I have just returned from two nights in London, largely on my own. For anyone who’s travelled with a disability, you’ll know what a big deal that is. Every micrometre of the journey had to be planned in advance; not just booking tickets and accommodation, but having to ring each company involved to check the level of accessibility. And even with all that planning, it still wasn’t a straightforward journey. not the worst I’ve been on by a long shot, but convoluted.
In preparing for the journey, I came across this incredible web site:
http://www.describe-online.com/
Their aim is to provide “access through information”, and they give detailed text descriptions of train stations, airports and other public areas around the UK. Even if you’re not a VIP (Visually Impaired Person), have a look at it to see a model of Real Access.The sole purpose of my journey was to visit Grayson Perry’s exhibition, “Tomb of the Unknown Craftsman” in the British Museum. Despite winning the Turner Prize a few years back, Perry is a sincere, witty and humble artist and maker. His primary medium is ceramics, but in this show, he uses textiles, iron casting and a variety of other techniques.
The show covers so much, it’s hard to know where or how to start describing it. He has made and revived a number of pieces which are displayed alongside artefacts from the British Museum’s own collection. It celebrates the craftspeople and anonymous artists throughout history and across the world, whose works are most usually seen as a impersonal expression of their culture or period of history. But it also explores the role of the craftsperson in creating and subverting myth, religion, gender and power. At the core of Perry’s work is his 50 year old teddy bear, Alan Measles, who has the role of symbolic father and personal god.
In one interview about the exhibition, Perry describes two elements of his nature as “the punk” and “the hobbit”. The punk is the subverter, the over-turner, the irreverend, socio-politically aware commentator; the hobbit loves beautiful things, opulence, tradition, fine skill and rich materials. It’s a mix that really appeals to me.
One central theme of the exhibition is that of pilgrimage. The once-in-a-lifetime journey one makes to rekindle inspiration and meaning by being present to a special place or object. Perry examines the role of the contemporary artist as the saint or demi-god, with galleries as great cathedrals of cultural orthodoxy. The situation of the collection within the British Museum is central to this theme, with the museum itself represented as a destination of pilgrimage. As such, Perry has disassociated his work from those who seek to elevate the status of their work by placing it in the sanctified gallery-space, and instead placing it alongside the global heterogeneous traditions of the world’s crafts.So I had to make my own pilgrimage to experience this exhibition in its proper time and place. Here are some thoughts I had along the way.
In preparing for the journey, I came across this incredible web site:
http://www.describe-online.com/
Their aim is to provide “access through information”, and they give detailed text descriptions of train stations, airports and other public areas around the UK. Even if you’re not a VIP (Visually Impaired Person), have a look at it to see a model of Real Access.The sole purpose of my journey was to visit Grayson Perry’s exhibition, “Tomb of the Unknown Craftsman” in the British Museum. Despite winning the Turner Prize a few years back, Perry is a sincere, witty and humble artist and maker. His primary medium is ceramics, but in this show, he uses textiles, iron casting and a variety of other techniques.
The show covers so much, it’s hard to know where or how to start describing it. He has made and revived a number of pieces which are displayed alongside artefacts from the British Museum’s own collection. It celebrates the craftspeople and anonymous artists throughout history and across the world, whose works are most usually seen as a impersonal expression of their culture or period of history. But it also explores the role of the craftsperson in creating and subverting myth, religion, gender and power. At the core of Perry’s work is his 50 year old teddy bear, Alan Measles, who has the role of symbolic father and personal god.
In one interview about the exhibition, Perry describes two elements of his nature as “the punk” and “the hobbit”. The punk is the subverter, the over-turner, the irreverend, socio-politically aware commentator; the hobbit loves beautiful things, opulence, tradition, fine skill and rich materials. It’s a mix that really appeals to me.
One central theme of the exhibition is that of pilgrimage. The once-in-a-lifetime journey one makes to rekindle inspiration and meaning by being present to a special place or object. Perry examines the role of the contemporary artist as the saint or demi-god, with galleries as great cathedrals of cultural orthodoxy. The situation of the collection within the British Museum is central to this theme, with the museum itself represented as a destination of pilgrimage. As such, Perry has disassociated his work from those who seek to elevate the status of their work by placing it in the sanctified gallery-space, and instead placing it alongside the global heterogeneous traditions of the world’s crafts.So I had to make my own pilgrimage to experience this exhibition in its proper time and place. Here are some thoughts I had along the way.
Day 1:
Day 2:
Access Adventures in IsoldeLand 