Jonathan Jones

#102. Robin Greenwood writes on Critical Mess

Grayson Perry in front of his Summer Exhibition. Photograph Neil Hall EPA

In his five-star Grauniad review of this year’s Royal Academy Summer Exhibition, curated by Grayson Perry, Jonathan Jones – the Ernie Wise to Adrian Searle’s Eric Morecambe – writes:

“This year, getting selected is not such an honour. For Perry has filled the summer show with crap. I mean actual garbage: talentless, throwaway rubbish, a lot of it apparently made by jokers after getting home from the pub….

…There’s something odd happening in art, and Perry has caught the moment. Boundaries of age and style, cool and uncool no longer seem to have anything to do with art’s future. Perhaps its future lies in the past. Or vice versa. I don’t know where I am after this crazy show. This is the most liberating exhibition of new art I’ve seen for ages, because it obliterates definitions of what’s good or bad, archaic or modern, and invites us to sample all the ways people can use a thing called “art” to express feelings and ideas.”

Something odd, by god, but it still gets five stars – because it “liberates”! It “obliterates”! Worn out, tired old definitions of good and bad are passé. Is it the crap, or the curation of crap, to the point of no return, that liberates? Have we reached critical mess? Things seem really bad, but probably not. No… this will just go on and on. Things will get worse and worse. Things were so much better back in the sixties, don’t you think? So much deeper and more thoughtful, more serious and profound. We didn’t, back then, have much of an idea about how to “use” art so shamelessly to “express feelings and ideas”. We tried, but we could never manage such profound levels of shallowness.

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