2017 Royal Academy Summer Exhibition


2017

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Welcome to this year's Royal Academy Summer Exhibition.

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It's the Wimbledon of the art world.

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It's been an extravagant highlight of the British artistic calendar

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for almost 250 years.

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And this year, it's even more vibrant, diverse

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and even eccentric than ever before.

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On tonight's show, we meet this year's Chief Co-ordinator,

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Eileen Cooper, whose art highlights include the first-ever

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performance piece for the Summer Exhibition.

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BELL RINGS

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He'll emerge from the crowds,

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wearing a Cyclops mask.

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We'll go behind the scenes with the most famous duo in art,

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as they install their latest work in the galleries.

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We like it when young friends come round

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and they see the designs for our new pictures,

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and they say to us, "You guys are crazy!"

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We splash some cash with some rather special art lovers.

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I quite like that, but then don't you think that

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if you had it in your house, you'd just want to sit on it?

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We follow three aspiring artists

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to see if they have what it takes to make it into the show.

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I've been at this stage once before and I didn't make it,

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and it was gutting.

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And hear Laura Mvula bring her soulful songs to the courtyard

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of the Royal Academy.

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What makes the Summer Exhibition utterly unique

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is that it's open to artists everywhere -

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professionals and amateurs alike.

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It's the largest open submission in the world,

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which means that absolutely anyone can enter, with a chance of having

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their work shown alongside the likes of Tracey Emin and Grayson Perry.

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But the journey starts months earlier.

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This year, 12,500 people have already submitted

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their work digitally.

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They've now been whittled down to 2,500,

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and many hopeful artists are now dropping off their works

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at the Royal Academy for the next round of judging.

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I've come from Karachi. Karachi, Pakistan. That's where I live.

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I decided to share my painting with the world so they can feel the love.

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It's called Gorgeous Filth 01.

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And I've come from Salt Spring Island in Canada.

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It would mean everything to me because I love art

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and when I grow up, obviously, I want to be an artist.

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And there's even a surprise amateur celebrity artist or two

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amongst the crowd.

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I've done a big selection of paintings of wrestlers this year.

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I used to go to wrestling in the '70s

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to see Giant Haystacks and Big Daddy and Kendo Nagasaki,

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and people like that.

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And I was... I don't know, I was just looking at some wrestling,

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I thought, "I fancy doing a bit of that."

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I like doing figurative stuff, especially when bodies are linked.

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I hope you can recognise who it is.

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It's Bill Nighy,

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dearly beloved Billy Nighy.

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And I just enjoy painting people that I agree with and I like.

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The title is Our Bill, because in the '30s, there was a song called...

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# And he's just my Bill, an ordinary guy. #

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And... So that's why I've called him Our Bill, because he is our Bill.

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It's really strange,

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I feel like I am at kindergarten, seeing my baby off!

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Comedian Harry Hill has entered the Summer Exhibition eight times.

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Last year, he made the final hang

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with his David Beckham diptych.

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This year's...

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This year's entry is, um...

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So it's, it's a dog.

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Basically, this picture was sent to my wife from a friend of ours.

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He left his dog in the house,

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with a bag of flour.

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Or the door to the larder was open and the dog got the bag of flour.

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And when he got back, he took these two photographs

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which really made me laugh!

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So there's the dog here, looking sort of bashful,

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and then he looks at what he's done.

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So I painted it as a little picture.

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One of this year's hopeful send-ins is Mike Carter,

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who has travelled all the way from Wales.

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I had to get the early bus at quarter past six this morning,

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so it's been quite a journey.

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I walked in through the park from Buckingham Palace

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and I could see a few people carrying artworks.

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It's like everyone kind of knows what each other's up to,

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it was like a little secret club or something.

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I'm just glad I got it here in one piece.

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Mike lives with his family just outside of Cardiff.

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He studied fine art here,

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but now works in retail for a popular Swedish furniture company.

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After graduating I didn't do any art for, like, ten years.

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My partner went to a show in London, Peter Deutsch show,

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and she brought back a catalogue.

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I just started looking at it again, I thought,

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"Well, why am I not painting any more?"

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That's when I started again.

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I would love to be able to do this full-time.

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But the realities are it's...it's difficult.

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I am doing my art...

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Well, basically, I get a slot every night,

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about two hours, you know?

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I am definitely a figurative painter

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but I'm open to lots of different ways of making art.

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Mike submitted work two years ago,

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but didn't make it onto the hallowed walls of the RA.

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This year, he's hoping to go all the way.

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This is my submission for

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the Royal Academy Summer Exhibition.

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It's South Stack Lighthouse in Anglesey.

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We were up there on holiday,

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and I was blown away by the whole view,

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and this lighthouse is kind of jutting out on a little peninsula.

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If the painting gets into the exhibition I...

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I don't know what I'll do with myself!

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I'll be so pleased.

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MUSIC: Valerie by Mark Ronson feat. Amy Winehouse

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Sarah Gwyer is a 32-year-old mum.

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She's also a pop artist with an unusual passion for handicrafts.

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This is Amy Remixed.

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She's made from hundreds and hundreds of hand-sewn beads

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and they've come together to make a sort of ode to Amy Winehouse.

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So I'm a little bit nervous today, dropping her off.

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I just want to make sure she gets there all safe and sound.

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Sarah lives in the Cotswolds, and she splits her time between

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her two small children, Barnaby and Toby, and her artwork.

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There's a lot of juggling going on.

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Nap time is pretty much when I get most of my artwork done.

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There's this beautiful time between half seven and 10pm.

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That's when I don't get any interruptions at all.

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I tend to do sculptures of women.

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It's always about having an iconic image.

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Amy, you've got the tattoos and you've got the beehive.

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She just screams at me to do her.

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So I started my sculpture in about November.

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She's taken about four months in total to finish.

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I literally hand sew every bead.

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You'll find a piano charm, there's charms of the old records.

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The hardest bits to do of a sculpture are concave areas,

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cleavage is really difficult,

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but the lips, I'd say the lips are probably the hardest part to do.

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# They're trying to make me go to rehab

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# But I won't go, go, go. #

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This is my fifth time of trying,

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but never, never made it through the final hurdle.

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So hopefully, this time...

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I feel it's my best shot,

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but at the same time, it's so subjective.

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Our final hopeful dropping off work at the RA

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is retired teacher Norma Bell.

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This painting is called Endgame,

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and it's a homage to Francis Bacon.

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It's painted with a palette knife and acrylics.

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I don't know how to use a paintbrush!

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SHE LAUGHS

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Norma lives in Fovant, Wiltshire, and came to art later in life.

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I'm in my 80s, but friends say that I easily pass for 79,

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so I'm quite happy with that.

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I started painting after I retired.

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I started going on painting holidays with a good friend of mine, Pam,

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and we produced lots of pretty pictures.

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Well, I decided that they were simply pretty pictures

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and they weren't really what I wanted to do.

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I wanted to do something much freer, and more colourful.

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I use a palette knife and acrylic paint,

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so it's like icing a cake, really.

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You just... You keep your knife flat, doing this.

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I'm going to try to obliterate

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what's here, really.

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The reason I do abstracts and I use a palette knife

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is because I can't paint a daisy or a cat,

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I wouldn't know how to do it.

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If you gave me a paintbrush,

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I wouldn't be quite sure which end to use.

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Norma's painting, Endgame - Homage to Francis Bacon,

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was inspired by a newspaper item which showed his last painting.

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This was a bull which, in fact, is starting to recede

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into the background,

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and it made me think that he must have had a premonition himself

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that he was facing his own mortality.

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And in the painting I did,

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I tried to put that across.

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I've achieved a lot of things I wanted to do,

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and getting a painting into the Royal Academy

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is the last thing on my bucket list.

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And if I can do that, I'll be very, very pleased,

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and very, very proud.

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Like all the other hopeful artists, the works of Mike, Sarah and Norma

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will be judged anonymously by the exhibition committee.

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In a few weeks' time, they'll discover if they're part

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of this year's show.

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Each year, one of Britain's leading artists is chosen to be

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the Chief Co-ordinator of the Summer Exhibition.

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This time round, it's the turn of Derbyshire painter

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and print-maker Eileen Cooper.

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Eileen Cooper is known

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for her large-scale, brightly coloured figurative paintings,

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sometimes described as magic realism.

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In 2010, she was also elected Keeper of the Royal Academy.

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Eileen has a bold vision for the show.

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I've come to the Royal Academy, to the Keeper's House,

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traditionally the grace-and-favour residence of the Keeper,

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to find out more.

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As well as being an academician,

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amazingly, Eileen is the first woman to be elected Keeper

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since the Royal Academy's foundation in 1768.

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Traditionally, as well as being responsible

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as the day-to-day running of the Royal Academy,

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the Keeper was also responsible for the Royal Academy Schools.

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Eileen's studio, at the top of the Keeper's House,

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has remained largely unchanged since it was built in 1866.

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Eileen, when you started to think about what you wanted

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this exhibition to be emblematic of,

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tell me what you thought should be the main thoughts.

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I really want to get people

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from all over the country,

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all over the world, on the walls,

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I want the big names and I want the unknowns.

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I'm in touch with a lot of different generations of artists.

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I very deliberately got film-makers.

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We've got a film installation from Isaac Julien.

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But we're also looking for graduates from many, many art schools.

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So, in fact, you want to increase the democracy of the Royal Academy?

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Yeah, I think most definitely so.

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Obviously, the very first thing people will see

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is the courtyard sculpture.

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-That's the thing that's got to make a "wow!".

-Yeah.

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So what have you chosen?

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So I've chosen a wind sculpture by Yinka Shonibare.

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He's a big star in the art world, and he's very busy.

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He's showing all over the world.

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And I feel that the Summer Show is really very celebratory

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and to have something colourful and atmospheric

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and dominating the courtyard

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is a really good way to bring people in.

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You must be delighted that Gilbert and George are in your year.

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They showed for the first time in the academy last year,

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so that was a big, big, important thing,

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and often, they don't show in group shows.

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It's great to have them.

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We've got performances, two young performance artists,

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a duo, India Mackie and Declan Jenkins,

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doing Cantilever Kiss.

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And one of our academicians, Brian Catling,

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is going to be doing a performance.

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And it seems to me a very quirky and interesting performance,

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where he'll emerge from the crowds wearing a Cyclops mask.

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-That could be quite scary.

-Let's hope not.

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Or should we be hoping it is?

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Tell me about the staircase.

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The first thing after you've come in through the courtyard,

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you're coming up the staircase, who are we having there?

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-Do you know yet?

-No.

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We don't know who we are having in the staircase.

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-This is exactly four weeks from the exhibition.

-Yes, it is.

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I know we've got some very large work by academicians,

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which I've got in mind as a possibility,

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and we're still under discussion with a couple of people.

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As Keeper, Eileen Cooper has privileged access

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to back parts of the Royal Academy that are never open to the public.

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Gosh, what's this? Part of the stairwell.

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This is the cut-through to the schools.

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It's the Keeper's staircase.

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-And how often is it used?

-Well, I use it occasionally,

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but it is a bit creepy.

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Is it...? I mean, is it meant to be used by a lot of people, or is it quite secret?

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No, it's quite secret, it's for my use,

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and the Keeper goes down the stairs via the Keeper's garden.

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I think I'll go out this way, but...

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That's a spider's web you've got your hand on.

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SHE LAUGHS

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The students that Eileen Cooper teaches get free tuition,

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partially funded by the Summer Exhibition.

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And these stairs lead to a room

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where past masters perfected their art.

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Many famous artists, like JMW Turner, John Constable

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and John Everett Millais studied at the RA Schools.

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I am in the historic life room,

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and many believe that it was on these very benches

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that they sat, working away and drawing the life models.

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In the past, the life room was one of the most important aspects

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of the Royal Academy Schools.

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Life drawing was seen

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as the highest level of training that an artist

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would be expected to undertake,

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so it was the top of the tree.

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You had to draw from the life model in order to progress

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in the finest compartments of painting and sculpture.

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The life classes were incredibly structured.

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The model would sit for two hours, timed with this egg timer.

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It was used until about 1900.

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If at any point the model needed a break,

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a bit of a comfort break, that sort of thing,

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you just put it on your side like that

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until they were back again, all set, ready for the second half.

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And then it's time to pick up again.

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And that supposedly lasts an hour.

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There was a small body of professional models,

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but the male life models routinely came from amongst the staff,

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and the porters, now called red collars,

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at the Royal Academy would be expected to work

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as life models in the evening life class,

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in addition to their day duties.

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The women models were rather more mysterious,

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not least because there's all sorts of rumours

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as to the sorts of women who would be prepared to pose nude

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in front of a room full of young men,

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and so it was likely that some had worked as prostitutes.

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Not all, but they kept their anonymity,

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so they were referred to as "the woman".

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Now and again you get, "The other woman."

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There's even one case of a "night woman".

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They did get paid double.

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Today is judging day at the Royal Academy.

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Now that all the public submissions are in,

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it's down to a team of experts, professional artists

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and Royal Academicians to judge each and every work.

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Every single piece, including the artwork

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of our hopeful send-ins,

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is passed in front of the panel in turn.

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It must get at least one vote to get through.

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There was a bit of teasing going on.

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There were one or two kitsch things that I particularly wanted in

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and nobody else really wanted.

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With the judging completed,

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the wait for Sarah, Norma and Mike is almost over.

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They're about to receive an e-mail from the RA

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informing them if the judges liked their work.

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DUCK QUACKS

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That's something just come in this very minute.

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Did you hear the duck?

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If successful, they will move through

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to the final round of selection.

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Here we go.

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"Dear Norma, thank you for entering this year's Summer Exhibition.

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"Your artwork, Endgame - Homage To Francis Bacon,

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"is still under consideration."

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SHE CHUCKLES

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My artwork is still under consideration.

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So I get a final status on the 27th of May.

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"Your artwork, South Stack Lighthouse,

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"is still under consideration."

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I'll have to read that again.

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Yeah, still under consideration. Wow!

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Cool, I wasn't expecting that.

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All three of our hopefuls must now wait another week

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to see if they make the final hang.

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The artwork in the courtyard of the RA for the Summer Exhibition

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is one of the most anticipated commissions of the year.

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In 2017, it's the turn of one of Britain's foremost artists,

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whose witty sculptures often disguise a provocative message.

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Born in Britain, Yinka Shonibare grew up in Nigeria

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and his work has always wrestled with cultural identity.

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He's known for his playful use of brightly patterned wax textiles,

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often made into costumes for his headless mannequins.

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Influenced by his Nigerian heritage and combining darkness and humour,

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his art often charts an intrepid expedition

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through post-colonial themes and the impact of globalisation.

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Yinka Shonibare has been based in his studio here in east London

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for nine years.

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The sculpture that you're placing in the courtyard is called

0:22:210:22:24

Wind Sculpture VI. Tell me about it.

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The wind sculptures began after my project in Trafalgar Square.

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It's called Nelson's Ship In A Bottle

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and I used very colourful sails on that, on that ship.

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Now, I'm known for using African textiles in my work

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and the fabric is a great metaphor for diversity, for me.

0:22:400:22:46

And then I thought, "Why don't I actually create something much bigger?"

0:22:460:22:50

Just isolating the idea of something blowing in the wind,

0:22:500:22:53

as the sails blow in the wind.

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You've got a couple of maquettes here from the sculptures.

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-Can you take me through them?

-This is a 3D-printed maquette.

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You know, so it's very exciting.

0:23:030:23:06

It just makes it possible to see things in three dimensions

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and you get a sense of what the actual thing

0:23:100:23:14

is going to look like.

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In terms of the audience and its response,

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do you have an ambition for the impact you wanted it to have?

0:23:180:23:21

I'd be quite happy with "wow!"

0:23:210:23:23

That would be...

0:23:230:23:24

Your work is always "wow!" SHE LAUGHS

0:23:240:23:27

I sort of feel like a naughty boy being allowed to play

0:23:270:23:30

in the courtyard of the Royal Academy, really.

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So, as well as exhibiting this year,

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you're also curating two rooms.

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That must be quite a challenge in itself.

0:23:370:23:39

Yes, and the brief, really, is to show the work of emerging artists

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and also look at diversity, to properly represent

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the diverse community that we live in.

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One of the artists Yinka Shonibare is showing

0:23:580:24:00

is Hassan Hajjaj from Morocco.

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He makes photographs of Muslim women in a way that perhaps

0:24:040:24:07

we wouldn't expect to see them.

0:24:070:24:09

Henna Bikers is part of a body of work called Kesh Angels.

0:24:130:24:17

"Kesh" is short for Marrakech.

0:24:170:24:19

And I played with the words of Hells Angels, which is Kesh Angels.

0:24:190:24:22

All the images are basically about girls from Marrakech

0:24:220:24:27

that you normally see riding around

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and they have a certain style and a certain language.

0:24:290:24:32

So I wanted to have this powerful image, with these powerful women.

0:24:320:24:35

Abe Odedina originally studied as an architect

0:24:420:24:45

and came to painting later in life.

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He describes himself as a folk artist.

0:24:480:24:51

Deep Cut is one of a series of paintings

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I made around the referendum.

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The very strong graphic representation of the flag itself

0:25:010:25:05

seems to suggest cut lines.

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So in a way, it's a bit of a warning,

0:25:080:25:11

a gentle warning that we are dealing with very powerful forces.

0:25:110:25:14

With three weeks to go,

0:25:210:25:23

all the work that's made it through to the second stage

0:25:230:25:26

has now been brought into the galleries.

0:25:260:25:29

Before the final hang, Brenda and I have been given special access

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to the galleries where most of the public entries may be hung,

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to try our hand at being judges.

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We are each going to choose four artworks

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and compete to see who can get the most pieces

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into the summer show.

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So this is where we start. This is mainly a send-in room.

0:25:520:25:57

-So...

-It's like being a kid in a sweet shop, really.

-It is.

0:25:570:25:59

And it's kind of a big sweet shop.

0:25:590:26:01

And some of the sweets are fantastic and some are just...

0:26:010:26:03

-Not good for you!

-Exactly. So let's see what we like.

0:26:030:26:06

I don't know where to start.

0:26:080:26:10

Oh, no, no...no.

0:26:120:26:17

-Hey, lovely. I'm going to need your help. OK.

-So, if I...

0:26:170:26:22

Do you know what they look for?

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I think this must be...

0:26:250:26:27

Yeah. I like this, cos I don't know what the story is. Like it.

0:26:280:26:31

Yeah, that's by... Who's that by?

0:26:330:26:36

You're kidding me. Is that Vic Reeves?

0:26:360:26:39

That is hilarious.

0:26:400:26:42

-I do like it. I love colour.

-OK.

0:26:420:26:45

Oh, I've got to give him a go.

0:26:450:26:46

Let's see this.

0:26:470:26:49

I quite like that. In fact, I like that a lot.

0:26:500:26:52

I said to you I like colour,

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and everything I've gone for is quite...

0:26:540:26:56

But that is beautiful.

0:26:560:26:59

Yep... This...

0:26:590:27:01

It's between this one

0:27:010:27:03

or the really big one over there.

0:27:030:27:05

Do you know what? I'm going to go for this one.

0:27:050:27:07

You know, this is really cool.

0:27:090:27:11

It's like Lowry.

0:27:110:27:13

Yeah, Lowry-cum-Jacometti-cum...

0:27:130:27:16

-Brenda likes it!

-Yep.

0:27:160:27:18

Oh, this is rather wonderful.

0:27:180:27:20

Oh, it's beautiful.

0:27:210:27:23

-Is it a diptych?

-It is a diptych, yeah.

0:27:240:27:26

-So, would that count as one choice for me?

-Yes.

0:27:260:27:30

It's so striking.

0:27:300:27:31

I think I've made my decision.

0:27:310:27:34

-Wow. It's great we have chosen such different things.

-We have.

0:27:340:27:38

You know who that is? That surprised me.

0:27:380:27:41

That's Vic Reeves.

0:27:410:27:42

I found that really playful. I loved the colours

0:27:430:27:46

and it made me feel good.

0:27:460:27:47

And then this is like Starry, Starry Night.

0:27:470:27:50

You know those moments when you need to meditate?

0:27:500:27:52

You've come from work and you've had a long day

0:27:520:27:54

and you need a glass of wine and to look at something pleasant.

0:27:540:27:57

What I liked about this, I think that tells a story

0:27:570:28:00

and I think that is endlessly fascinating.

0:28:000:28:02

I'd have probably gone past that one.

0:28:020:28:04

And then this, because it's just...

0:28:040:28:06

I love the idea that there's a settlement there.

0:28:060:28:08

The lights are on and I love that deep mustard ochre in the back.

0:28:080:28:13

-This, I absolutely love.

-Is it paper?

0:28:130:28:16

That's what it looks like and then you think it's pastry.

0:28:160:28:19

But actually, every single one of these is porcelain.

0:28:190:28:23

Are you serious?

0:28:230:28:24

That is a find. I hadn't seen that. That is gorgeous.

0:28:240:28:27

And I've also chosen a painting. It makes me smile.

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And I think when you're in somewhere like this,

0:28:310:28:34

you have to choose things that make you smile.

0:28:340:28:36

I think you're right and this is why, I think, I went for this.

0:28:360:28:39

I think you're going to hate it.

0:28:390:28:41

-No, I really love this.

-You do?

0:28:410:28:42

-You know what I want to do, though?

-What?

-I want to play with it,

0:28:420:28:45

as if I'm a child.

0:28:450:28:47

I want to move it around and create different scenarios.

0:28:470:28:49

That is exactly what I liked.

0:28:490:28:50

I'll be really interested to see what you think of my final choice.

0:28:500:28:53

-What do you think?

-I think this is a great choice.

0:28:540:28:57

So, it's a pair, so you're managing to cheat.

0:28:570:29:01

-Not really! It's a diptych.

-Wow, look at these.

0:29:010:29:04

-Is it all pastel?

-Yeah.

0:29:040:29:05

-Don't you think it's incredible? Look at the hair.

-I do.

0:29:050:29:08

All we have to think about now is whose is on the wall?

0:29:080:29:12

-Shall we have a bet?

-OK, champagne for the most...

0:29:120:29:15

The most on the wall gets the champagne.

0:29:150:29:16

-The least on the wall pays for it.

-OK.

0:29:160:29:18

But don't make it expensive if you win!

0:29:180:29:20

This year, one of the strangest double acts in art history

0:29:260:29:30

has been made Royal Academicians.

0:29:300:29:33

Gilbert and George are the first duo to have been elected

0:29:360:29:39

as a single artist in the entire history of the RA.

0:29:390:29:44

They met At St Martin's School of Art in 1967

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and formed a unique and personal relationship.

0:29:480:29:51

They started creating art together and made themselves the centre

0:29:530:29:56

of their art as living sculpture.

0:29:560:29:58

THEY SING

0:30:000:30:04

Gilbert and George believe that everything

0:30:060:30:08

is a potential subject matter for their art

0:30:080:30:11

and they've tested taboos and challenged artistic conventions.

0:30:110:30:14

Over the years, they've delighted, confounded and outraged,

0:30:140:30:18

provoking with their art,

0:30:180:30:20

using themselves as a starting point

0:30:200:30:22

or, indeed, the city around them - London.

0:30:220:30:25

I have come to see them at their home and studio

0:30:300:30:32

in Spitalfields in east London.

0:30:320:30:35

This is your table of...paraphernalia

0:30:370:30:40

or is this your table of...?

0:30:400:30:41

-It's the Royal table.

-It's the Royal table.

0:30:410:30:45

-And these are?

-These are the two medals that we got.

0:30:450:30:47

They're green, because green is for sculpture.

0:30:470:30:50

That's very interesting.

0:30:500:30:52

-We are still sculptors.

-Sculptures.

0:30:520:30:54

That's how we started out as.

0:30:540:30:55

Not painters - sculptors.

0:30:550:30:57

So, you knew you were going to be getting green for sculpture.

0:30:570:31:01

What happened when you got the medals?

0:31:010:31:02

It was very easy in fact.

0:31:020:31:05

They told to us go in for lunch,

0:31:050:31:06

so we had two - what are they called? -

0:31:060:31:09

ham and cheese sandwiches, then they took us

0:31:090:31:11

in the room where there were, what they call, Royal Academicians

0:31:110:31:14

sitting around there, 20 of them,

0:31:140:31:16

then gave us the medals and then made us sign this big document.

0:31:160:31:20

The artists were sitting around all wearing their hats.

0:31:200:31:22

I said, "Is that a Royal Academician thing,

0:31:220:31:24

"that you have to wear a hat for lunch?"

0:31:240:31:26

And they said, "No, no. It's an affectation."

0:31:260:31:28

I was quite amazed by that.

0:31:280:31:30

Gilbert and George exhibited their work Beard Aware

0:31:360:31:39

at the Summer Exhibition last year

0:31:390:31:41

and their fascination with beards

0:31:410:31:43

is still growing.

0:31:430:31:45

The piece that you're putting in follows on from the piece last year.

0:31:460:31:50

This year, it's Beard Speak.

0:31:500:31:52

How did you decide on the images

0:31:550:31:57

that were going to be in that particular piece?

0:31:570:31:59

We just realised that

0:31:590:32:01

beards have an enormous world of meaning and fascination.

0:32:010:32:04

When we moved first to Spitalfields,

0:32:070:32:09

everyone was bearded and Yiddish-speaking.

0:32:090:32:11

Extraordinary.

0:32:110:32:12

The cutting of the beard or not cutting the beard

0:32:140:32:17

is very important for a lot of religions.

0:32:170:32:18

All the religion has something to do beards, in some way.

0:32:180:32:21

The Hindus, the Muslims, the Sikhs.

0:32:210:32:24

And the most famous beard in the world, Jesus Christ.

0:32:240:32:27

When I was a teenager, you wouldn't get a job in my home town

0:32:270:32:32

if you had a beard, or if you had a tattoo.

0:32:320:32:34

Now, everybody in Spitalfields has a beard and a tattoo.

0:32:340:32:37

-Except you two.

-Extraordinary - not us.

0:32:370:32:39

In a year's time, they'll all be cut off again

0:32:390:32:41

and everyone will be fresh-faced again.

0:32:410:32:43

We don't know. It's very difficult to imagine that.

0:32:430:32:45

Maybe you could grow one, when it's not fashionable.

0:32:450:32:47

THEY CHUCKLE

0:32:470:32:48

Gilbert and George used to manipulate photographic images

0:32:500:32:54

by hand, but they now work with sophisticated computer technology.

0:32:540:32:58

Do you think that your use of computers has given you,

0:33:010:33:05

actually, a greater freedom?

0:33:050:33:06

I think it's an enormous overlap from the old technology.

0:33:060:33:10

Much of the language is the same,

0:33:100:33:12

but I think it's even more exciting, I would put it that way.

0:33:120:33:14

We manage to create this amazing palette of colours,

0:33:140:33:18

they are very extreme

0:33:180:33:20

and we made ourselves big heads and smaller bodies

0:33:200:33:23

and the beard is completely becoming ingrained

0:33:230:33:26

and drifting down to the end.

0:33:260:33:28

How extraordinary to think that you could, with your computers,

0:33:280:33:32

even when you're not here, continue to make art.

0:33:320:33:35

So, we can still have a Gilbert and George in 100 years' time?

0:33:350:33:38

With the advances in stem cell technology,

0:33:380:33:41

we could probably live forever, anyway.

0:33:410:33:42

-Maybe more stiff, but...

-Stiff is good.

0:33:420:33:46

Thank you very much!

0:33:470:33:49

KIRSTY GUFFAWS

0:33:490:33:50

With the Summer Exhibition drawing closer,

0:33:570:34:00

there is a big delivery at the Royal Academy.

0:34:000:34:03

Early Saturday morning,

0:34:070:34:08

and we're here, in the courtyard of the Royal Academy.

0:34:080:34:10

And it's arrived - Yinka's Wind Sculpture VI.

0:34:100:34:13

Looks like a stingray wrapped up in cellophane at the moment,

0:34:130:34:16

but in...oh, a couple of hours, I'd say,

0:34:160:34:19

it'll be a beautiful sculpture, dominating this amazing space.

0:34:190:34:22

Now they've cautiously taken it off the truck.

0:34:300:34:32

The next process is to unwrap the sculpture

0:34:320:34:34

before placing it upright and into position.

0:34:340:34:38

It's actually like waiting for your sofa

0:34:380:34:40

and watching it unravel, it's quite exciting.

0:34:400:34:42

So, this 12-foot fibreglass structure

0:34:470:34:50

is ready to compete with Sir Joshua Reynolds here,

0:34:500:34:52

in the forecourt of the Royal Academy.

0:34:520:34:54

It's history, it's heritage,

0:34:540:34:57

it's craft, all wrapped up in this amazing piece of work.

0:34:570:35:00

It's so Yinka. Love it.

0:35:000:35:02

We'll have to wait until the opening of the show to see

0:35:040:35:07

how Yinka Shonibare's piece has come together.

0:35:070:35:09

The judges now make their final selections as they try out

0:35:160:35:19

hundreds of pieces,

0:35:190:35:20

including the artwork from our hopefuls,

0:35:200:35:23

in each of the galleries.

0:35:230:35:25

Even at this stage, there are far more works than can be displayed.

0:35:290:35:33

It's been very intense. Very intense, hasn't it?

0:35:370:35:40

Every one of us is looking for the best spot for individual works.

0:35:420:35:46

The wait for our three hopeful artists is over.

0:35:560:35:59

They've passed the judging stages -

0:35:590:36:01

now they'll find out if they've made it

0:36:010:36:04

into this year's Summer Exhibition.

0:36:040:36:07

So, I've been at this stage once before and I didn't make it,

0:36:070:36:09

and it was gutting.

0:36:090:36:11

So I am fully prepared for either outcome.

0:36:110:36:13

"Dear Michael Carter..."

0:36:160:36:18

Oh, wow. "We're pleased to inform you that your artwork,

0:36:180:36:21

"South Stack Lighthouse, Anglesey,

0:36:210:36:23

"has been selected for this year's exhibition."

0:36:230:36:27

Yes! That's amazing.

0:36:270:36:29

"Dear Norma Bell, I am pleased to inform you that your artwork

0:36:300:36:34

"Endgame - Homage To Francis Bacon

0:36:340:36:36

"has been selected for this year's exhibition."

0:36:360:36:40

SHE GIGGLES

0:36:400:36:42

"Dear Sarah,

0:36:450:36:46

"I am pleased to inform you that your artwork,

0:36:460:36:48

"Amy Remixed, has been selected for this year's exhibition."

0:36:480:36:51

That's, uh...

0:36:510:36:53

That's unreal.

0:36:530:36:55

SHE LAUGHS

0:36:550:36:57

So, how do you feel?

0:36:570:36:58

-TEARFULLY:

-Really happy.

0:37:030:37:05

Do you know what? I just realised, it's been selected!

0:37:050:37:09

It's been selected!

0:37:090:37:10

Thank you, Francis!

0:37:120:37:13

SHE LAUGHS

0:37:130:37:15

The next time they'll see their work is on display in the gallery.

0:37:170:37:21

This year's Summer Exhibition is all about celebrating work

0:37:260:37:29

that stretches the boundaries of art and what it can and should do.

0:37:290:37:33

There's humour, there's showmanship, there's drama.

0:37:330:37:37

There's even something that might scare us.

0:37:370:37:39

Multimedia artist Brian Catling

0:37:450:37:47

has a love of the macabre and the fantastical.

0:37:470:37:51

I am beneath you.

0:37:530:37:56

Stooping in the half-light to your side...

0:37:560:38:00

He is a performance poet,

0:38:000:38:01

sculptor, and also author of the cult novel The Vorrh.

0:38:010:38:06

..veined in tar shine.

0:38:060:38:08

And he will be presenting an extraordinary work

0:38:110:38:14

at this year's show, centred around his abiding obsession

0:38:140:38:18

with the figure of the mythical Cyclops.

0:38:180:38:21

As part of your contribution to the Summer Exhibition,

0:38:240:38:26

-you are bringing in performance art.

-Yeah.

0:38:260:38:29

And I'm putting in three paintings.

0:38:290:38:30

They're paintings of imagery cyclopses, portraits.

0:38:300:38:34

One of them has the ability of being turned.

0:38:340:38:39

So I am building a performance into the painting.

0:38:390:38:42

One of the attendants

0:38:420:38:43

will step forward at a certain time,

0:38:430:38:45

turn the picture with its face to the wall,

0:38:450:38:47

and I will come out, but I'll be wearing a prosthetic eye

0:38:470:38:50

and I'll move through the crowd, quietly,

0:38:500:38:53

let everybody see this for a few moments, and then go back.

0:38:530:38:56

The painting will be turned. So I'm like a rumour,

0:38:560:38:59

something some people will see and some won't.

0:38:590:39:01

So, what do you want to trigger in the visitors

0:39:010:39:04

when they get to experience this?

0:39:040:39:05

I want them to be a little troubled.

0:39:050:39:08

A little odd. Why would someone want to do that?

0:39:080:39:10

You're going to get all kinds of reactions,

0:39:100:39:13

complete indifference to outrage.

0:39:130:39:15

BELL RINGS

0:39:210:39:22

Brian is going to give us a sneak preview of his eerie performance

0:39:240:39:28

which he'll be putting on at unscheduled times

0:39:280:39:30

throughout the Summer Exhibition.

0:39:300:39:33

EERIE MUSIC

0:39:340:39:37

CARIBBEAN MUSIC

0:40:140:40:17

It's Varnishing Day at the RA.

0:40:230:40:26

This takes place before the show opens to the public,

0:40:260:40:29

and exhibiting artists have a chance to see their work

0:40:290:40:32

hung in the gallery for the very first time.

0:40:320:40:35

Before they're allowed in, they can take part

0:40:350:40:38

in one of the Summer Exhibition's hallowed traditions.

0:40:380:40:41

All the artists are invited to parade down Piccadilly

0:40:450:40:48

and to attend an artists' blessing at St James Church.

0:40:480:40:51

Good morning and welcome to the annual service for artists

0:40:530:40:57

on Varnishing Day.

0:40:570:40:59

Wherever you have travelled from today,

0:40:590:41:01

welcome to the parish church of the RA.

0:41:010:41:03

Now our hopefuls can finally enter the gallery

0:41:080:41:11

and find out where their works have been put.

0:41:110:41:14

Ah! There it is.

0:41:260:41:29

-Wow!

-SHE CHUCKLES

0:41:310:41:34

Yes. Yes, it looks good.

0:41:340:41:37

It's sort of in a nice...a nice little spot of its own, there.

0:41:370:41:41

Make sure...

0:41:450:41:46

Allowed to do it if it's my painting!

0:41:460:41:48

Well, I think I ought to stand here

0:41:500:41:52

and invite everyone - "Roll up, have a look."

0:41:520:41:54

Hey! I've found it! Oh, wow!

0:42:090:42:12

I'm really, really pleased.

0:42:170:42:19

Couldn't be happier, especially the position and everything.

0:42:190:42:22

It's strange, cos, you know...

0:42:240:42:26

..I was framing it in my little room and now it's here.

0:42:270:42:31

It's unreal.

0:42:310:42:32

It's really surreal. It's a really strange feeling.

0:42:490:42:53

I am loving the light in here.

0:42:530:42:55

It's really good for her. And I'm just seeing

0:42:550:42:57

Gilbert and George, their work over there.

0:42:570:42:59

I'm such a big fan of their work, so I'm really, really proud.

0:42:590:43:02

And one of our celebrity hopefuls has also made it through.

0:43:090:43:13

# But along came Bill

0:43:130:43:19

# An ordinary guy... #

0:43:190:43:23

I'm really pleased.

0:43:230:43:25

Thrilling. Thrilling. Just to get any picture in is just very special.

0:43:250:43:30

I think it's such a special occasion.

0:43:300:43:32

Oh, he's got such a sweet face. Hope he is pleased, if he sees it.

0:43:340:43:38

It's time for Brenda and me to see who has won our little bet.

0:43:450:43:49

So, it's the moment we find out whether, actually,

0:43:500:43:53

-any of our choices made it.

-I am desperate to see.

0:43:530:43:56

-Oh, look!

-I can't see anything.

0:44:010:44:02

-Hey!

-Yep.

0:44:020:44:05

They look really powerful up there, don't they?

0:44:050:44:07

-I think they look fantastic.

-I am happy they're here.

0:44:070:44:09

I really am. 1-0 to Brenda!

0:44:090:44:12

-See if I can see any more.

-Early days!

0:44:120:44:15

I cannot think...

0:44:160:44:18

Oh, it's here. Now, there it is.

0:44:210:44:23

-Now, look at that.

-It looks better on the wall,

0:44:230:44:25

-as well, doesn't it?

-It looks fantastic.

0:44:250:44:27

I'm really, really pleased that came in.

0:44:270:44:30

That makes us even.

0:44:300:44:31

Hey, hey, hey! Look what I spot!

0:44:350:44:37

It's so good in this corner.

0:44:370:44:39

I was about to say exactly the same thing.

0:44:390:44:41

I think that makes that

0:44:410:44:42

2-1, Lady!

0:44:420:44:44

Wait, that's... Is that..?

0:44:480:44:49

-I picked that.

-You did.

0:44:490:44:50

I'm so glad, because it is beside Barbara Rae,

0:44:500:44:53

which is even lovelier.

0:44:530:44:55

Oh-oh.

0:44:560:44:58

That was mine. That was one of mine.

0:44:580:45:00

-Brilliant.

-Yay!

0:45:000:45:01

So, that made it. Well, that's good.

0:45:010:45:03

-So, how many is that?

-That makes it three to Brenda, two to Kirsty.

0:45:030:45:06

-And with a couple of rooms to go, all to play for.

-All right, then.

0:45:060:45:10

Let's go.

0:45:100:45:12

So, we are getting down to the last couple of rooms

0:45:120:45:14

-we haven't seen, so we don't know.

-I can't spot my Vic Reeves.

0:45:140:45:18

Ah! There they are. My women.

0:45:200:45:24

Look, the women made it.

0:45:250:45:27

The women made it,

0:45:280:45:29

but Vic Reeves didn't make it, did he?

0:45:290:45:30

Can't find him anywhere. It's a thing called life.

0:45:300:45:33

Dear me, he doesn't have a day job, either(!)

0:45:330:45:36

-Well, look, it was a draw!

-It was a draw.

0:45:360:45:38

I think that's pretty good.

0:45:380:45:40

-I think champagne time.

-We have to break it to Vic Reeves, though.

0:45:400:45:42

You should break it to Vic Reeves!

0:45:420:45:44

The night before the launch of the Summer Exhibition, the RA holds

0:45:510:45:54

a grand dinner for its members and invited guests.

0:45:540:45:58

There is nothing else like this in the whole world

0:46:020:46:05

and that is why it shouldn't change too much

0:46:050:46:08

and we should keep the traditions

0:46:080:46:09

of amateurs and the professionals together and, one day,

0:46:090:46:12

those amateurs will become professionals, anyway, I hope,

0:46:120:46:15

so it's good.

0:46:150:46:16

One of the highlights of the evening is to award £25,000

0:46:180:46:23

to the most distinguished work in the show.

0:46:230:46:25

I'm delighted to announce that the winner

0:46:260:46:29

of the Charles Wollaston Award

0:46:290:46:30

is Isaac Julien.

0:46:300:46:32

CHEERING AND APPLAUSE

0:46:320:46:35

Isaac's Julien's winning work is a multiscreen film installation,

0:46:440:46:49

Western Union: Small Boats,

0:46:490:46:50

portraying the plight of refugees crossing the Mediterranean.

0:46:500:46:55

This work, which really tries to look at this crisis,

0:46:570:47:01

the journeys of people from Africa into southern Europe

0:47:010:47:05

and to, in a sense, go behind the scenes,

0:47:050:47:08

and try to tell the story that news reporting cannot tell.

0:47:080:47:12

Actually, I first showed in the Royal Academy

0:47:230:47:27

in the Summer Show in 1980

0:47:270:47:30

and so, 37 years later,

0:47:300:47:33

I must say, it was, in a way, wonderfully ironic

0:47:330:47:36

to be able to install this work, as a video work,

0:47:360:47:39

and get this news that the piece actually won this award,

0:47:390:47:44

so I'm very, very honoured.

0:47:440:47:46

So finally, it's the big day,

0:47:550:47:57

when the Summer Exhibition throws open its doors

0:47:570:48:00

to the glamorous gala party,

0:48:000:48:02

but there's still a little time for those last-minute tweaks.

0:48:020:48:07

It's always a thrill to see the galleries transformed

0:48:110:48:14

and, this year, to see what Eileen has done with her box of delights.

0:48:140:48:19

The first delight is Yinka Shonibare's striking

0:48:230:48:26

Wind Sculpture VI,

0:48:260:48:28

which stands out in this austere palladium courtyard.

0:48:280:48:32

Isn't this a great welcome to the courtyard?

0:48:320:48:35

There is something quite emotional about it,

0:48:350:48:37

because it's so vibrant and optimistic.

0:48:370:48:39

Even Joshua is wearing Yinka's scarf.

0:48:390:48:41

I meet Eileen Cooper to get a personal tour of the show.

0:48:460:48:49

So, the staircase, Eileen, was going to be your, kind of,

0:48:520:48:55

last-minute surprise,

0:48:550:48:57

Was it a surprise to you, too?!

0:48:570:48:58

It was a surprise. We had several possibilities

0:48:580:49:03

and I'm really pleased we've got these.

0:49:030:49:05

This was the thing I really wanted.

0:49:050:49:07

This is beautiful.

0:49:070:49:08

They're paintings by the schools' graduate,

0:49:080:49:11

Lynette Yiadom-Boakye, and I love them.

0:49:110:49:14

Great that she came from the schools,

0:49:140:49:16

because that is what this exhibition is all about.

0:49:160:49:18

I think we have achieved a more inclusive and diverse showing

0:49:180:49:23

than ever before.

0:49:230:49:24

Wow!

0:49:280:49:29

The variety of work, so many different media.

0:49:330:49:38

This room, kind of, sums it up. We have got photography

0:49:380:49:41

and we have got painting.

0:49:410:49:42

You've got Tracey's neons.

0:49:420:49:43

Tracey's neons look fantastic.

0:49:430:49:46

They do.

0:49:460:49:47

And now, Yinka's own room.

0:49:520:49:54

It's as if there's a determined effort to get every kind of art

0:49:540:49:58

-into the exhibition this year.

-Yeah.

0:49:580:50:00

So, looking at this photograph, I love the fact it is surrounded.

0:50:070:50:10

I love the frame. It's made of tins.

0:50:100:50:13

It's a powerful photograph, isn't it?

0:50:130:50:16

Tell me about these figures.

0:50:170:50:19

These are by an artist who's based in the East End of London.

0:50:190:50:23

-Beautifully carved from one piece of wood and painted.

-Wow.

0:50:230:50:25

I think, if you live in Hackney, you would probably recognise

0:50:250:50:28

some of these characters.

0:50:280:50:30

-Maybe they'll be at the party.

-Let's hope so.

0:50:300:50:32

So, this is Rose Wylie's triptych.

0:50:360:50:38

Yes, when this came in,

0:50:380:50:39

I thought that is going to be

0:50:390:50:41

on the central wall

0:50:410:50:42

and it's wonderfully bonkers.

0:50:420:50:44

I wouldn't describe what it was about,

0:50:440:50:46

but it's obviously referencing film.

0:50:460:50:49

She has got a reindeer and an Irish Cupid.

0:50:500:50:52

Is it a heart,

0:51:010:51:02

do you think?

0:51:020:51:03

Some kind of vital organ?

0:51:030:51:05

-I wouldn't know how to begin to describe it.

-A vital organ!

0:51:050:51:07

Which leads you through to Gilbert and George.

0:51:070:51:10

-Looks good here, doesn't it?

-It look great.

0:51:100:51:12

And I love all these adverts.

0:51:130:51:16

"Scaffold labourer wanted."

0:51:160:51:17

"A man and van."

0:51:170:51:19

"Waste removals."

0:51:210:51:23

And probably a few more that we shouldn't really draw attention to.

0:51:230:51:26

All these months, some of them stressful.

0:51:300:51:32

Negotiations, disappointments.

0:51:320:51:36

After this is over, do you just lie down in a darkened room

0:51:370:51:40

-with a glass of champagne?

-Yes, in a semi-coma for about

0:51:400:51:42

three months, I think.

0:51:420:51:44

It's party time and celebrated names from art,

0:51:470:51:50

fashion and the silver screen are out in force.

0:51:500:51:54

I have bought before from here

0:51:560:51:58

and I think you get, sort of, caught up in the furore.

0:51:580:52:00

It's like a party and everyone else is buying things

0:52:000:52:03

and you're like, "I'll buy things."

0:52:030:52:05

It is such a great buzz. It's full of interesting people, beautiful art

0:52:080:52:12

and that's why I need to get in there quite quickly,

0:52:120:52:15

cos I want to buy something!

0:52:150:52:16

I'll be looking today. I don't think my wallet is that heavy tonight!

0:52:190:52:23

I hope to see Grayson Perry, as well. It's always fun.

0:52:230:52:27

Right on cue there.

0:52:270:52:29

Just pan round.

0:52:290:52:30

There. There. There he is.

0:52:300:52:32

We're bit more old-fashioned.

0:52:410:52:43

-We've seen a couple of things, yes.

-A couple of things, yeah.

0:52:440:52:47

There are over 1,000 works on show at this year's Summer Exhibition

0:52:490:52:53

and the great thing is that most of them are for sale.

0:52:530:52:55

Some more affordable than others, but there are things you can buy.

0:52:550:52:59

There are amateur pictures for, perhaps, only £200-£300.

0:52:590:53:03

or a print from a very well-established artist for a few hundred.

0:53:030:53:06

Or you could blow the bank - and, indeed, a good many banks -

0:53:060:53:09

and buy an Antony Gormley, perhaps, or an Anish Kapoor.

0:53:090:53:12

The choice is yours.

0:53:120:53:13

We caught up with some celebrity shoppers.

0:53:130:53:16

-I love this Eileen Cooper.

-This is so beautiful.

0:53:210:53:23

First up, I met up with model Daisy Lowe.

0:53:230:53:26

-Oh, that's quite good.

-Which one?

0:53:280:53:30

I quite like the naughty scene.

0:53:300:53:33

Every year, I have always said, "Oh, next year I'll buy something."

0:53:330:53:37

And this year is the year

0:53:370:53:39

-that I'm going to.

-You're determined to!

0:53:390:53:41

I'm just going to have a look around and see what catches my eye

0:53:410:53:44

-and work it out from there.

-Is it a heart or a head thing?

0:53:440:53:47

It's definitely a heart thing, It's always a heart thing with me!

0:53:470:53:49

A girl after my own heart! Let's see what grabs your eye, shall we?

0:53:510:53:55

-I love that.

-That one?

-Yeah.

0:53:570:54:00

And Daisy Lowe isn't the only one looking for a purchase.

0:54:020:54:05

You're in the mood for buying?

0:54:070:54:09

-Sort of.

-Have you found anything?

0:54:090:54:10

We always look,

0:54:100:54:11

because it doesn't feel like you're in a shop.

0:54:110:54:14

What about the Sean Scully behind you?

0:54:140:54:16

-It's the wrong shape.

-KIRSTY LAUGHS

0:54:160:54:19

-I haven't got that space on my wall.

-There is a space above the sofa.

0:54:190:54:22

I quite like that, but then, don't you think, if you had it

0:54:270:54:30

in your house, you'd just want to sit on it?

0:54:300:54:31

Wow! I love these guys. They're so cool!

0:54:310:54:35

-I'd really like to just hang out with them.

-Yes!

0:54:360:54:38

The one at the top is beautiful.

0:54:400:54:42

Every time a work is sold, a red dot is stuck to the wall.

0:54:450:54:49

-Jaime Winston, you buy?

-Yes, I do! When I've got money, yes, I do.

0:54:510:54:57

-I attempt to.

-You've bought already this time?

-I have bought.

0:54:570:55:00

I bought a piece called...Tink 1

0:55:000:55:05

for my friend, Ali.

0:55:050:55:06

You've bought one, and you're still looking?

0:55:060:55:08

I'm still looking, yeah. I really like this one here,

0:55:080:55:12

because it reminds me of my sister.

0:55:120:55:14

'There is one more gallery to explore

0:55:190:55:22

'and Daisy Lowe is still undecided.'

0:55:220:55:24

Until...

0:55:250:55:26

This! This is the one that I really want to get.

0:55:260:55:29

-Oh, that is...

-So, this is Annie Kevans.

0:55:290:55:33

And this is Robert Mapplethorpe in drag.

0:55:330:55:35

-It's amazing.

-Amazing.

-Yeah.

0:55:350:55:37

He's got such a great face and, actually,

0:55:370:55:40

I love HIM so much. I think he's so beautiful.

0:55:400:55:44

-So, I would like to buy.

-Going to go for that one?

-Yeah.

0:55:440:55:46

That's... I think you're mine!

0:55:460:55:48

-Shall we go and buy?

-Yes. Let's go and buy.

0:55:480:55:50

OK! Ah!

0:55:500:55:53

Well, so far, it's been a wonderful night.

0:55:590:56:01

It's been a real celebration of talent, endeavour

0:56:010:56:04

and there's lots of red dots.

0:56:040:56:05

There's lots of red dots. There certainly has been some

0:56:050:56:08

great, enthusiastic purchasing of art.

0:56:080:56:09

Is there something in here that you think is really extra special?

0:56:090:56:12

I have been inspired by lots of things going on in the gallery,

0:56:120:56:15

but the real magic moment for me was seeing Yinka's wind sculpture

0:56:150:56:18

being situated in the forecourt.

0:56:180:56:19

And for me, something in Yinka's room,

0:56:190:56:22

Bob and Roberta Smith, Art Makes Children Powerful.

0:56:220:56:25

-What a statement.

-Now just time for Laura Mvula playing Overcome.

0:56:250:56:30

Top of the pops!

0:56:330:56:34

# When your heart is broken down, down, down

0:56:420:56:46

# And your head don't reach the sky

0:56:480:56:52

# Take your broken wings and fly

0:56:550:56:59

# When your head is hanging low, low, low, low

0:57:010:57:05

# And the tears, they keep falling

0:57:070:57:11

# Take your broken feet and run

0:57:150:57:17

# Run!

0:57:170:57:18

# Take your broken feet and run

0:57:200:57:22

# Run!

0:57:230:57:25

# Put the world upon your shoulders

0:57:330:57:36

# Put the world upon your shoulders

0:57:360:57:40

# There's nowhere left to hide

0:57:400:57:42

# There's nowhere left to hide

0:57:420:57:45

# Keep your head up, carry on

0:57:470:57:49

# Keep your head up

0:57:510:57:52

# And carry on

0:57:540:57:56

# Keep your head up, yeah

0:57:560:57:58

# And don't give up, no, no

0:58:010:58:03

# Don't give up

0:58:050:58:07

# Keep your head up

0:58:080:58:09

# Yeah, yeah, yeah

0:58:140:58:15

# Cos it ain't no time to die, die, die, die

0:58:170:58:20

# Even when we suffer

0:58:230:58:25

# We suffer, we suffer

0:58:250:58:28

# Come together, be brave

0:58:300:58:33

# Come together

0:58:330:58:34

# All of God's children, sing

0:58:360:58:39

# Round the mountain

0:58:400:58:44

# All God's children run

0:58:440:58:46

# Sing round the mountain, run

0:58:470:58:49

# Around the mountain, run

0:58:490:58:51

# Around the mountain

0:58:510:58:53

# All God's children run

0:58:530:58:55

# Round the mountain, yeah

0:58:590:59:01

# Sing round the mountain

0:59:040:59:06

# God's children

0:59:060:59:08

# Around the mountain

0:59:080:59:11

# All God's children

0:59:110:59:12

# Run round the mountain, run. #

0:59:140:59:17

Thank you so much, everybody. It's been a pleasure. Thank you!

0:59:170:59:21

CHEERING AND APPLAUSE

0:59:210:59:23

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