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Class and Taste in the Work of Grayson Perry Being a Thesis Submitted for the Degree of Doctor of Philosophy in the University of Hull

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Class and Taste in the Work of Grayson Perry Being a Thesis Submitted for the Degree of Doctor of Philosophy in the University of Hull THE UNIVERSITY OF HULL A Class Act: Class and Taste in the Work of Grayson Perry being a thesis submitted for the Degree of Doctor of Philosophy in the University of Hull by Susan Jane Walsh (BA, MA) August 2016 For Nancy who has always been there through the all the high and lows ii Contents Dedication ii Contents iii Acknowledgements vi List of Figures vii Introduction 1 PART ONE: CLASS AND TASTE Chapter One: Theories of Class 8 Marx’s theory of class 10 Ideology, images and identity 13 Differences within classes 21 The linguistic ‘turn’ 28 Derrida’s view of class in Specters of Marx 34 What Are We To Make of Class in the Light of Such Poststructuralist Moves? 41 Identity and difference 45 Concluding Comments 47 Chapter Two: Models of Class 50 Changing Models of Class in Britain 50 Class as hierarchy 51 The three-tier model of class 55 Them and us: the oppositional model of class 56 ‘The boundless chaos of living speech’ 57 Contemporary models of class 58 The Great British Class Survey 2011 61 Concluding Comments 66 Chapter Three: Class and Taste 69 Bourdieu and Perry on Taste and Class 72 On Distinction: A social critique of the judgement of taste (1986) 74 Kant and Universal Taste 76 iii The ‘popular’ aesthetic versus the ‘pure gaze’ 81 Perry on Class and Taste 86 Perry’s aesthetic 91 Concluding Comments 93 Figures 1 and 2 97 PART TWO: CLASS AND TASTE IN THE WORK OF GRAYSON PERRY Chapter Four: The Early Life of Grayson Perry 99 The internal hierarchies of the art world 107 Cross dressing and class 110 Perry’s pots 116 Taste and Democracy, 2004 122 Good and Bad Taste, 2007 123 Barbaric Splendour, 2003 125 Them and Us, 2001 127 The Tragedy of Ordinary Life, 1996 129 What Things Say About Us, 2000 130 Ultimate Consumer Durable, 2005 131 Jane Austen in E17, 2009 133 Concluding Comments 134 Figures 3-10 137 Chapter Five: Unpopular Culture 145 General Comments on Unpopular Culture 150 Discussion of Exhibits 151 Critical Responses to Unpopular Culture 171 Concluding Comments 175 Figures 11-27 177 Chapter 6: The Vanity of Small Differences 194 All in the Best Possible Taste 200 Sunderland working class taste 202 Kings Hill: lower middle class taste and hyper-consumption 207 iv The liberal, educated middle class – the rule breakers 210 Upper class taste 214 The new ‘upper’classes: the barbarians at the gates 217 The aristocracy: the origin of the link between taste and class 218 The Vanity of Small Differences 220 The use of religious imagery 226 Concluding Comments 227 Chapter Seven: The Tapestries 228 Working class taste 228 Middle class taste 239 Upper class taste 251 Concluding Comments 263 Figures 28-33 272 Chapter Eight: Who Are You? 278 Perry on identity 284 Identity as imaginary 285 A Map of Days 2013 287 The Huhne interview 291 The Huhne Vase (2014) 294 The Kayleigh Khosravi interview 297 The Ashford Hijab (2014) 299 The Jack and John interview 302 Modern Family (2014) 303 Interview with the Newtonards Road Loyalists in Northern Ireland 306 Britain is Best, 2014 309 Concluding Comments 311 Figures 34-38 313 Conclusion 318 References 335 Afterword v Acknowledgments I would like to thank my two supervisors Professor Kathleen Lennon and Dr Dawn Wilson. Kathleen, I could not have undertaken this thesis without your support and guidance. Thank you for your ongoing enthusiasm and encouragement, your confidence in me, and your willingness to take a chance on this project although neither of us were sure it would ever come to fruition! Thank you Dawn for your patient and thorough reading of the final draft and your constructive and insightful comments. I would also like to thank Grayson Perry for his interest in the project, for granting me an interview, and for granting permission for images of his work reproduced in this thesis. I would like to thank Anja Ziegler and Hannah van den Wijngaard of the Victoria Miro Gallery for supplying images and permissions for their reproduction. Thanks to Grace Beaumont at the Arts Council for granting permissions for images from the Unpopular Culture catalogue. Thanks to Alastair Robinson who provided guidance and permission for the reproduction of images from Rank. Special thanks to Mark and Carl from the University of Hull Printing Service. Thank you Mark, for your meticulous care and patience in printing the images for the thesis. Thank you Carl, for providing the electronic copies. My thanks to Ethan Walsh who assisted with the reproduction of documents. A huge thank you to Rob Hogg-Blake for help with the formatting and picture editing. My thanks to Valerie Sanders at the Hull Graduate School who allowed me extra time to grapple with the considerable technical challenges posed by this thesis. Special thanks also to Nancy Blake for hours of patient typing and for always being there throughout my academic career, especially when times were tough. vi List of Figures Figure 1. O Neill, G, B. (1867) Public Opinion [Oil on canvas]. In Rank: Picturing the social order 1515-2009. Sunderland: Northern Gallery for Contemporary Art. Figure 2. Anderson, M. (1902) The door which leads to rank [medium]. In Rank: Picturing the social order 1515-2009. Sunderland: Northern Gallery for Contemporary Art. Figure 3. Perry, G. (2004) Taste and Democracy [Glazed ceramic]. 41 x 26cms 161/8 x 101/4 ins. Photograph Courtesy the Artist and Victoria Miro, London. © Grayson Perry. Figure 4. Perry, G. (2007) Good and Bad Taste [Glazed ceramic]. 57 x 31cm 221/2 x 121/4 ins. Photograph Courtesy the Artist and Victoria Miro, London. © Grayson Perry. Figure 5. Perry, G. (2003) Barbaric Splendour [Glazed ceramic]. 67 x 35.5cms 26.38 x 13.98ins. Photograph Courtesy the Artist and Victoria Miro, London. © Grayson Perry. Figure 6. Perry, G. (2001) Them and Us [Glazed ceramic]. Three pieces, dimensions variable. Photograph Courtesy the Artist and Victoria Miro, London. © Grayson Perry. Figure 7. Perry, G. (1996) The Tragedy of Ordinary Life [Glazed earthenware]. 51cm 201/8 ins. In Klein, J. (2013), Grayson Perry. London: Thames and Hudson. Courtesy the Artist and Victoria Miro, London. (Photography Stephen White) © Grayson Perry. Figure 8. Perry, G. (2002) What Things Say about Us [Glazed earthenware]. 57 x 35cm 221/2 x 133/4ins. In Klein, J. (2013), Grayson Perry. London: Thames and Hudson. Courtesy the Artist and Victoria Miro, London. (Photography Stephen White) © Grayson Perry. Figure 9. Perry, G. (2005) Ultimate Consumer Durable [Glazed Ceramic]. 65 x 45cms 255/8 x 173/4 ins. Photograph Courtesy the Artist and Victoria Miro, London. © Grayson Perry Figure 10. Perry, G. (2009) Jane Austen in E17 [Glazed ceramic]. 100 x 51.5cm 393/8 x 201/4 ins. Photograph Courtesy the Artist and Victoria Miro, London. © Grayson Perry. Figure 11. Perry, G. (2007-08) Queen’s Bitter [Glazed Ceramic]. H: 57 x Dia: 44cms. Photograph Courtesy the Artist and Victoria Miro, London © Grayson Perry. Figure 12. Perry, G. (2007-08) Head of a Fallen Giant [Bronze]. 40 x 50 x 35cm 153/4 x193/4 x133/4 ins. Photograph Courtesy the Artist and Victoria Miro, London (Photography Stephen White) © Grayson Perry. Figure 13. Armitage, K. (1957) Figure Lying on its Side (No 5) [Bronze]. 35.6 x 14 x 15.9. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 14. Hopkins, T. (1947-56) Untitled [Silver bromide print]. 30.7 x 45.5. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 15. Hopkins, T. (1947-56) Harassed father left to cope with the family, Liverpool, 1955 [Silver bromide print]. 23 x 33. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 16. Turnbull, W. (1955) Head [Bronze]. 22.9 x 22.9 x 61. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. vii Figure 17. Hardy, B. (1949) A fight springs up between dockers waiting for work in the Pool of London [Silver bromide print]. 24 x 31.6. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 18. Ray-Jones, T. (1967) Brighton Beach 1967 [Silver bromide print]. 17.7 x 26.8. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 19. Roberts, W. (1966) The Seaside [Oil on canvas]. 61 x 76.2. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 20. Hardy, B. (1948) Pub scene in the Gorbals [Silver bromide print]. 34 x 44.5. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 21. Lowndes, A. (1964) Telling the Tale [Oil on board]. 54.6 x 81.3. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 22. Hepher, D. (1979-81) Arrangement in Turquoise and Cream [Oil on canvas]. 193 x 275. In Unpopular Culture: Grayson Perry Selects from the Arts Council Collection. London: Hayward Publishing. Courtesy Arts Council Collection, Southbank Centre, London. Figure 23. Smith, J. (1952) After the Meal [Oil on canvas].
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