Book Review: Grayson Perry's 'Playing to the Gallery'

A Wittily illustrated compact guide to understanding art

Perhaps one of the most informative summary I've read, Perry has created such an accessible book for all generations, making his observations so well rounded and equally so clear. In the accompaniment of his satirical sketches, Perry's has produced a wittily illustrated compact guide to understanding art, and by a way of outcome, immediately captivates the reader.

The incorporation of these comic-style drawings makes the read visually engaging. It detracts from the informative nature of the book and almost projects this comedic stereotype of curatorship. In one of his illustrations, the hierarchy of the art world is depicted in a series of artists utensils, ranging from the critics; being objectified as a pair of scissors, the collectors; encompassed by a palette knife, and finally the curators; symbolised by a fairly dominating kitchen knife. It is with these sketches, that the reader; regardless of age or knowledge surrounding the subject, is able to connect with Perry's observations. One particular sketch that greets you in the early stages of the book, seems to stand for a widely verbalised commentary. The rough likeness of Chuck Close's brooding hyperrealistic 1967 piece 'Big Self Portrait', is accompanied by two sketched observers, one stating how impressive it was that Close could achieve such photographic likeness. Perry doesn't necessarily deny this popular opinion as being valid, but encourages the reader to explore the piece in a different way, the book encourages the reader to expand on these initial thoughts, and that is what makes it so appealing.

Perry adopts this omnipotent role of curator, artist and observer

What is particularly enticing is how Perry adopts this omnipotent role of a curator, an artist and an observer, all from his experience. Allowing the reader to gain full access to the mind of each position. At one point he is seemingly mocking the base foundations of a 'Curators head', as they scan artwork and instillation for 'Famous stuff to give my institution an easy international reputation' or 'Ideas that sound like the future' in his own words. This seems to allow the reader the insight into a curatorial opinions, and the real subjectivism of curatorship. Perry unpicks how an exhibition is as much a display of the curators thought process and personality, as it is an outline of impressive and powerful works of art.

Perry goes on to explore the political and sociological aspects of art in the chapter 'Is art still capable of shocking us or have we seen it all before?', he titles this chapter 'Nice Rebellion Welcome in!' as if to almost suggest society is well adapted to the 'political and anarchist' commentary in art that is so often a key featured in exhibitions today. Perry touches on the effect of film in shaping his opinion as well as news and media. He comments on how artists are constantly looking to be 'cutting edge' projecting this 'new paradigm' when in fact, so much of art today is shaped by the past, that it is hard to ever be original. However Perry seems to cushion this blow to the artists mindset from this artists commentary perspective. He states how, just because art will never be individually unique; i.e. it will always fall under a particular genre, style, technique, it doesn't mean art fails to be exciting. Perry explores how art and its meaning is forever changing, and thus can never be uninventive, yet, he goes on to explore how the controversy of political art a hundred years ago has morphed into a new meaning today.

The final chapter is entitled 'I Found Myself in the Art World'. In an almost cyclical nature, from exploring the in-routes and external opinions regarding art, we finally arrive at Perry's inward reflection on his experience as a contemporary artist. He outlines how essentially, we all have an artistic nature, yet as we grow older we become more aware of society and its impact on how we create. Perry delves into the roots of his iconic image, and how the influences of his past have never been truly forgotten.

Thus, without giving away the whole content of this book, the memorable association I have with it, and the sense of excitement I felt at turning each page of this book, I encourage anyone who feels they need a pedestal into the art world, or anyone who enjoys a comedic insight into the functions behind the curtain of exhibitions, to step into Perry's world, in this addictive piece.

Other books I recommend by Grayson Perry.