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Welcome to this year's Royal Academy Summer Exhibition. | 0:00:04 | 0:00:08 | |
It's the Wimbledon of the art world. | 0:00:08 | 0:00:10 | |
It's been an extravagant highlight of the British artistic calendar | 0:00:10 | 0:00:14 | |
for almost 250 years. | 0:00:14 | 0:00:16 | |
And this year, it's even more vibrant, diverse | 0:00:16 | 0:00:18 | |
and even eccentric than ever before. | 0:00:18 | 0:00:21 | |
On tonight's show, we meet this year's Chief Co-ordinator, | 0:00:31 | 0:00:34 | |
Eileen Cooper, whose art highlights include the first-ever | 0:00:34 | 0:00:38 | |
performance piece for the Summer Exhibition. | 0:00:38 | 0:00:41 | |
BELL RINGS | 0:00:41 | 0:00:43 | |
He'll emerge from the crowds, | 0:00:43 | 0:00:45 | |
wearing a Cyclops mask. | 0:00:45 | 0:00:49 | |
We'll go behind the scenes with the most famous duo in art, | 0:00:52 | 0:00:56 | |
as they install their latest work in the galleries. | 0:00:56 | 0:01:00 | |
We like it when young friends come round | 0:01:00 | 0:01:02 | |
and they see the designs for our new pictures, | 0:01:02 | 0:01:04 | |
and they say to us, "You guys are crazy!" | 0:01:04 | 0:01:06 | |
We splash some cash with some rather special art lovers. | 0:01:07 | 0:01:11 | |
I quite like that, but then don't you think that | 0:01:11 | 0:01:13 | |
if you had it in your house, you'd just want to sit on it? | 0:01:13 | 0:01:16 | |
We follow three aspiring artists | 0:01:16 | 0:01:19 | |
to see if they have what it takes to make it into the show. | 0:01:19 | 0:01:23 | |
I've been at this stage once before and I didn't make it, | 0:01:23 | 0:01:25 | |
and it was gutting. | 0:01:25 | 0:01:27 | |
And hear Laura Mvula bring her soulful songs to the courtyard | 0:01:28 | 0:01:32 | |
of the Royal Academy. | 0:01:32 | 0:01:34 | |
What makes the Summer Exhibition utterly unique | 0:01:51 | 0:01:54 | |
is that it's open to artists everywhere - | 0:01:54 | 0:01:56 | |
professionals and amateurs alike. | 0:01:56 | 0:01:58 | |
It's the largest open submission in the world, | 0:01:58 | 0:02:00 | |
which means that absolutely anyone can enter, with a chance of having | 0:02:00 | 0:02:04 | |
their work shown alongside the likes of Tracey Emin and Grayson Perry. | 0:02:04 | 0:02:08 | |
But the journey starts months earlier. | 0:02:11 | 0:02:14 | |
This year, 12,500 people have already submitted | 0:02:16 | 0:02:20 | |
their work digitally. | 0:02:20 | 0:02:22 | |
They've now been whittled down to 2,500, | 0:02:22 | 0:02:26 | |
and many hopeful artists are now dropping off their works | 0:02:26 | 0:02:29 | |
at the Royal Academy for the next round of judging. | 0:02:29 | 0:02:32 | |
I've come from Karachi. Karachi, Pakistan. That's where I live. | 0:02:34 | 0:02:37 | |
I decided to share my painting with the world so they can feel the love. | 0:02:41 | 0:02:46 | |
It's called Gorgeous Filth 01. | 0:02:49 | 0:02:52 | |
And I've come from Salt Spring Island in Canada. | 0:02:52 | 0:02:55 | |
It would mean everything to me because I love art | 0:02:59 | 0:03:02 | |
and when I grow up, obviously, I want to be an artist. | 0:03:02 | 0:03:05 | |
And there's even a surprise amateur celebrity artist or two | 0:03:07 | 0:03:12 | |
amongst the crowd. | 0:03:12 | 0:03:13 | |
I've done a big selection of paintings of wrestlers this year. | 0:03:15 | 0:03:19 | |
I used to go to wrestling in the '70s | 0:03:19 | 0:03:21 | |
to see Giant Haystacks and Big Daddy and Kendo Nagasaki, | 0:03:21 | 0:03:24 | |
and people like that. | 0:03:24 | 0:03:26 | |
And I was... I don't know, I was just looking at some wrestling, | 0:03:26 | 0:03:28 | |
I thought, "I fancy doing a bit of that." | 0:03:28 | 0:03:30 | |
I like doing figurative stuff, especially when bodies are linked. | 0:03:30 | 0:03:35 | |
I hope you can recognise who it is. | 0:03:37 | 0:03:39 | |
It's Bill Nighy, | 0:03:39 | 0:03:41 | |
dearly beloved Billy Nighy. | 0:03:41 | 0:03:43 | |
And I just enjoy painting people that I agree with and I like. | 0:03:43 | 0:03:48 | |
The title is Our Bill, because in the '30s, there was a song called... | 0:03:48 | 0:03:53 | |
# And he's just my Bill, an ordinary guy. # | 0:03:53 | 0:03:56 | |
And... So that's why I've called him Our Bill, because he is our Bill. | 0:03:56 | 0:04:00 | |
It's really strange, | 0:04:04 | 0:04:06 | |
I feel like I am at kindergarten, seeing my baby off! | 0:04:06 | 0:04:09 | |
Comedian Harry Hill has entered the Summer Exhibition eight times. | 0:04:16 | 0:04:21 | |
Last year, he made the final hang | 0:04:22 | 0:04:25 | |
with his David Beckham diptych. | 0:04:25 | 0:04:27 | |
This year's... | 0:04:28 | 0:04:31 | |
This year's entry is, um... | 0:04:31 | 0:04:33 | |
So it's, it's a dog. | 0:04:34 | 0:04:36 | |
Basically, this picture was sent to my wife from a friend of ours. | 0:04:36 | 0:04:40 | |
He left his dog in the house, | 0:04:40 | 0:04:43 | |
with a bag of flour. | 0:04:43 | 0:04:45 | |
Or the door to the larder was open and the dog got the bag of flour. | 0:04:45 | 0:04:49 | |
And when he got back, he took these two photographs | 0:04:49 | 0:04:52 | |
which really made me laugh! | 0:04:52 | 0:04:54 | |
So there's the dog here, looking sort of bashful, | 0:04:54 | 0:04:57 | |
and then he looks at what he's done. | 0:04:57 | 0:04:59 | |
So I painted it as a little picture. | 0:04:59 | 0:05:02 | |
One of this year's hopeful send-ins is Mike Carter, | 0:05:07 | 0:05:11 | |
who has travelled all the way from Wales. | 0:05:11 | 0:05:13 | |
I had to get the early bus at quarter past six this morning, | 0:05:15 | 0:05:18 | |
so it's been quite a journey. | 0:05:18 | 0:05:20 | |
I walked in through the park from Buckingham Palace | 0:05:22 | 0:05:25 | |
and I could see a few people carrying artworks. | 0:05:25 | 0:05:28 | |
It's like everyone kind of knows what each other's up to, | 0:05:28 | 0:05:31 | |
it was like a little secret club or something. | 0:05:31 | 0:05:33 | |
I'm just glad I got it here in one piece. | 0:05:35 | 0:05:37 | |
Mike lives with his family just outside of Cardiff. | 0:05:42 | 0:05:46 | |
He studied fine art here, | 0:05:49 | 0:05:51 | |
but now works in retail for a popular Swedish furniture company. | 0:05:51 | 0:05:54 | |
After graduating I didn't do any art for, like, ten years. | 0:05:56 | 0:05:59 | |
My partner went to a show in London, Peter Deutsch show, | 0:06:01 | 0:06:05 | |
and she brought back a catalogue. | 0:06:05 | 0:06:07 | |
I just started looking at it again, I thought, | 0:06:07 | 0:06:09 | |
"Well, why am I not painting any more?" | 0:06:09 | 0:06:12 | |
That's when I started again. | 0:06:14 | 0:06:16 | |
I would love to be able to do this full-time. | 0:06:17 | 0:06:20 | |
But the realities are it's...it's difficult. | 0:06:20 | 0:06:23 | |
I am doing my art... | 0:06:24 | 0:06:26 | |
Well, basically, I get a slot every night, | 0:06:26 | 0:06:28 | |
about two hours, you know? | 0:06:28 | 0:06:30 | |
I am definitely a figurative painter | 0:06:34 | 0:06:36 | |
but I'm open to lots of different ways of making art. | 0:06:36 | 0:06:39 | |
Mike submitted work two years ago, | 0:06:42 | 0:06:44 | |
but didn't make it onto the hallowed walls of the RA. | 0:06:44 | 0:06:48 | |
This year, he's hoping to go all the way. | 0:06:50 | 0:06:52 | |
This is my submission for | 0:06:54 | 0:06:55 | |
the Royal Academy Summer Exhibition. | 0:06:55 | 0:06:58 | |
It's South Stack Lighthouse in Anglesey. | 0:06:58 | 0:07:00 | |
We were up there on holiday, | 0:07:04 | 0:07:06 | |
and I was blown away by the whole view, | 0:07:06 | 0:07:09 | |
and this lighthouse is kind of jutting out on a little peninsula. | 0:07:09 | 0:07:13 | |
If the painting gets into the exhibition I... | 0:07:16 | 0:07:19 | |
I don't know what I'll do with myself! | 0:07:19 | 0:07:21 | |
I'll be so pleased. | 0:07:21 | 0:07:23 | |
MUSIC: Valerie by Mark Ronson feat. Amy Winehouse | 0:07:23 | 0:07:26 | |
Sarah Gwyer is a 32-year-old mum. | 0:07:34 | 0:07:37 | |
She's also a pop artist with an unusual passion for handicrafts. | 0:07:39 | 0:07:44 | |
This is Amy Remixed. | 0:07:45 | 0:07:47 | |
She's made from hundreds and hundreds of hand-sewn beads | 0:07:47 | 0:07:51 | |
and they've come together to make a sort of ode to Amy Winehouse. | 0:07:51 | 0:07:54 | |
So I'm a little bit nervous today, dropping her off. | 0:07:57 | 0:08:00 | |
I just want to make sure she gets there all safe and sound. | 0:08:00 | 0:08:02 | |
Sarah lives in the Cotswolds, and she splits her time between | 0:08:11 | 0:08:14 | |
her two small children, Barnaby and Toby, and her artwork. | 0:08:14 | 0:08:18 | |
There's a lot of juggling going on. | 0:08:20 | 0:08:23 | |
Nap time is pretty much when I get most of my artwork done. | 0:08:23 | 0:08:26 | |
There's this beautiful time between half seven and 10pm. | 0:08:26 | 0:08:29 | |
That's when I don't get any interruptions at all. | 0:08:29 | 0:08:32 | |
I tend to do sculptures of women. | 0:08:35 | 0:08:38 | |
It's always about having an iconic image. | 0:08:38 | 0:08:40 | |
Amy, you've got the tattoos and you've got the beehive. | 0:08:40 | 0:08:43 | |
She just screams at me to do her. | 0:08:43 | 0:08:46 | |
So I started my sculpture in about November. | 0:08:46 | 0:08:49 | |
She's taken about four months in total to finish. | 0:08:49 | 0:08:53 | |
I literally hand sew every bead. | 0:08:53 | 0:08:55 | |
You'll find a piano charm, there's charms of the old records. | 0:08:55 | 0:09:00 | |
The hardest bits to do of a sculpture are concave areas, | 0:09:00 | 0:09:03 | |
cleavage is really difficult, | 0:09:03 | 0:09:05 | |
but the lips, I'd say the lips are probably the hardest part to do. | 0:09:05 | 0:09:09 | |
# They're trying to make me go to rehab | 0:09:10 | 0:09:13 | |
# But I won't go, go, go. # | 0:09:13 | 0:09:16 | |
This is my fifth time of trying, | 0:09:16 | 0:09:19 | |
but never, never made it through the final hurdle. | 0:09:19 | 0:09:22 | |
So hopefully, this time... | 0:09:22 | 0:09:24 | |
I feel it's my best shot, | 0:09:24 | 0:09:25 | |
but at the same time, it's so subjective. | 0:09:25 | 0:09:28 | |
Our final hopeful dropping off work at the RA | 0:09:34 | 0:09:37 | |
is retired teacher Norma Bell. | 0:09:37 | 0:09:39 | |
This painting is called Endgame, | 0:09:45 | 0:09:48 | |
and it's a homage to Francis Bacon. | 0:09:48 | 0:09:50 | |
It's painted with a palette knife and acrylics. | 0:09:50 | 0:09:53 | |
I don't know how to use a paintbrush! | 0:09:53 | 0:09:55 | |
SHE LAUGHS | 0:09:55 | 0:09:56 | |
Norma lives in Fovant, Wiltshire, and came to art later in life. | 0:10:00 | 0:10:04 | |
I'm in my 80s, but friends say that I easily pass for 79, | 0:10:07 | 0:10:12 | |
so I'm quite happy with that. | 0:10:12 | 0:10:13 | |
I started painting after I retired. | 0:10:16 | 0:10:19 | |
I started going on painting holidays with a good friend of mine, Pam, | 0:10:19 | 0:10:23 | |
and we produced lots of pretty pictures. | 0:10:23 | 0:10:25 | |
Well, I decided that they were simply pretty pictures | 0:10:25 | 0:10:28 | |
and they weren't really what I wanted to do. | 0:10:28 | 0:10:31 | |
I wanted to do something much freer, and more colourful. | 0:10:31 | 0:10:34 | |
I use a palette knife and acrylic paint, | 0:10:37 | 0:10:41 | |
so it's like icing a cake, really. | 0:10:41 | 0:10:43 | |
You just... You keep your knife flat, doing this. | 0:10:43 | 0:10:45 | |
I'm going to try to obliterate | 0:10:45 | 0:10:47 | |
what's here, really. | 0:10:47 | 0:10:48 | |
The reason I do abstracts and I use a palette knife | 0:10:52 | 0:10:56 | |
is because I can't paint a daisy or a cat, | 0:10:56 | 0:10:58 | |
I wouldn't know how to do it. | 0:10:58 | 0:11:00 | |
If you gave me a paintbrush, | 0:11:00 | 0:11:01 | |
I wouldn't be quite sure which end to use. | 0:11:01 | 0:11:03 | |
Norma's painting, Endgame - Homage to Francis Bacon, | 0:11:06 | 0:11:10 | |
was inspired by a newspaper item which showed his last painting. | 0:11:10 | 0:11:14 | |
This was a bull which, in fact, is starting to recede | 0:11:15 | 0:11:18 | |
into the background, | 0:11:18 | 0:11:20 | |
and it made me think that he must have had a premonition himself | 0:11:20 | 0:11:24 | |
that he was facing his own mortality. | 0:11:24 | 0:11:27 | |
And in the painting I did, | 0:11:27 | 0:11:29 | |
I tried to put that across. | 0:11:29 | 0:11:31 | |
I've achieved a lot of things I wanted to do, | 0:11:36 | 0:11:39 | |
and getting a painting into the Royal Academy | 0:11:39 | 0:11:42 | |
is the last thing on my bucket list. | 0:11:42 | 0:11:44 | |
And if I can do that, I'll be very, very pleased, | 0:11:44 | 0:11:46 | |
and very, very proud. | 0:11:46 | 0:11:49 | |
Like all the other hopeful artists, the works of Mike, Sarah and Norma | 0:11:53 | 0:11:58 | |
will be judged anonymously by the exhibition committee. | 0:11:58 | 0:12:01 | |
In a few weeks' time, they'll discover if they're part | 0:12:02 | 0:12:06 | |
of this year's show. | 0:12:06 | 0:12:07 | |
Each year, one of Britain's leading artists is chosen to be | 0:12:15 | 0:12:18 | |
the Chief Co-ordinator of the Summer Exhibition. | 0:12:18 | 0:12:21 | |
This time round, it's the turn of Derbyshire painter | 0:12:23 | 0:12:26 | |
and print-maker Eileen Cooper. | 0:12:26 | 0:12:29 | |
Eileen Cooper is known | 0:12:31 | 0:12:33 | |
for her large-scale, brightly coloured figurative paintings, | 0:12:33 | 0:12:36 | |
sometimes described as magic realism. | 0:12:36 | 0:12:39 | |
In 2010, she was also elected Keeper of the Royal Academy. | 0:12:41 | 0:12:45 | |
Eileen has a bold vision for the show. | 0:12:52 | 0:12:56 | |
I've come to the Royal Academy, to the Keeper's House, | 0:12:56 | 0:12:59 | |
traditionally the grace-and-favour residence of the Keeper, | 0:12:59 | 0:13:02 | |
to find out more. | 0:13:02 | 0:13:04 | |
As well as being an academician, | 0:13:11 | 0:13:13 | |
amazingly, Eileen is the first woman to be elected Keeper | 0:13:13 | 0:13:18 | |
since the Royal Academy's foundation in 1768. | 0:13:18 | 0:13:21 | |
Traditionally, as well as being responsible | 0:13:21 | 0:13:24 | |
as the day-to-day running of the Royal Academy, | 0:13:24 | 0:13:26 | |
the Keeper was also responsible for the Royal Academy Schools. | 0:13:26 | 0:13:30 | |
Eileen's studio, at the top of the Keeper's House, | 0:13:35 | 0:13:38 | |
has remained largely unchanged since it was built in 1866. | 0:13:38 | 0:13:43 | |
Eileen, when you started to think about what you wanted | 0:13:44 | 0:13:49 | |
this exhibition to be emblematic of, | 0:13:49 | 0:13:51 | |
tell me what you thought should be the main thoughts. | 0:13:51 | 0:13:55 | |
I really want to get people | 0:13:55 | 0:13:57 | |
from all over the country, | 0:13:57 | 0:13:59 | |
all over the world, on the walls, | 0:13:59 | 0:14:01 | |
I want the big names and I want the unknowns. | 0:14:01 | 0:14:04 | |
I'm in touch with a lot of different generations of artists. | 0:14:04 | 0:14:07 | |
I very deliberately got film-makers. | 0:14:07 | 0:14:10 | |
We've got a film installation from Isaac Julien. | 0:14:10 | 0:14:13 | |
But we're also looking for graduates from many, many art schools. | 0:14:13 | 0:14:18 | |
So, in fact, you want to increase the democracy of the Royal Academy? | 0:14:18 | 0:14:22 | |
Yeah, I think most definitely so. | 0:14:22 | 0:14:24 | |
Obviously, the very first thing people will see | 0:14:24 | 0:14:26 | |
is the courtyard sculpture. | 0:14:26 | 0:14:27 | |
-That's the thing that's got to make a "wow!". -Yeah. | 0:14:27 | 0:14:30 | |
So what have you chosen? | 0:14:30 | 0:14:31 | |
So I've chosen a wind sculpture by Yinka Shonibare. | 0:14:31 | 0:14:37 | |
He's a big star in the art world, and he's very busy. | 0:14:37 | 0:14:40 | |
He's showing all over the world. | 0:14:40 | 0:14:42 | |
And I feel that the Summer Show is really very celebratory | 0:14:42 | 0:14:47 | |
and to have something colourful and atmospheric | 0:14:47 | 0:14:50 | |
and dominating the courtyard | 0:14:50 | 0:14:52 | |
is a really good way to bring people in. | 0:14:52 | 0:14:55 | |
You must be delighted that Gilbert and George are in your year. | 0:14:55 | 0:14:58 | |
They showed for the first time in the academy last year, | 0:14:58 | 0:15:01 | |
so that was a big, big, important thing, | 0:15:01 | 0:15:04 | |
and often, they don't show in group shows. | 0:15:04 | 0:15:06 | |
It's great to have them. | 0:15:06 | 0:15:07 | |
We've got performances, two young performance artists, | 0:15:07 | 0:15:11 | |
a duo, India Mackie and Declan Jenkins, | 0:15:11 | 0:15:14 | |
doing Cantilever Kiss. | 0:15:14 | 0:15:16 | |
And one of our academicians, Brian Catling, | 0:15:16 | 0:15:19 | |
is going to be doing a performance. | 0:15:19 | 0:15:22 | |
And it seems to me a very quirky and interesting performance, | 0:15:22 | 0:15:24 | |
where he'll emerge from the crowds wearing a Cyclops mask. | 0:15:24 | 0:15:32 | |
-That could be quite scary. -Let's hope not. | 0:15:32 | 0:15:35 | |
Or should we be hoping it is? | 0:15:35 | 0:15:38 | |
Tell me about the staircase. | 0:15:38 | 0:15:41 | |
The first thing after you've come in through the courtyard, | 0:15:41 | 0:15:44 | |
you're coming up the staircase, who are we having there? | 0:15:44 | 0:15:47 | |
-Do you know yet? -No. | 0:15:47 | 0:15:49 | |
We don't know who we are having in the staircase. | 0:15:49 | 0:15:52 | |
-This is exactly four weeks from the exhibition. -Yes, it is. | 0:15:52 | 0:15:55 | |
I know we've got some very large work by academicians, | 0:15:55 | 0:15:58 | |
which I've got in mind as a possibility, | 0:15:58 | 0:16:01 | |
and we're still under discussion with a couple of people. | 0:16:01 | 0:16:05 | |
As Keeper, Eileen Cooper has privileged access | 0:16:08 | 0:16:11 | |
to back parts of the Royal Academy that are never open to the public. | 0:16:11 | 0:16:15 | |
Gosh, what's this? Part of the stairwell. | 0:16:19 | 0:16:21 | |
This is the cut-through to the schools. | 0:16:21 | 0:16:22 | |
It's the Keeper's staircase. | 0:16:22 | 0:16:24 | |
-And how often is it used? -Well, I use it occasionally, | 0:16:24 | 0:16:28 | |
but it is a bit creepy. | 0:16:28 | 0:16:29 | |
Is it...? I mean, is it meant to be used by a lot of people, or is it quite secret? | 0:16:29 | 0:16:33 | |
No, it's quite secret, it's for my use, | 0:16:33 | 0:16:35 | |
and the Keeper goes down the stairs via the Keeper's garden. | 0:16:35 | 0:16:39 | |
I think I'll go out this way, but... | 0:16:39 | 0:16:40 | |
That's a spider's web you've got your hand on. | 0:16:40 | 0:16:43 | |
SHE LAUGHS | 0:16:43 | 0:16:44 | |
The students that Eileen Cooper teaches get free tuition, | 0:16:48 | 0:16:51 | |
partially funded by the Summer Exhibition. | 0:16:51 | 0:16:54 | |
And these stairs lead to a room | 0:16:55 | 0:16:57 | |
where past masters perfected their art. | 0:16:57 | 0:17:00 | |
Many famous artists, like JMW Turner, John Constable | 0:17:06 | 0:17:10 | |
and John Everett Millais studied at the RA Schools. | 0:17:10 | 0:17:13 | |
I am in the historic life room, | 0:17:13 | 0:17:15 | |
and many believe that it was on these very benches | 0:17:15 | 0:17:18 | |
that they sat, working away and drawing the life models. | 0:17:18 | 0:17:21 | |
In the past, the life room was one of the most important aspects | 0:17:27 | 0:17:31 | |
of the Royal Academy Schools. | 0:17:31 | 0:17:33 | |
Life drawing was seen | 0:17:35 | 0:17:37 | |
as the highest level of training that an artist | 0:17:37 | 0:17:40 | |
would be expected to undertake, | 0:17:40 | 0:17:42 | |
so it was the top of the tree. | 0:17:42 | 0:17:43 | |
You had to draw from the life model in order to progress | 0:17:44 | 0:17:47 | |
in the finest compartments of painting and sculpture. | 0:17:47 | 0:17:51 | |
The life classes were incredibly structured. | 0:17:54 | 0:17:57 | |
The model would sit for two hours, timed with this egg timer. | 0:17:57 | 0:18:01 | |
It was used until about 1900. | 0:18:01 | 0:18:05 | |
If at any point the model needed a break, | 0:18:05 | 0:18:07 | |
a bit of a comfort break, that sort of thing, | 0:18:07 | 0:18:09 | |
you just put it on your side like that | 0:18:09 | 0:18:11 | |
until they were back again, all set, ready for the second half. | 0:18:11 | 0:18:15 | |
And then it's time to pick up again. | 0:18:15 | 0:18:17 | |
And that supposedly lasts an hour. | 0:18:17 | 0:18:19 | |
There was a small body of professional models, | 0:18:21 | 0:18:25 | |
but the male life models routinely came from amongst the staff, | 0:18:25 | 0:18:29 | |
and the porters, now called red collars, | 0:18:29 | 0:18:31 | |
at the Royal Academy would be expected to work | 0:18:31 | 0:18:33 | |
as life models in the evening life class, | 0:18:33 | 0:18:35 | |
in addition to their day duties. | 0:18:35 | 0:18:37 | |
The women models were rather more mysterious, | 0:18:40 | 0:18:43 | |
not least because there's all sorts of rumours | 0:18:43 | 0:18:45 | |
as to the sorts of women who would be prepared to pose nude | 0:18:45 | 0:18:48 | |
in front of a room full of young men, | 0:18:48 | 0:18:51 | |
and so it was likely that some had worked as prostitutes. | 0:18:51 | 0:18:55 | |
Not all, but they kept their anonymity, | 0:18:55 | 0:18:57 | |
so they were referred to as "the woman". | 0:18:57 | 0:18:59 | |
Now and again you get, "The other woman." | 0:18:59 | 0:19:01 | |
There's even one case of a "night woman". | 0:19:01 | 0:19:04 | |
They did get paid double. | 0:19:04 | 0:19:06 | |
Today is judging day at the Royal Academy. | 0:19:13 | 0:19:15 | |
Now that all the public submissions are in, | 0:19:17 | 0:19:20 | |
it's down to a team of experts, professional artists | 0:19:20 | 0:19:23 | |
and Royal Academicians to judge each and every work. | 0:19:23 | 0:19:27 | |
Every single piece, including the artwork | 0:19:29 | 0:19:32 | |
of our hopeful send-ins, | 0:19:32 | 0:19:33 | |
is passed in front of the panel in turn. | 0:19:33 | 0:19:36 | |
It must get at least one vote to get through. | 0:19:38 | 0:19:41 | |
There was a bit of teasing going on. | 0:19:48 | 0:19:50 | |
There were one or two kitsch things that I particularly wanted in | 0:19:50 | 0:19:54 | |
and nobody else really wanted. | 0:19:54 | 0:19:55 | |
With the judging completed, | 0:20:08 | 0:20:10 | |
the wait for Sarah, Norma and Mike is almost over. | 0:20:10 | 0:20:15 | |
They're about to receive an e-mail from the RA | 0:20:15 | 0:20:19 | |
informing them if the judges liked their work. | 0:20:19 | 0:20:22 | |
DUCK QUACKS | 0:20:22 | 0:20:23 | |
That's something just come in this very minute. | 0:20:23 | 0:20:25 | |
Did you hear the duck? | 0:20:25 | 0:20:27 | |
If successful, they will move through | 0:20:28 | 0:20:31 | |
to the final round of selection. | 0:20:31 | 0:20:33 | |
Here we go. | 0:20:34 | 0:20:35 | |
"Dear Norma, thank you for entering this year's Summer Exhibition. | 0:20:35 | 0:20:40 | |
"Your artwork, Endgame - Homage To Francis Bacon, | 0:20:40 | 0:20:43 | |
"is still under consideration." | 0:20:43 | 0:20:45 | |
SHE CHUCKLES | 0:20:45 | 0:20:46 | |
My artwork is still under consideration. | 0:20:46 | 0:20:50 | |
So I get a final status on the 27th of May. | 0:20:50 | 0:20:54 | |
"Your artwork, South Stack Lighthouse, | 0:20:54 | 0:20:56 | |
"is still under consideration." | 0:20:56 | 0:20:58 | |
I'll have to read that again. | 0:20:58 | 0:21:00 | |
Yeah, still under consideration. Wow! | 0:21:00 | 0:21:03 | |
Cool, I wasn't expecting that. | 0:21:06 | 0:21:07 | |
All three of our hopefuls must now wait another week | 0:21:09 | 0:21:12 | |
to see if they make the final hang. | 0:21:12 | 0:21:15 | |
The artwork in the courtyard of the RA for the Summer Exhibition | 0:21:17 | 0:21:20 | |
is one of the most anticipated commissions of the year. | 0:21:20 | 0:21:23 | |
In 2017, it's the turn of one of Britain's foremost artists, | 0:21:23 | 0:21:27 | |
whose witty sculptures often disguise a provocative message. | 0:21:27 | 0:21:31 | |
Born in Britain, Yinka Shonibare grew up in Nigeria | 0:21:37 | 0:21:40 | |
and his work has always wrestled with cultural identity. | 0:21:40 | 0:21:44 | |
He's known for his playful use of brightly patterned wax textiles, | 0:21:47 | 0:21:51 | |
often made into costumes for his headless mannequins. | 0:21:51 | 0:21:54 | |
Influenced by his Nigerian heritage and combining darkness and humour, | 0:21:57 | 0:22:02 | |
his art often charts an intrepid expedition | 0:22:02 | 0:22:04 | |
through post-colonial themes and the impact of globalisation. | 0:22:04 | 0:22:09 | |
Yinka Shonibare has been based in his studio here in east London | 0:22:13 | 0:22:17 | |
for nine years. | 0:22:17 | 0:22:18 | |
The sculpture that you're placing in the courtyard is called | 0:22:21 | 0:22:24 | |
Wind Sculpture VI. Tell me about it. | 0:22:24 | 0:22:26 | |
The wind sculptures began after my project in Trafalgar Square. | 0:22:26 | 0:22:31 | |
It's called Nelson's Ship In A Bottle | 0:22:31 | 0:22:33 | |
and I used very colourful sails on that, on that ship. | 0:22:33 | 0:22:36 | |
Now, I'm known for using African textiles in my work | 0:22:36 | 0:22:40 | |
and the fabric is a great metaphor for diversity, for me. | 0:22:40 | 0:22:46 | |
And then I thought, "Why don't I actually create something much bigger?" | 0:22:46 | 0:22:50 | |
Just isolating the idea of something blowing in the wind, | 0:22:50 | 0:22:53 | |
as the sails blow in the wind. | 0:22:53 | 0:22:56 | |
You've got a couple of maquettes here from the sculptures. | 0:22:56 | 0:22:58 | |
-Can you take me through them? -This is a 3D-printed maquette. | 0:22:58 | 0:23:03 | |
You know, so it's very exciting. | 0:23:03 | 0:23:06 | |
It just makes it possible to see things in three dimensions | 0:23:06 | 0:23:10 | |
and you get a sense of what the actual thing | 0:23:10 | 0:23:14 | |
is going to look like. | 0:23:14 | 0:23:16 | |
In terms of the audience and its response, | 0:23:16 | 0:23:18 | |
do you have an ambition for the impact you wanted it to have? | 0:23:18 | 0:23:21 | |
I'd be quite happy with "wow!" | 0:23:21 | 0:23:23 | |
That would be... | 0:23:23 | 0:23:24 | |
Your work is always "wow!" SHE LAUGHS | 0:23:24 | 0:23:27 | |
I sort of feel like a naughty boy being allowed to play | 0:23:27 | 0:23:30 | |
in the courtyard of the Royal Academy, really. | 0:23:30 | 0:23:33 | |
So, as well as exhibiting this year, | 0:23:33 | 0:23:35 | |
you're also curating two rooms. | 0:23:35 | 0:23:37 | |
That must be quite a challenge in itself. | 0:23:37 | 0:23:39 | |
Yes, and the brief, really, is to show the work of emerging artists | 0:23:39 | 0:23:46 | |
and also look at diversity, to properly represent | 0:23:46 | 0:23:51 | |
the diverse community that we live in. | 0:23:51 | 0:23:54 | |
One of the artists Yinka Shonibare is showing | 0:23:58 | 0:24:00 | |
is Hassan Hajjaj from Morocco. | 0:24:00 | 0:24:02 | |
He makes photographs of Muslim women in a way that perhaps | 0:24:04 | 0:24:07 | |
we wouldn't expect to see them. | 0:24:07 | 0:24:09 | |
Henna Bikers is part of a body of work called Kesh Angels. | 0:24:13 | 0:24:17 | |
"Kesh" is short for Marrakech. | 0:24:17 | 0:24:19 | |
And I played with the words of Hells Angels, which is Kesh Angels. | 0:24:19 | 0:24:22 | |
All the images are basically about girls from Marrakech | 0:24:22 | 0:24:27 | |
that you normally see riding around | 0:24:27 | 0:24:29 | |
and they have a certain style and a certain language. | 0:24:29 | 0:24:32 | |
So I wanted to have this powerful image, with these powerful women. | 0:24:32 | 0:24:35 | |
Abe Odedina originally studied as an architect | 0:24:42 | 0:24:45 | |
and came to painting later in life. | 0:24:45 | 0:24:48 | |
He describes himself as a folk artist. | 0:24:48 | 0:24:51 | |
Deep Cut is one of a series of paintings | 0:24:54 | 0:24:56 | |
I made around the referendum. | 0:24:56 | 0:24:59 | |
The very strong graphic representation of the flag itself | 0:25:01 | 0:25:05 | |
seems to suggest cut lines. | 0:25:05 | 0:25:08 | |
So in a way, it's a bit of a warning, | 0:25:08 | 0:25:11 | |
a gentle warning that we are dealing with very powerful forces. | 0:25:11 | 0:25:14 | |
With three weeks to go, | 0:25:21 | 0:25:23 | |
all the work that's made it through to the second stage | 0:25:23 | 0:25:26 | |
has now been brought into the galleries. | 0:25:26 | 0:25:29 | |
Before the final hang, Brenda and I have been given special access | 0:25:32 | 0:25:36 | |
to the galleries where most of the public entries may be hung, | 0:25:36 | 0:25:39 | |
to try our hand at being judges. | 0:25:39 | 0:25:41 | |
We are each going to choose four artworks | 0:25:43 | 0:25:46 | |
and compete to see who can get the most pieces | 0:25:46 | 0:25:48 | |
into the summer show. | 0:25:48 | 0:25:50 | |
So this is where we start. This is mainly a send-in room. | 0:25:52 | 0:25:57 | |
-So... -It's like being a kid in a sweet shop, really. -It is. | 0:25:57 | 0:25:59 | |
And it's kind of a big sweet shop. | 0:25:59 | 0:26:01 | |
And some of the sweets are fantastic and some are just... | 0:26:01 | 0:26:03 | |
-Not good for you! -Exactly. So let's see what we like. | 0:26:03 | 0:26:06 | |
I don't know where to start. | 0:26:08 | 0:26:10 | |
Oh, no, no...no. | 0:26:12 | 0:26:17 | |
-Hey, lovely. I'm going to need your help. OK. -So, if I... | 0:26:17 | 0:26:22 | |
Do you know what they look for? | 0:26:22 | 0:26:24 | |
I think this must be... | 0:26:25 | 0:26:27 | |
Yeah. I like this, cos I don't know what the story is. Like it. | 0:26:28 | 0:26:31 | |
Yeah, that's by... Who's that by? | 0:26:33 | 0:26:36 | |
You're kidding me. Is that Vic Reeves? | 0:26:36 | 0:26:39 | |
That is hilarious. | 0:26:40 | 0:26:42 | |
-I do like it. I love colour. -OK. | 0:26:42 | 0:26:45 | |
Oh, I've got to give him a go. | 0:26:45 | 0:26:46 | |
Let's see this. | 0:26:47 | 0:26:49 | |
I quite like that. In fact, I like that a lot. | 0:26:50 | 0:26:52 | |
I said to you I like colour, | 0:26:53 | 0:26:54 | |
and everything I've gone for is quite... | 0:26:54 | 0:26:56 | |
But that is beautiful. | 0:26:56 | 0:26:59 | |
Yep... This... | 0:26:59 | 0:27:01 | |
It's between this one | 0:27:01 | 0:27:03 | |
or the really big one over there. | 0:27:03 | 0:27:05 | |
Do you know what? I'm going to go for this one. | 0:27:05 | 0:27:07 | |
You know, this is really cool. | 0:27:09 | 0:27:11 | |
It's like Lowry. | 0:27:11 | 0:27:13 | |
Yeah, Lowry-cum-Jacometti-cum... | 0:27:13 | 0:27:16 | |
-Brenda likes it! -Yep. | 0:27:16 | 0:27:18 | |
Oh, this is rather wonderful. | 0:27:18 | 0:27:20 | |
Oh, it's beautiful. | 0:27:21 | 0:27:23 | |
-Is it a diptych? -It is a diptych, yeah. | 0:27:24 | 0:27:26 | |
-So, would that count as one choice for me? -Yes. | 0:27:26 | 0:27:30 | |
It's so striking. | 0:27:30 | 0:27:31 | |
I think I've made my decision. | 0:27:31 | 0:27:34 | |
-Wow. It's great we have chosen such different things. -We have. | 0:27:34 | 0:27:38 | |
You know who that is? That surprised me. | 0:27:38 | 0:27:41 | |
That's Vic Reeves. | 0:27:41 | 0:27:42 | |
I found that really playful. I loved the colours | 0:27:43 | 0:27:46 | |
and it made me feel good. | 0:27:46 | 0:27:47 | |
And then this is like Starry, Starry Night. | 0:27:47 | 0:27:50 | |
You know those moments when you need to meditate? | 0:27:50 | 0:27:52 | |
You've come from work and you've had a long day | 0:27:52 | 0:27:54 | |
and you need a glass of wine and to look at something pleasant. | 0:27:54 | 0:27:57 | |
What I liked about this, I think that tells a story | 0:27:57 | 0:28:00 | |
and I think that is endlessly fascinating. | 0:28:00 | 0:28:02 | |
I'd have probably gone past that one. | 0:28:02 | 0:28:04 | |
And then this, because it's just... | 0:28:04 | 0:28:06 | |
I love the idea that there's a settlement there. | 0:28:06 | 0:28:08 | |
The lights are on and I love that deep mustard ochre in the back. | 0:28:08 | 0:28:13 | |
-This, I absolutely love. -Is it paper? | 0:28:13 | 0:28:16 | |
That's what it looks like and then you think it's pastry. | 0:28:16 | 0:28:19 | |
But actually, every single one of these is porcelain. | 0:28:19 | 0:28:23 | |
Are you serious? | 0:28:23 | 0:28:24 | |
That is a find. I hadn't seen that. That is gorgeous. | 0:28:24 | 0:28:27 | |
And I've also chosen a painting. It makes me smile. | 0:28:27 | 0:28:31 | |
And I think when you're in somewhere like this, | 0:28:31 | 0:28:34 | |
you have to choose things that make you smile. | 0:28:34 | 0:28:36 | |
I think you're right and this is why, I think, I went for this. | 0:28:36 | 0:28:39 | |
I think you're going to hate it. | 0:28:39 | 0:28:41 | |
-No, I really love this. -You do? | 0:28:41 | 0:28:42 | |
-You know what I want to do, though? -What? -I want to play with it, | 0:28:42 | 0:28:45 | |
as if I'm a child. | 0:28:45 | 0:28:47 | |
I want to move it around and create different scenarios. | 0:28:47 | 0:28:49 | |
That is exactly what I liked. | 0:28:49 | 0:28:50 | |
I'll be really interested to see what you think of my final choice. | 0:28:50 | 0:28:53 | |
-What do you think? -I think this is a great choice. | 0:28:54 | 0:28:57 | |
So, it's a pair, so you're managing to cheat. | 0:28:57 | 0:29:01 | |
-Not really! It's a diptych. -Wow, look at these. | 0:29:01 | 0:29:04 | |
-Is it all pastel? -Yeah. | 0:29:04 | 0:29:05 | |
-Don't you think it's incredible? Look at the hair. -I do. | 0:29:05 | 0:29:08 | |
All we have to think about now is whose is on the wall? | 0:29:08 | 0:29:12 | |
-Shall we have a bet? -OK, champagne for the most... | 0:29:12 | 0:29:15 | |
The most on the wall gets the champagne. | 0:29:15 | 0:29:16 | |
-The least on the wall pays for it. -OK. | 0:29:16 | 0:29:18 | |
But don't make it expensive if you win! | 0:29:18 | 0:29:20 | |
This year, one of the strangest double acts in art history | 0:29:26 | 0:29:30 | |
has been made Royal Academicians. | 0:29:30 | 0:29:33 | |
Gilbert and George are the first duo to have been elected | 0:29:36 | 0:29:39 | |
as a single artist in the entire history of the RA. | 0:29:39 | 0:29:44 | |
They met At St Martin's School of Art in 1967 | 0:29:45 | 0:29:48 | |
and formed a unique and personal relationship. | 0:29:48 | 0:29:51 | |
They started creating art together and made themselves the centre | 0:29:53 | 0:29:56 | |
of their art as living sculpture. | 0:29:56 | 0:29:58 | |
THEY SING | 0:30:00 | 0:30:04 | |
Gilbert and George believe that everything | 0:30:06 | 0:30:08 | |
is a potential subject matter for their art | 0:30:08 | 0:30:11 | |
and they've tested taboos and challenged artistic conventions. | 0:30:11 | 0:30:14 | |
Over the years, they've delighted, confounded and outraged, | 0:30:14 | 0:30:18 | |
provoking with their art, | 0:30:18 | 0:30:20 | |
using themselves as a starting point | 0:30:20 | 0:30:22 | |
or, indeed, the city around them - London. | 0:30:22 | 0:30:25 | |
I have come to see them at their home and studio | 0:30:30 | 0:30:32 | |
in Spitalfields in east London. | 0:30:32 | 0:30:35 | |
This is your table of...paraphernalia | 0:30:37 | 0:30:40 | |
or is this your table of...? | 0:30:40 | 0:30:41 | |
-It's the Royal table. -It's the Royal table. | 0:30:41 | 0:30:45 | |
-And these are? -These are the two medals that we got. | 0:30:45 | 0:30:47 | |
They're green, because green is for sculpture. | 0:30:47 | 0:30:50 | |
That's very interesting. | 0:30:50 | 0:30:52 | |
-We are still sculptors. -Sculptures. | 0:30:52 | 0:30:54 | |
That's how we started out as. | 0:30:54 | 0:30:55 | |
Not painters - sculptors. | 0:30:55 | 0:30:57 | |
So, you knew you were going to be getting green for sculpture. | 0:30:57 | 0:31:01 | |
What happened when you got the medals? | 0:31:01 | 0:31:02 | |
It was very easy in fact. | 0:31:02 | 0:31:05 | |
They told to us go in for lunch, | 0:31:05 | 0:31:06 | |
so we had two - what are they called? - | 0:31:06 | 0:31:09 | |
ham and cheese sandwiches, then they took us | 0:31:09 | 0:31:11 | |
in the room where there were, what they call, Royal Academicians | 0:31:11 | 0:31:14 | |
sitting around there, 20 of them, | 0:31:14 | 0:31:16 | |
then gave us the medals and then made us sign this big document. | 0:31:16 | 0:31:20 | |
The artists were sitting around all wearing their hats. | 0:31:20 | 0:31:22 | |
I said, "Is that a Royal Academician thing, | 0:31:22 | 0:31:24 | |
"that you have to wear a hat for lunch?" | 0:31:24 | 0:31:26 | |
And they said, "No, no. It's an affectation." | 0:31:26 | 0:31:28 | |
I was quite amazed by that. | 0:31:28 | 0:31:30 | |
Gilbert and George exhibited their work Beard Aware | 0:31:36 | 0:31:39 | |
at the Summer Exhibition last year | 0:31:39 | 0:31:41 | |
and their fascination with beards | 0:31:41 | 0:31:43 | |
is still growing. | 0:31:43 | 0:31:45 | |
The piece that you're putting in follows on from the piece last year. | 0:31:46 | 0:31:50 | |
This year, it's Beard Speak. | 0:31:50 | 0:31:52 | |
How did you decide on the images | 0:31:55 | 0:31:57 | |
that were going to be in that particular piece? | 0:31:57 | 0:31:59 | |
We just realised that | 0:31:59 | 0:32:01 | |
beards have an enormous world of meaning and fascination. | 0:32:01 | 0:32:04 | |
When we moved first to Spitalfields, | 0:32:07 | 0:32:09 | |
everyone was bearded and Yiddish-speaking. | 0:32:09 | 0:32:11 | |
Extraordinary. | 0:32:11 | 0:32:12 | |
The cutting of the beard or not cutting the beard | 0:32:14 | 0:32:17 | |
is very important for a lot of religions. | 0:32:17 | 0:32:18 | |
All the religion has something to do beards, in some way. | 0:32:18 | 0:32:21 | |
The Hindus, the Muslims, the Sikhs. | 0:32:21 | 0:32:24 | |
And the most famous beard in the world, Jesus Christ. | 0:32:24 | 0:32:27 | |
When I was a teenager, you wouldn't get a job in my home town | 0:32:27 | 0:32:32 | |
if you had a beard, or if you had a tattoo. | 0:32:32 | 0:32:34 | |
Now, everybody in Spitalfields has a beard and a tattoo. | 0:32:34 | 0:32:37 | |
-Except you two. -Extraordinary - not us. | 0:32:37 | 0:32:39 | |
In a year's time, they'll all be cut off again | 0:32:39 | 0:32:41 | |
and everyone will be fresh-faced again. | 0:32:41 | 0:32:43 | |
We don't know. It's very difficult to imagine that. | 0:32:43 | 0:32:45 | |
Maybe you could grow one, when it's not fashionable. | 0:32:45 | 0:32:47 | |
THEY CHUCKLE | 0:32:47 | 0:32:48 | |
Gilbert and George used to manipulate photographic images | 0:32:50 | 0:32:54 | |
by hand, but they now work with sophisticated computer technology. | 0:32:54 | 0:32:58 | |
Do you think that your use of computers has given you, | 0:33:01 | 0:33:05 | |
actually, a greater freedom? | 0:33:05 | 0:33:06 | |
I think it's an enormous overlap from the old technology. | 0:33:06 | 0:33:10 | |
Much of the language is the same, | 0:33:10 | 0:33:12 | |
but I think it's even more exciting, I would put it that way. | 0:33:12 | 0:33:14 | |
We manage to create this amazing palette of colours, | 0:33:14 | 0:33:18 | |
they are very extreme | 0:33:18 | 0:33:20 | |
and we made ourselves big heads and smaller bodies | 0:33:20 | 0:33:23 | |
and the beard is completely becoming ingrained | 0:33:23 | 0:33:26 | |
and drifting down to the end. | 0:33:26 | 0:33:28 | |
How extraordinary to think that you could, with your computers, | 0:33:28 | 0:33:32 | |
even when you're not here, continue to make art. | 0:33:32 | 0:33:35 | |
So, we can still have a Gilbert and George in 100 years' time? | 0:33:35 | 0:33:38 | |
With the advances in stem cell technology, | 0:33:38 | 0:33:41 | |
we could probably live forever, anyway. | 0:33:41 | 0:33:42 | |
-Maybe more stiff, but... -Stiff is good. | 0:33:42 | 0:33:46 | |
Thank you very much! | 0:33:47 | 0:33:49 | |
KIRSTY GUFFAWS | 0:33:49 | 0:33:50 | |
With the Summer Exhibition drawing closer, | 0:33:57 | 0:34:00 | |
there is a big delivery at the Royal Academy. | 0:34:00 | 0:34:03 | |
Early Saturday morning, | 0:34:07 | 0:34:08 | |
and we're here, in the courtyard of the Royal Academy. | 0:34:08 | 0:34:10 | |
And it's arrived - Yinka's Wind Sculpture VI. | 0:34:10 | 0:34:13 | |
Looks like a stingray wrapped up in cellophane at the moment, | 0:34:13 | 0:34:16 | |
but in...oh, a couple of hours, I'd say, | 0:34:16 | 0:34:19 | |
it'll be a beautiful sculpture, dominating this amazing space. | 0:34:19 | 0:34:22 | |
Now they've cautiously taken it off the truck. | 0:34:30 | 0:34:32 | |
The next process is to unwrap the sculpture | 0:34:32 | 0:34:34 | |
before placing it upright and into position. | 0:34:34 | 0:34:38 | |
It's actually like waiting for your sofa | 0:34:38 | 0:34:40 | |
and watching it unravel, it's quite exciting. | 0:34:40 | 0:34:42 | |
So, this 12-foot fibreglass structure | 0:34:47 | 0:34:50 | |
is ready to compete with Sir Joshua Reynolds here, | 0:34:50 | 0:34:52 | |
in the forecourt of the Royal Academy. | 0:34:52 | 0:34:54 | |
It's history, it's heritage, | 0:34:54 | 0:34:57 | |
it's craft, all wrapped up in this amazing piece of work. | 0:34:57 | 0:35:00 | |
It's so Yinka. Love it. | 0:35:00 | 0:35:02 | |
We'll have to wait until the opening of the show to see | 0:35:04 | 0:35:07 | |
how Yinka Shonibare's piece has come together. | 0:35:07 | 0:35:09 | |
The judges now make their final selections as they try out | 0:35:16 | 0:35:19 | |
hundreds of pieces, | 0:35:19 | 0:35:20 | |
including the artwork from our hopefuls, | 0:35:20 | 0:35:23 | |
in each of the galleries. | 0:35:23 | 0:35:25 | |
Even at this stage, there are far more works than can be displayed. | 0:35:29 | 0:35:33 | |
It's been very intense. Very intense, hasn't it? | 0:35:37 | 0:35:40 | |
Every one of us is looking for the best spot for individual works. | 0:35:42 | 0:35:46 | |
The wait for our three hopeful artists is over. | 0:35:56 | 0:35:59 | |
They've passed the judging stages - | 0:35:59 | 0:36:01 | |
now they'll find out if they've made it | 0:36:01 | 0:36:04 | |
into this year's Summer Exhibition. | 0:36:04 | 0:36:07 | |
So, I've been at this stage once before and I didn't make it, | 0:36:07 | 0:36:09 | |
and it was gutting. | 0:36:09 | 0:36:11 | |
So I am fully prepared for either outcome. | 0:36:11 | 0:36:13 | |
"Dear Michael Carter..." | 0:36:16 | 0:36:18 | |
Oh, wow. "We're pleased to inform you that your artwork, | 0:36:18 | 0:36:21 | |
"South Stack Lighthouse, Anglesey, | 0:36:21 | 0:36:23 | |
"has been selected for this year's exhibition." | 0:36:23 | 0:36:27 | |
Yes! That's amazing. | 0:36:27 | 0:36:29 | |
"Dear Norma Bell, I am pleased to inform you that your artwork | 0:36:30 | 0:36:34 | |
"Endgame - Homage To Francis Bacon | 0:36:34 | 0:36:36 | |
"has been selected for this year's exhibition." | 0:36:36 | 0:36:40 | |
SHE GIGGLES | 0:36:40 | 0:36:42 | |
"Dear Sarah, | 0:36:45 | 0:36:46 | |
"I am pleased to inform you that your artwork, | 0:36:46 | 0:36:48 | |
"Amy Remixed, has been selected for this year's exhibition." | 0:36:48 | 0:36:51 | |
That's, uh... | 0:36:51 | 0:36:53 | |
That's unreal. | 0:36:53 | 0:36:55 | |
SHE LAUGHS | 0:36:55 | 0:36:57 | |
So, how do you feel? | 0:36:57 | 0:36:58 | |
-TEARFULLY: -Really happy. | 0:37:03 | 0:37:05 | |
Do you know what? I just realised, it's been selected! | 0:37:05 | 0:37:09 | |
It's been selected! | 0:37:09 | 0:37:10 | |
Thank you, Francis! | 0:37:12 | 0:37:13 | |
SHE LAUGHS | 0:37:13 | 0:37:15 | |
The next time they'll see their work is on display in the gallery. | 0:37:17 | 0:37:21 | |
This year's Summer Exhibition is all about celebrating work | 0:37:26 | 0:37:29 | |
that stretches the boundaries of art and what it can and should do. | 0:37:29 | 0:37:33 | |
There's humour, there's showmanship, there's drama. | 0:37:33 | 0:37:37 | |
There's even something that might scare us. | 0:37:37 | 0:37:39 | |
Multimedia artist Brian Catling | 0:37:45 | 0:37:47 | |
has a love of the macabre and the fantastical. | 0:37:47 | 0:37:51 | |
I am beneath you. | 0:37:53 | 0:37:56 | |
Stooping in the half-light to your side... | 0:37:56 | 0:38:00 | |
He is a performance poet, | 0:38:00 | 0:38:01 | |
sculptor, and also author of the cult novel The Vorrh. | 0:38:01 | 0:38:06 | |
..veined in tar shine. | 0:38:06 | 0:38:08 | |
And he will be presenting an extraordinary work | 0:38:11 | 0:38:14 | |
at this year's show, centred around his abiding obsession | 0:38:14 | 0:38:18 | |
with the figure of the mythical Cyclops. | 0:38:18 | 0:38:21 | |
As part of your contribution to the Summer Exhibition, | 0:38:24 | 0:38:26 | |
-you are bringing in performance art. -Yeah. | 0:38:26 | 0:38:29 | |
And I'm putting in three paintings. | 0:38:29 | 0:38:30 | |
They're paintings of imagery cyclopses, portraits. | 0:38:30 | 0:38:34 | |
One of them has the ability of being turned. | 0:38:34 | 0:38:39 | |
So I am building a performance into the painting. | 0:38:39 | 0:38:42 | |
One of the attendants | 0:38:42 | 0:38:43 | |
will step forward at a certain time, | 0:38:43 | 0:38:45 | |
turn the picture with its face to the wall, | 0:38:45 | 0:38:47 | |
and I will come out, but I'll be wearing a prosthetic eye | 0:38:47 | 0:38:50 | |
and I'll move through the crowd, quietly, | 0:38:50 | 0:38:53 | |
let everybody see this for a few moments, and then go back. | 0:38:53 | 0:38:56 | |
The painting will be turned. So I'm like a rumour, | 0:38:56 | 0:38:59 | |
something some people will see and some won't. | 0:38:59 | 0:39:01 | |
So, what do you want to trigger in the visitors | 0:39:01 | 0:39:04 | |
when they get to experience this? | 0:39:04 | 0:39:05 | |
I want them to be a little troubled. | 0:39:05 | 0:39:08 | |
A little odd. Why would someone want to do that? | 0:39:08 | 0:39:10 | |
You're going to get all kinds of reactions, | 0:39:10 | 0:39:13 | |
complete indifference to outrage. | 0:39:13 | 0:39:15 | |
BELL RINGS | 0:39:21 | 0:39:22 | |
Brian is going to give us a sneak preview of his eerie performance | 0:39:24 | 0:39:28 | |
which he'll be putting on at unscheduled times | 0:39:28 | 0:39:30 | |
throughout the Summer Exhibition. | 0:39:30 | 0:39:33 | |
EERIE MUSIC | 0:39:34 | 0:39:37 | |
CARIBBEAN MUSIC | 0:40:14 | 0:40:17 | |
It's Varnishing Day at the RA. | 0:40:23 | 0:40:26 | |
This takes place before the show opens to the public, | 0:40:26 | 0:40:29 | |
and exhibiting artists have a chance to see their work | 0:40:29 | 0:40:32 | |
hung in the gallery for the very first time. | 0:40:32 | 0:40:35 | |
Before they're allowed in, they can take part | 0:40:35 | 0:40:38 | |
in one of the Summer Exhibition's hallowed traditions. | 0:40:38 | 0:40:41 | |
All the artists are invited to parade down Piccadilly | 0:40:45 | 0:40:48 | |
and to attend an artists' blessing at St James Church. | 0:40:48 | 0:40:51 | |
Good morning and welcome to the annual service for artists | 0:40:53 | 0:40:57 | |
on Varnishing Day. | 0:40:57 | 0:40:59 | |
Wherever you have travelled from today, | 0:40:59 | 0:41:01 | |
welcome to the parish church of the RA. | 0:41:01 | 0:41:03 | |
Now our hopefuls can finally enter the gallery | 0:41:08 | 0:41:11 | |
and find out where their works have been put. | 0:41:11 | 0:41:14 | |
Ah! There it is. | 0:41:26 | 0:41:29 | |
-Wow! -SHE CHUCKLES | 0:41:31 | 0:41:34 | |
Yes. Yes, it looks good. | 0:41:34 | 0:41:37 | |
It's sort of in a nice...a nice little spot of its own, there. | 0:41:37 | 0:41:41 | |
Make sure... | 0:41:45 | 0:41:46 | |
Allowed to do it if it's my painting! | 0:41:46 | 0:41:48 | |
Well, I think I ought to stand here | 0:41:50 | 0:41:52 | |
and invite everyone - "Roll up, have a look." | 0:41:52 | 0:41:54 | |
Hey! I've found it! Oh, wow! | 0:42:09 | 0:42:12 | |
I'm really, really pleased. | 0:42:17 | 0:42:19 | |
Couldn't be happier, especially the position and everything. | 0:42:19 | 0:42:22 | |
It's strange, cos, you know... | 0:42:24 | 0:42:26 | |
..I was framing it in my little room and now it's here. | 0:42:27 | 0:42:31 | |
It's unreal. | 0:42:31 | 0:42:32 | |
It's really surreal. It's a really strange feeling. | 0:42:49 | 0:42:53 | |
I am loving the light in here. | 0:42:53 | 0:42:55 | |
It's really good for her. And I'm just seeing | 0:42:55 | 0:42:57 | |
Gilbert and George, their work over there. | 0:42:57 | 0:42:59 | |
I'm such a big fan of their work, so I'm really, really proud. | 0:42:59 | 0:43:02 | |
And one of our celebrity hopefuls has also made it through. | 0:43:09 | 0:43:13 | |
# But along came Bill | 0:43:13 | 0:43:19 | |
# An ordinary guy... # | 0:43:19 | 0:43:23 | |
I'm really pleased. | 0:43:23 | 0:43:25 | |
Thrilling. Thrilling. Just to get any picture in is just very special. | 0:43:25 | 0:43:30 | |
I think it's such a special occasion. | 0:43:30 | 0:43:32 | |
Oh, he's got such a sweet face. Hope he is pleased, if he sees it. | 0:43:34 | 0:43:38 | |
It's time for Brenda and me to see who has won our little bet. | 0:43:45 | 0:43:49 | |
So, it's the moment we find out whether, actually, | 0:43:50 | 0:43:53 | |
-any of our choices made it. -I am desperate to see. | 0:43:53 | 0:43:56 | |
-Oh, look! -I can't see anything. | 0:44:01 | 0:44:02 | |
-Hey! -Yep. | 0:44:02 | 0:44:05 | |
They look really powerful up there, don't they? | 0:44:05 | 0:44:07 | |
-I think they look fantastic. -I am happy they're here. | 0:44:07 | 0:44:09 | |
I really am. 1-0 to Brenda! | 0:44:09 | 0:44:12 | |
-See if I can see any more. -Early days! | 0:44:12 | 0:44:15 | |
I cannot think... | 0:44:16 | 0:44:18 | |
Oh, it's here. Now, there it is. | 0:44:21 | 0:44:23 | |
-Now, look at that. -It looks better on the wall, | 0:44:23 | 0:44:25 | |
-as well, doesn't it? -It looks fantastic. | 0:44:25 | 0:44:27 | |
I'm really, really pleased that came in. | 0:44:27 | 0:44:30 | |
That makes us even. | 0:44:30 | 0:44:31 | |
Hey, hey, hey! Look what I spot! | 0:44:35 | 0:44:37 | |
It's so good in this corner. | 0:44:37 | 0:44:39 | |
I was about to say exactly the same thing. | 0:44:39 | 0:44:41 | |
I think that makes that | 0:44:41 | 0:44:42 | |
2-1, Lady! | 0:44:42 | 0:44:44 | |
Wait, that's... Is that..? | 0:44:48 | 0:44:49 | |
-I picked that. -You did. | 0:44:49 | 0:44:50 | |
I'm so glad, because it is beside Barbara Rae, | 0:44:50 | 0:44:53 | |
which is even lovelier. | 0:44:53 | 0:44:55 | |
Oh-oh. | 0:44:56 | 0:44:58 | |
That was mine. That was one of mine. | 0:44:58 | 0:45:00 | |
-Brilliant. -Yay! | 0:45:00 | 0:45:01 | |
So, that made it. Well, that's good. | 0:45:01 | 0:45:03 | |
-So, how many is that? -That makes it three to Brenda, two to Kirsty. | 0:45:03 | 0:45:06 | |
-And with a couple of rooms to go, all to play for. -All right, then. | 0:45:06 | 0:45:10 | |
Let's go. | 0:45:10 | 0:45:12 | |
So, we are getting down to the last couple of rooms | 0:45:12 | 0:45:14 | |
-we haven't seen, so we don't know. -I can't spot my Vic Reeves. | 0:45:14 | 0:45:18 | |
Ah! There they are. My women. | 0:45:20 | 0:45:24 | |
Look, the women made it. | 0:45:25 | 0:45:27 | |
The women made it, | 0:45:28 | 0:45:29 | |
but Vic Reeves didn't make it, did he? | 0:45:29 | 0:45:30 | |
Can't find him anywhere. It's a thing called life. | 0:45:30 | 0:45:33 | |
Dear me, he doesn't have a day job, either(!) | 0:45:33 | 0:45:36 | |
-Well, look, it was a draw! -It was a draw. | 0:45:36 | 0:45:38 | |
I think that's pretty good. | 0:45:38 | 0:45:40 | |
-I think champagne time. -We have to break it to Vic Reeves, though. | 0:45:40 | 0:45:42 | |
You should break it to Vic Reeves! | 0:45:42 | 0:45:44 | |
The night before the launch of the Summer Exhibition, the RA holds | 0:45:51 | 0:45:54 | |
a grand dinner for its members and invited guests. | 0:45:54 | 0:45:58 | |
There is nothing else like this in the whole world | 0:46:02 | 0:46:05 | |
and that is why it shouldn't change too much | 0:46:05 | 0:46:08 | |
and we should keep the traditions | 0:46:08 | 0:46:09 | |
of amateurs and the professionals together and, one day, | 0:46:09 | 0:46:12 | |
those amateurs will become professionals, anyway, I hope, | 0:46:12 | 0:46:15 | |
so it's good. | 0:46:15 | 0:46:16 | |
One of the highlights of the evening is to award £25,000 | 0:46:18 | 0:46:23 | |
to the most distinguished work in the show. | 0:46:23 | 0:46:25 | |
I'm delighted to announce that the winner | 0:46:26 | 0:46:29 | |
of the Charles Wollaston Award | 0:46:29 | 0:46:30 | |
is Isaac Julien. | 0:46:30 | 0:46:32 | |
CHEERING AND APPLAUSE | 0:46:32 | 0:46:35 | |
Isaac's Julien's winning work is a multiscreen film installation, | 0:46:44 | 0:46:49 | |
Western Union: Small Boats, | 0:46:49 | 0:46:50 | |
portraying the plight of refugees crossing the Mediterranean. | 0:46:50 | 0:46:55 | |
This work, which really tries to look at this crisis, | 0:46:57 | 0:47:01 | |
the journeys of people from Africa into southern Europe | 0:47:01 | 0:47:05 | |
and to, in a sense, go behind the scenes, | 0:47:05 | 0:47:08 | |
and try to tell the story that news reporting cannot tell. | 0:47:08 | 0:47:12 | |
Actually, I first showed in the Royal Academy | 0:47:23 | 0:47:27 | |
in the Summer Show in 1980 | 0:47:27 | 0:47:30 | |
and so, 37 years later, | 0:47:30 | 0:47:33 | |
I must say, it was, in a way, wonderfully ironic | 0:47:33 | 0:47:36 | |
to be able to install this work, as a video work, | 0:47:36 | 0:47:39 | |
and get this news that the piece actually won this award, | 0:47:39 | 0:47:44 | |
so I'm very, very honoured. | 0:47:44 | 0:47:46 | |
So finally, it's the big day, | 0:47:55 | 0:47:57 | |
when the Summer Exhibition throws open its doors | 0:47:57 | 0:48:00 | |
to the glamorous gala party, | 0:48:00 | 0:48:02 | |
but there's still a little time for those last-minute tweaks. | 0:48:02 | 0:48:07 | |
It's always a thrill to see the galleries transformed | 0:48:11 | 0:48:14 | |
and, this year, to see what Eileen has done with her box of delights. | 0:48:14 | 0:48:19 | |
The first delight is Yinka Shonibare's striking | 0:48:23 | 0:48:26 | |
Wind Sculpture VI, | 0:48:26 | 0:48:28 | |
which stands out in this austere palladium courtyard. | 0:48:28 | 0:48:32 | |
Isn't this a great welcome to the courtyard? | 0:48:32 | 0:48:35 | |
There is something quite emotional about it, | 0:48:35 | 0:48:37 | |
because it's so vibrant and optimistic. | 0:48:37 | 0:48:39 | |
Even Joshua is wearing Yinka's scarf. | 0:48:39 | 0:48:41 | |
I meet Eileen Cooper to get a personal tour of the show. | 0:48:46 | 0:48:49 | |
So, the staircase, Eileen, was going to be your, kind of, | 0:48:52 | 0:48:55 | |
last-minute surprise, | 0:48:55 | 0:48:57 | |
Was it a surprise to you, too?! | 0:48:57 | 0:48:58 | |
It was a surprise. We had several possibilities | 0:48:58 | 0:49:03 | |
and I'm really pleased we've got these. | 0:49:03 | 0:49:05 | |
This was the thing I really wanted. | 0:49:05 | 0:49:07 | |
This is beautiful. | 0:49:07 | 0:49:08 | |
They're paintings by the schools' graduate, | 0:49:08 | 0:49:11 | |
Lynette Yiadom-Boakye, and I love them. | 0:49:11 | 0:49:14 | |
Great that she came from the schools, | 0:49:14 | 0:49:16 | |
because that is what this exhibition is all about. | 0:49:16 | 0:49:18 | |
I think we have achieved a more inclusive and diverse showing | 0:49:18 | 0:49:23 | |
than ever before. | 0:49:23 | 0:49:24 | |
Wow! | 0:49:28 | 0:49:29 | |
The variety of work, so many different media. | 0:49:33 | 0:49:38 | |
This room, kind of, sums it up. We have got photography | 0:49:38 | 0:49:41 | |
and we have got painting. | 0:49:41 | 0:49:42 | |
You've got Tracey's neons. | 0:49:42 | 0:49:43 | |
Tracey's neons look fantastic. | 0:49:43 | 0:49:46 | |
They do. | 0:49:46 | 0:49:47 | |
And now, Yinka's own room. | 0:49:52 | 0:49:54 | |
It's as if there's a determined effort to get every kind of art | 0:49:54 | 0:49:58 | |
-into the exhibition this year. -Yeah. | 0:49:58 | 0:50:00 | |
So, looking at this photograph, I love the fact it is surrounded. | 0:50:07 | 0:50:10 | |
I love the frame. It's made of tins. | 0:50:10 | 0:50:13 | |
It's a powerful photograph, isn't it? | 0:50:13 | 0:50:16 | |
Tell me about these figures. | 0:50:17 | 0:50:19 | |
These are by an artist who's based in the East End of London. | 0:50:19 | 0:50:23 | |
-Beautifully carved from one piece of wood and painted. -Wow. | 0:50:23 | 0:50:25 | |
I think, if you live in Hackney, you would probably recognise | 0:50:25 | 0:50:28 | |
some of these characters. | 0:50:28 | 0:50:30 | |
-Maybe they'll be at the party. -Let's hope so. | 0:50:30 | 0:50:32 | |
So, this is Rose Wylie's triptych. | 0:50:36 | 0:50:38 | |
Yes, when this came in, | 0:50:38 | 0:50:39 | |
I thought that is going to be | 0:50:39 | 0:50:41 | |
on the central wall | 0:50:41 | 0:50:42 | |
and it's wonderfully bonkers. | 0:50:42 | 0:50:44 | |
I wouldn't describe what it was about, | 0:50:44 | 0:50:46 | |
but it's obviously referencing film. | 0:50:46 | 0:50:49 | |
She has got a reindeer and an Irish Cupid. | 0:50:50 | 0:50:52 | |
Is it a heart, | 0:51:01 | 0:51:02 | |
do you think? | 0:51:02 | 0:51:03 | |
Some kind of vital organ? | 0:51:03 | 0:51:05 | |
-I wouldn't know how to begin to describe it. -A vital organ! | 0:51:05 | 0:51:07 | |
Which leads you through to Gilbert and George. | 0:51:07 | 0:51:10 | |
-Looks good here, doesn't it? -It look great. | 0:51:10 | 0:51:12 | |
And I love all these adverts. | 0:51:13 | 0:51:16 | |
"Scaffold labourer wanted." | 0:51:16 | 0:51:17 | |
"A man and van." | 0:51:17 | 0:51:19 | |
"Waste removals." | 0:51:21 | 0:51:23 | |
And probably a few more that we shouldn't really draw attention to. | 0:51:23 | 0:51:26 | |
All these months, some of them stressful. | 0:51:30 | 0:51:32 | |
Negotiations, disappointments. | 0:51:32 | 0:51:36 | |
After this is over, do you just lie down in a darkened room | 0:51:37 | 0:51:40 | |
-with a glass of champagne? -Yes, in a semi-coma for about | 0:51:40 | 0:51:42 | |
three months, I think. | 0:51:42 | 0:51:44 | |
It's party time and celebrated names from art, | 0:51:47 | 0:51:50 | |
fashion and the silver screen are out in force. | 0:51:50 | 0:51:54 | |
I have bought before from here | 0:51:56 | 0:51:58 | |
and I think you get, sort of, caught up in the furore. | 0:51:58 | 0:52:00 | |
It's like a party and everyone else is buying things | 0:52:00 | 0:52:03 | |
and you're like, "I'll buy things." | 0:52:03 | 0:52:05 | |
It is such a great buzz. It's full of interesting people, beautiful art | 0:52:08 | 0:52:12 | |
and that's why I need to get in there quite quickly, | 0:52:12 | 0:52:15 | |
cos I want to buy something! | 0:52:15 | 0:52:16 | |
I'll be looking today. I don't think my wallet is that heavy tonight! | 0:52:19 | 0:52:23 | |
I hope to see Grayson Perry, as well. It's always fun. | 0:52:23 | 0:52:27 | |
Right on cue there. | 0:52:27 | 0:52:29 | |
Just pan round. | 0:52:29 | 0:52:30 | |
There. There. There he is. | 0:52:30 | 0:52:32 | |
We're bit more old-fashioned. | 0:52:41 | 0:52:43 | |
-We've seen a couple of things, yes. -A couple of things, yeah. | 0:52:44 | 0:52:47 | |
There are over 1,000 works on show at this year's Summer Exhibition | 0:52:49 | 0:52:53 | |
and the great thing is that most of them are for sale. | 0:52:53 | 0:52:55 | |
Some more affordable than others, but there are things you can buy. | 0:52:55 | 0:52:59 | |
There are amateur pictures for, perhaps, only £200-£300. | 0:52:59 | 0:53:03 | |
or a print from a very well-established artist for a few hundred. | 0:53:03 | 0:53:06 | |
Or you could blow the bank - and, indeed, a good many banks - | 0:53:06 | 0:53:09 | |
and buy an Antony Gormley, perhaps, or an Anish Kapoor. | 0:53:09 | 0:53:12 | |
The choice is yours. | 0:53:12 | 0:53:13 | |
We caught up with some celebrity shoppers. | 0:53:13 | 0:53:16 | |
-I love this Eileen Cooper. -This is so beautiful. | 0:53:21 | 0:53:23 | |
First up, I met up with model Daisy Lowe. | 0:53:23 | 0:53:26 | |
-Oh, that's quite good. -Which one? | 0:53:28 | 0:53:30 | |
I quite like the naughty scene. | 0:53:30 | 0:53:33 | |
Every year, I have always said, "Oh, next year I'll buy something." | 0:53:33 | 0:53:37 | |
And this year is the year | 0:53:37 | 0:53:39 | |
-that I'm going to. -You're determined to! | 0:53:39 | 0:53:41 | |
I'm just going to have a look around and see what catches my eye | 0:53:41 | 0:53:44 | |
-and work it out from there. -Is it a heart or a head thing? | 0:53:44 | 0:53:47 | |
It's definitely a heart thing, It's always a heart thing with me! | 0:53:47 | 0:53:49 | |
A girl after my own heart! Let's see what grabs your eye, shall we? | 0:53:51 | 0:53:55 | |
-I love that. -That one? -Yeah. | 0:53:57 | 0:54:00 | |
And Daisy Lowe isn't the only one looking for a purchase. | 0:54:02 | 0:54:05 | |
You're in the mood for buying? | 0:54:07 | 0:54:09 | |
-Sort of. -Have you found anything? | 0:54:09 | 0:54:10 | |
We always look, | 0:54:10 | 0:54:11 | |
because it doesn't feel like you're in a shop. | 0:54:11 | 0:54:14 | |
What about the Sean Scully behind you? | 0:54:14 | 0:54:16 | |
-It's the wrong shape. -KIRSTY LAUGHS | 0:54:16 | 0:54:19 | |
-I haven't got that space on my wall. -There is a space above the sofa. | 0:54:19 | 0:54:22 | |
I quite like that, but then, don't you think, if you had it | 0:54:27 | 0:54:30 | |
in your house, you'd just want to sit on it? | 0:54:30 | 0:54:31 | |
Wow! I love these guys. They're so cool! | 0:54:31 | 0:54:35 | |
-I'd really like to just hang out with them. -Yes! | 0:54:36 | 0:54:38 | |
The one at the top is beautiful. | 0:54:40 | 0:54:42 | |
Every time a work is sold, a red dot is stuck to the wall. | 0:54:45 | 0:54:49 | |
-Jaime Winston, you buy? -Yes, I do! When I've got money, yes, I do. | 0:54:51 | 0:54:57 | |
-I attempt to. -You've bought already this time? -I have bought. | 0:54:57 | 0:55:00 | |
I bought a piece called...Tink 1 | 0:55:00 | 0:55:05 | |
for my friend, Ali. | 0:55:05 | 0:55:06 | |
You've bought one, and you're still looking? | 0:55:06 | 0:55:08 | |
I'm still looking, yeah. I really like this one here, | 0:55:08 | 0:55:12 | |
because it reminds me of my sister. | 0:55:12 | 0:55:14 | |
'There is one more gallery to explore | 0:55:19 | 0:55:22 | |
'and Daisy Lowe is still undecided.' | 0:55:22 | 0:55:24 | |
Until... | 0:55:25 | 0:55:26 | |
This! This is the one that I really want to get. | 0:55:26 | 0:55:29 | |
-Oh, that is... -So, this is Annie Kevans. | 0:55:29 | 0:55:33 | |
And this is Robert Mapplethorpe in drag. | 0:55:33 | 0:55:35 | |
-It's amazing. -Amazing. -Yeah. | 0:55:35 | 0:55:37 | |
He's got such a great face and, actually, | 0:55:37 | 0:55:40 | |
I love HIM so much. I think he's so beautiful. | 0:55:40 | 0:55:44 | |
-So, I would like to buy. -Going to go for that one? -Yeah. | 0:55:44 | 0:55:46 | |
That's... I think you're mine! | 0:55:46 | 0:55:48 | |
-Shall we go and buy? -Yes. Let's go and buy. | 0:55:48 | 0:55:50 | |
OK! Ah! | 0:55:50 | 0:55:53 | |
Well, so far, it's been a wonderful night. | 0:55:59 | 0:56:01 | |
It's been a real celebration of talent, endeavour | 0:56:01 | 0:56:04 | |
and there's lots of red dots. | 0:56:04 | 0:56:05 | |
There's lots of red dots. There certainly has been some | 0:56:05 | 0:56:08 | |
great, enthusiastic purchasing of art. | 0:56:08 | 0:56:09 | |
Is there something in here that you think is really extra special? | 0:56:09 | 0:56:12 | |
I have been inspired by lots of things going on in the gallery, | 0:56:12 | 0:56:15 | |
but the real magic moment for me was seeing Yinka's wind sculpture | 0:56:15 | 0:56:18 | |
being situated in the forecourt. | 0:56:18 | 0:56:19 | |
And for me, something in Yinka's room, | 0:56:19 | 0:56:22 | |
Bob and Roberta Smith, Art Makes Children Powerful. | 0:56:22 | 0:56:25 | |
-What a statement. -Now just time for Laura Mvula playing Overcome. | 0:56:25 | 0:56:30 | |
Top of the pops! | 0:56:33 | 0:56:34 | |
# When your heart is broken down, down, down | 0:56:42 | 0:56:46 | |
# And your head don't reach the sky | 0:56:48 | 0:56:52 | |
# Take your broken wings and fly | 0:56:55 | 0:56:59 | |
# When your head is hanging low, low, low, low | 0:57:01 | 0:57:05 | |
# And the tears, they keep falling | 0:57:07 | 0:57:11 | |
# Take your broken feet and run | 0:57:15 | 0:57:17 | |
# Run! | 0:57:17 | 0:57:18 | |
# Take your broken feet and run | 0:57:20 | 0:57:22 | |
# Run! | 0:57:23 | 0:57:25 | |
# Put the world upon your shoulders | 0:57:33 | 0:57:36 | |
# Put the world upon your shoulders | 0:57:36 | 0:57:40 | |
# There's nowhere left to hide | 0:57:40 | 0:57:42 | |
# There's nowhere left to hide | 0:57:42 | 0:57:45 | |
# Keep your head up, carry on | 0:57:47 | 0:57:49 | |
# Keep your head up | 0:57:51 | 0:57:52 | |
# And carry on | 0:57:54 | 0:57:56 | |
# Keep your head up, yeah | 0:57:56 | 0:57:58 | |
# And don't give up, no, no | 0:58:01 | 0:58:03 | |
# Don't give up | 0:58:05 | 0:58:07 | |
# Keep your head up | 0:58:08 | 0:58:09 | |
# Yeah, yeah, yeah | 0:58:14 | 0:58:15 | |
# Cos it ain't no time to die, die, die, die | 0:58:17 | 0:58:20 | |
# Even when we suffer | 0:58:23 | 0:58:25 | |
# We suffer, we suffer | 0:58:25 | 0:58:28 | |
# Come together, be brave | 0:58:30 | 0:58:33 | |
# Come together | 0:58:33 | 0:58:34 | |
# All of God's children, sing | 0:58:36 | 0:58:39 | |
# Round the mountain | 0:58:40 | 0:58:44 | |
# All God's children run | 0:58:44 | 0:58:46 | |
# Sing round the mountain, run | 0:58:47 | 0:58:49 | |
# Around the mountain, run | 0:58:49 | 0:58:51 | |
# Around the mountain | 0:58:51 | 0:58:53 | |
# All God's children run | 0:58:53 | 0:58:55 | |
# Round the mountain, yeah | 0:58:59 | 0:59:01 | |
# Sing round the mountain | 0:59:04 | 0:59:06 | |
# God's children | 0:59:06 | 0:59:08 | |
# Around the mountain | 0:59:08 | 0:59:11 | |
# All God's children | 0:59:11 | 0:59:12 | |
# Run round the mountain, run. # | 0:59:14 | 0:59:17 | |
Thank you so much, everybody. It's been a pleasure. Thank you! | 0:59:17 | 0:59:21 | |
CHEERING AND APPLAUSE | 0:59:21 | 0:59:23 |