'Perhaps unusually for a contemporary artist, I often prioritise how my work might flourish in a domestic setting…'. Jenny Uglow, The New York Review of Books. Grayson Perry discusses Super Rich Interior Decoration, his new exhibition at Victoria Miro Mayfair (25 September–20 December 2019), casting an anthropological eye on the heady collision of art, money, power and desire. As you would expect, with Perry, there are multiple layers of witty and perceptive associations, visual and verbal. Here sprawls a “beauty blogger” (her job title tattooed on her forehead), with impeccably groomed eyebrows and cheeks plumped with Botox. For his first solo exhibition at the gallery since 2012 – and first exhibition at Victoria Miro Mayfair – Grayson Perry presents new work including pots, sculpture, large-scale prints, a tapestry and a carpet. Tapestry. The exhibition (28 June–21 October 2018) explores the influence of Michael Jackson on some of the leading names in contemporary art. Grayson Perry discusses Super Rich Interior Decoration, his new exhibition at Victoria Miro Mayfair (25 September–20 December 2019), casting an anthropological eye on the heady collision of art, money, power and desire. Venice: Tuesday–Saturday: 10am–1pm & 2–6pm. Photo: Veronica Simpson. It depicts a homeless man, sprawled halfway out of his sleeping bag, his cup of coins spilling on to the pavement, while the detritus of his life is spread out around him: a skeletally thin dog, used bottles and cans and fast-food containers and wrappers. Victoria Miro is the quiet woman of British art: visionary but not in the grandstanding way of some of her more famous counterparts. All general enquiries should be sent to info@victoria-miro.com. From hipster co-working techies in Shoreditch to do-gooding vegans in Deptford, no one gets off scot-free. This exhibition is available to view virtually on Vortic Collect until 18 December 2020. You can just make out a drab little puddle of “social mobility” being dispersed under its fat back wheel. However, the exhibition is available to view via the App Store on Vortic Collect until 18 December 2020. 'They did, as I predicted, end up looking quite the same,' Perry said. Grayson Perry has dressed down for the opening of his first commercial show in seven years: on this particularly wet, autumnal day, he is wearing rain-dipped blue chinos and a T-shirt. We respect the choices you make about how you would like to hear from us. Courtesy of Grayson Perry and Victoria Miro. Courtesy the artist and Victoria Miro, London/Venice. This show looks at how contemporary artists are influenced by the past as they seek to represent their present, and questions the nature of what a portrait depicts, Drawing as the catalyst for contemporary printmaking in the UK Heong Gallery, Downing College, University of Cambridge. And people are responding to that now.' Photo: Veronica Simpson. Now either Perry or his gallery - or both - feel it's time to re-engage with his wealthy collector base. “That’s what I’m best known for. This exhibition brings together ceramic works by four artists who, through a diversity of approaches, explore the possibilities of the medium: its fluidity, in spite of an undeniable physicality, in relation to genres such as painting and sculpture, and equally... Victoria Miro is delighted to announce its fourth solo exhibition with Grayson Perry. So I said: ‘Yeah, that’s what we all do us artists: super-rich interior decoration.” Which immediately struck him as “good inspiration for a commercial show”. Winner of the 2003 Turner Prize, Grayson Perry creates ceramics and other objects that explore diverse historical and contemporary themes. Grayson Perry, Rosetta Vase by jacquemart ... Grayson Perry and the gallery owner Victoria Miro, photographed by Miles Aldridge for Art Review. The exhibition (16 June–7 October 2018) engages with themes of communication, breakdown of communication, and isolation. Grayson Perry, Osprey Bags, 2019. You will find links at the bottom of all emails we send from our mailing list which allow you to Update your preferences to change the way we contact you, or Unsubscribe if you want to opt out. The artist gives Richard Morrison a tour of his new show, Super Rich Interior Decoration. Courtesy the artist and Victoria Miro, London/Venice. Grayson Perry, Large Expensive Abstract Painting, 2019 (detail). Photo: Veronica Simpson. He has staged major exhibitions at pretty much all the UK’s leading institutions, including the British Museum, the National Portrait Gallery and the Serpentine, and had blockbuster shows internationally. He is also this year’s winner of the Art Fund Prize, announced at the 2010 Collect Design Fair held at the Saatchi Gallery on 14 May 2010. But it isn’t abstract at all: it’s a liverish, lively, anthropological tribute to London – “the spiritual home of the super rich”, Perry quips - shot through with the silvery blue, snaking contours of the Thames. The exhibition (14 September – 3 December 2017) tells the story of studio pottery in Britain, from the early twentieth century to the present. At his best, Perry is a pot-throwing, rug-weaving Hogarth, spearing our delusions and vanities with a uniquely powerful mix of bile and humour. He has given the BBC Reith lectures, fronted TV documentaries about taste – investigating, with irreverence and glee, every aspect of how class-conscious Brits declare their aspirations to belong to a specific tribe by how they dress, live and shop – as well as more poignant reflections on masculinity. The Universal Addressability of Dumb Things The title Studio International is the property of the Studio International Foundation and, together with the content, are bound by copyright. Grayson Perry / Courtesy the artist and Victoria Miro, London/Venice Tim Walker: Wonderful Things, September 21-March 8, V&A Museum Tim Walker/1 MONCLER PIERPAOLO PICCIOLI The series All Man, which considered masculinity, followed in 2016, with Allen Lane publishing the related book The Descent of Man. Perry uses the seductive qualities of ceramics and other art forms to make stealthy comments about society, its pleasures as well as its injustices and flaws, and to explore a variety of historical and contemporary themes. Hence the overtly, voluptuously African form, wide of girth and skinny of neck, managing to convey a rich mixture of authentic tribal sculpture and buxom, self-important matron, her wing-tipped spectacles perched on her nose, bohemian beads wrapped around her neck. We like to point and sneer, but,” he says, his voice dropping to a whisper: “We’re part of the problem.”. 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