culture of manners that propels the real world into a fake sublime pastiche. His objects are wrought from a finely tuned imagination, that opens the doors between 'the world that could be' and 'the world that has been constructed in its stead.
His vases are works of art, beaming on several levels of conceptualisation. They resonate as beautiful objects in themselves, and as things that say something about the world we inhabit. He has distilled a world to its basics, then projects it back to the viewer as a critique. Strangely he sees more of the emotional reality than most therapists. His art lies beyond good and evil, incorporating by default Adler, Frankl, Otto Gross, Fenichel, Rogers along with Nietzsche, Marx and Stirner. Clearly he projects himself and his vulnerabilities, portraying a masculinity that lays buried under layers of breast beating. Initially a man dressed as a woman dealing with emotions was not a great magnet pull, however if you push beyond the surface appearance then another vista unfolds. The exhibition juxtaposes the ancient world and his modern creations, allowing the objects to come alive with an acidic surrealism.
This book is a sumnation of his world. He brings it altogether through delving inside himself. He has not just created pots, but sculptures, quilts and metallic dolls that resonate, think and reflect. Fetish Dolls, metallic ships, embroided clothes, his famous vases, his imagination is vast standing next to Gross, dada, expressionists, surrealists Dix, the Chapman brothers and the best in music. His take on the world is as a kindred spirit to the cloven hooves of the pipes of pan, with a thoughtful, reflective, empathic, view of the world.
If you can afford the time then see what he has put on offer, as he slices through the veils of modernity to reveals the buried dreams.
Modern culture for me, is so much landfill trying to block out the vastness of the universe. The type of dross that creates constant clutter, is instantly jettisoned. This sparkling gem, shows however there are hidden lights twinkling with hidden awe, glittering amonst this morass that piles up high in modern lives.
The book resonates with imagination, a rare quality in modernity, as it is also harnessed to craftsmanship. Most modern art requires little of the latter. Grayson's life pattern has intersect points, chiefly going to Chancellor Hall and the Rock Club at the Chelmsford football ground in the late 70's. Being held in thrall by Siouxsie, Adam, Pauline, Poly, Ari and everyone else who made the decade so compelling. Out of this mix, documenting his life, Grayson produces echoes of an emotional world that has faded. This stands opposed to the alienated impersonation that surrounds most neu kunst. It lays silently undisturbed, under layers of the accumulated tedia of living in the now. This is encased in the bland sterile culture of manners that propels the real world into a fake sublime pastiche. His objects are wrought from a finely tuned imagination, that opens the doors between 'the world that could be' and 'the world that has been constructed in its stead.
His vases are works of art, beaming on several levels of conceptualisation. They resonate as beautiful objects in themselves, and as things that say something about the world we inhabit. He has distilled a world to its basics, then projects it back to the viewer as a critique. Strangely he sees more of the emotional reality than most therapists. His art lies beyond good and evil, incorporating by default Adler, Frankl, Otto Gross, Fenichel, Rogers along with Nietzsche, Marx and Stirner. Clearly he projects himself and his vulnerabilities, portraying a masculinity that lays buried under layers of breast beating. Initially a man dressed as a woman dealing with emotions was not a great magnet pull, however if you push beyond the surface appearance then another vista unfolds. The exhibition juxtaposes the ancient world and his modern creations, allowing the objects to come alive with an acidic surrealism.
This book is a sumnation of his world. He brings it altogether through delving inside himself. He has not just created pots, but sculptures, quilts and metallic dolls that resonate, think and reflect. Fetish Dolls, metallic ships, embroided clothes, his famous vases, his imagination is vast standing next to Gross, dada, expressionists, surrealists Dix, the Chapman brothers and the best in music. His take on the world is as a kindred spirit to the cloven hooves of the pipes of pan, with a thoughtful, reflective, empathic, view of the world.
If you can afford the time then see what he has put on offer, as he slices through the veils of modernity to reveals the buried dreams.
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