The Royal Academy Summer Exhibition 2011: A Culture Show Special The Culture Show


The Royal Academy Summer Exhibition 2011: A Culture Show Special

Alastair Sooke presents from the 243rd Summer Exhibition at the Royal Academy of Arts. The exhibition is the visual arts world's largest and longest running open-submission show.


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Transcript


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Hello and welcome to this special edition of The Culture Show, coming

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to you from the Royal Academy of Arts in London to mark the 243rd

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On the show tonight, we are behind the scenes as the latest exhibition

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comes together. I go to New York to meet Jeff Koons. This is rubber.

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it is aluminium. He is sculpture now dominate the Royal Academy's

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courtyard. Nancy Durrant explores a room based on the old idea of the

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frame to frame salon hang. I cast a critical eye over gallery made up

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of work only by Royal academics, among them some of the most famous

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names in British art today. And Tom Dyckhoff chats to Piers Gough about

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the star exhibits in the architecture room. Look what

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happens behind your house, things go bananas. Also, I will be

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following the fortunes of five artists, including my mum. She

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submitted work to this exhibition, the largest and longest running

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submission art show in the world. Jana Street-Porter and philip will

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be revealing what they think of the exhibition this year. And we will

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be announcing the winner of the 25,000 pound Wollaston Award for

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the most distinguished work on display.

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Every year, more than 150,000 people come to the Royal Academy to

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visit the Summer Exhibition. And that is an enormous number, and

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proves quite how popular this extraordinary show is, where work

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by amateurs can hang side by side with pieces by some of the world's

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most famous artists. But as a show it's quite unlike any other, so

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here's a little guide from me to The Summer Exhibition has played a

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key role in the British social calendar ever since the Royal

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Academy of Arts was established in 1768. Every year its opening party

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attracts the great, the good and the glitterati. But behind the

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glamour the event is steeped in ritual and tradition. I've put

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together a few facts and figures to show how this famous exhibition

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comes together year after year after year. The main reason why the

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Summer Exhibition causes so much excitement is because it's the

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biggest open art exhibition in the world. And the idea is that anyone

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can submit up to two works of art and, if they're accepted, they'll

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be shown in the longest established gallery in the UK opening up a

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:03:14.:03:19.

whole new world of opportunity for This is Meeting King Neptune While

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All At Sea. A reject for 2009. Giving it another go. How many

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times have we submitted before? Probably about 10. One of this

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year's artistic hopefuls is someone very close to my heart. This is a

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picture of Alastair aged about eight years old. A my mum is a keen

:03:45.:03:50.

amateur painter but this is her first attempt to get into the

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summer exhibition. These are the two paintings I have decided to

:03:53.:03:59.

submit. I have let rip and really just had a ball doing it because,

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as you can see, I love colour. I would be thrilled to get in. If

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somebody says "yes, you can be hanging on the wall in the Royal

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Academy" it will be fantastic. have been doing some research into

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my mother's chances of getting in, and the news is not great. Over

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11,000 people have submitted work for this year's exhibition. That is

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what that represents. 1200 works by 650 artists end up on display, but

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of these some are by famous artists invited to take part, and over a

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third are by Academy members. The rest come from public submissions,

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but less than 200 of these artists will be showing for the first time.

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Frankly, the figures don't really work in my mother's favour. The

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judging of the public's work is carried out by a group of eminent

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members of the Academy. They make sure the Summer Exhibition judging

:05:02.:05:12.
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occurs in exactly the same way as it has come for nearly 250 years.

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think it is basically Bovril with some sherry in it. It sounds

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disgusting, but in cold conditions it warms you up a bit. The rituals

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of the selection process are the same every year. Works are rested

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on this ancient stool and pictures are marked with an X, meaning

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they've been rejected, or a D, meaning they'll go on to be

:05:38.:05:48.
:05:48.:05:51.

Artists don't have to give their real names when submitting. In 1947,

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a painter called David Winter had two pictures accepted. Winter

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turned out to be Winston Churchill. Like many good old-fashioned

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British establishments, you get voted into the club by other

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members. And at any one time there are meant to be 80 academicians and

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all of them have to be under 75. New members are voted in once old

:06:13.:06:23.
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members reach 75, or if an No, I don't know who died to make

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space for me. I suspect he moved on and got older. I say he because

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there are a disproportionate number of men. Grayson Perry has just been

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elected. I think there are obligations, obviously to uphold

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the honour of artists, but I don't think artists necessarily have much

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honour to uphold. I look far -- for what to joining in the running of

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the Royal Academy. Many visitors to the Royal Academy may not realise

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their entrance fee support not just an art gallery but an art school as

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well. Students at the Royal Academy Schools can do a three-year

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postgraduate fine art course without paying any tuition fees.

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But how is such generosity possible? Partly because of the

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Summer Exhibition, one of the ways the Royal Academy makes its money.

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It cost �25 to enter work and there are usually around 11,000

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submissions, that is already around a quarter of a million pounds in

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the bank. Revenue is also created by tickets, and work in the show is

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up for sale with the Royal Academy taking a 30% cut. Surprisingly, the

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Royal Academy receives no public funding whatsoever, but there is a

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secret to its financial survival, which is the rent on Burlington

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House only cost them �1 a year, thanks to a lease agreement that

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was sagely negotiated in 1868 to last for 999 years. The arrangement

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has given the Royal Academy the freedom to stick to its own

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traditions and rituals, particularly around the Summer

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Exhibition. It's not every gallery that invites its artists to parade

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down the street before the show, but its love of the old fashioned

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has sometimes felt out of step with the times. Most famously just after

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the war, when the President of the Royal Academy used the after dinner

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speech to attack Modern Art. I find myself a president of the body of

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men who feel that there is something in this so-called modern

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:08:59.:09:05.

art. If you paint a tree, for Lord's sake, try and paint it!

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Royal Academy has been accused of occasionally taking refuge from

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radical new ideas and being out of touch, but more recently it has

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made a strong effort to shed that image. People love the summer show.

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It is still going every year for almost two-and-a-half centuries,

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despite everything. One of the reasons it has surprised his

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because it keeps a dream alive for hopeful young artist and a few

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years ago one of those hopefuls was me. I submitted this piece. It is a

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conceptual sculpture consisting of a jar of red Mantel's. It is a

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portrait of my mother about maternity, memory and a tribute to

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the ready-mades of Marcel Duchamp. I don't think those complexities

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were understood, and even if they did it got rejected. This year it

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is my mother chasing the dream of getting into the exhibition. Let's

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hope she did better than I did. We will find out later if my mother

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has managed to get her paintings into the show, but I have been

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joined by two people who have been to lots of exhibitions over the

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years - Janet Street-Porter and philip. What do you normally make

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for the exhibition? It is normally a bit of a mess, normally quite

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chaotic. In the middle of it there are some gems. Over the last few

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years they have been trying to make it more serious and engaged.

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broadly speaking, a fan? Yes. Qualified. Qualified than. Jan it,

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what about you? I am a snob about it. I always come out of good

:10:54.:11:00.

thinking why did I bother, it is so annoying. At the same time there is

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this art show in Venice, the Venice Biennale, and people are more

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forgiving. You have this huge show and you have complete rubbish

:11:10.:11:14.

BRILLIANT work. But when you go around the Royal Academy, I'm

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afraid there is good stuff but it is like going to a car boot sale,

:11:18.:11:22.

you have to pick through to find something rewarding. I am sorry to

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put you through this again, but he both kindly agreed to have a look

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and we will catch up with the later. Before we go inside, I want to show

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you this enormous and very playful joyful stainless steel sculpture

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called Coloring Book. It is by the American artist Jeff Koons, and

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recently I went to New York to meet him. In the world of contemporary

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art, Jeff Koons is a global superstar. His work delights in the

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aesthetics of trash culture and it sells for millions. I have always

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found Jeff Koons a fascinating artist, partly because it is so

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tricky to get a handle on what he does. He is the king of kitsch and

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his work makes people feel uneasy because it seems like the epitome

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of bad-taste, and yet it sells for so much money. I can never work out

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whether it is purely superficial or perhaps offers a searing commentary

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on the banality of our world. Nobody ever really knows for sure

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:12:37.:12:39.

and that is what makes his work so interesting. Can I do what you did?

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This looks like rubber, is it metal? It is aluminium. There is

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something I have always wanted to ask you, because you really use

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popular culture so much in your work and I can never work out if

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you are celebrating it, or may be satirising it. Which is it? It I am

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celebrating it. I enjoy the life, I enjoy the world, and I don't

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believe in judgment so it is about acceptance. I work with inflatables

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because they are life-saving devices. It is like being in the

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water and you have something to hold onto. In the water with this,

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you would sink. It is a symbol. are producing objects which most

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people would overlook, replacing them in the gallery, but you try to

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make banal things. What is the thinking behind it? I am not

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trying! I follow my interests, and I think honesty is something people

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find shocking. Am always very honest about my interest. One of

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his particular interests is the imagery of childhood. His stainless

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steel sculpture for the summer exhibition is based on a picture

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:14:13.:14:14.

from a child's colouring book. comes from an image from Winnie the

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Pooh so I made my own watercolour drawing on top of it. Is that what

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this is? Yes, this is taking the watercolour and the market during,

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and then breaking it down into those colours so I can create a

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sculpture from it. Childhood dreams are so strong in your work, is that

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an important way of looking at the world? Children do not participate

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in judgment. They are open to everything. They love colours and

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to smell the grass. There is no judgment. There is a sadder side to

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his fascination with childhood. Coloring Book is part of a series

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of work called Celebration, which he used to reach out to his son

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after being taken to Italy following a custody battle with his

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My son was taken to a foreign country, I was never able to get

:15:12.:15:17.

him back. To a distance, this helps me to communicate to my son, how

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much I loved him. Can I ask why you are drawn to working in stainless

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steel? It is something that has happened again and again through

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your career? It reflects you and it needs you. Without you it does not

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exist. If you state something that is polished and put it in a dark

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room, it disappears. It only reflects its environment. Art is

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never in the object, art is inside the viewer. A reflective surface

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continues to communicate that. Imagine it will be a very different

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experience seeing an 18ft high stainless steel coloured sculpture,

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to seeing the drawing, so I'm looking forward to it a lot. Thank

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you. Thank you, I enjoyed today. Jeff Koons is one of the biggest

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names in contemporary art, yet here he is in a show with a load of

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unknowns. That is the charm for me of the Summer Exihibition. I was

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allowed into the vaults of the Royal Academy to rifle through the

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works sent in by the members of the public, to see if I could spot

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anything that may make it on to the walls of the final exhibition.

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These are all works of art that have made it through the first

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stage of the selection process, but there is no guarantee that they

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will be chosen by the curators. I want to have a quick rummage around

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and see if I can pull out a few artworks that catch my eye and I

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think are good enough to be So let's have a little leaf through.

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I think that the judges have 11,000 submissions, they have to look at

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them so quickly, to make a snap judgment, in a sense I'm doing it

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too slowly. I should be whipping through it. Oh, look at this box.

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Now, this I really like. It seems to be a book and the pages are

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hollowed out. Inside is a mad, what looks like a 19th century prints of

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dogs and people from the tropics, soldiers and old maps. Let's have a

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look at the label. The book sculpture is made by Alexander

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Korzer-Robinson, an artist from Berlin, based in Bristol. He has

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never submitted anything to the Summer Exihibition before. The way

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that I work, I cut out images in the books where they are in the

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books. I build a composition from the front to the back. I like to

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work with Encyclopaedias a lot. You get a variety of different themes

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and images that are really un- related other than by their place

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in the alphabet, really. So there is a lot of potential to develop a

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narrative. I think that this has got a great deal of imagination. It

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is different. So, for that reason, I'm going to go with it. I think

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that this will make it into the final show. This piece is very

:18:33.:18:43.
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different to what has come before, but when you say Royal Academy

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royal -- Royal Academy Summer Exihibition, it conjures up, in

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many people's minds, I suspect, something painted like this. It is

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very well painted. It is possibly a little bit old-fashioned, but I

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think there is a deaf place for it, so I will hedge my bets and say

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this is a contender. The painter of The Greenhouse is by David Newens.

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He has submitted every year since the mid-1980s and so far has been

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selected six times. I have painted greenhouse interiors several times

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before. I do like the relationship between almost an abstract

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structure against the flowers. I'm not a flower painter. I don't just

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paint a bunch of flowers, but the colour harm onis that you get of

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the various plants in a greenhouse, off-set against a strong structure,

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:19:58.:20:01.

provides to me a very nice subject. Now this... This piece is so weird!

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Check this out. It's a painting. I should not be touching the frame.

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The paint has continued on to the frame by someone called PJ Crook

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called "The Infant". I describe the style as naive. PJ Crook has shown

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15 times at the Summer Exihibition, "The Infant" is one of two painting

:20:25.:20:32.

she has submitted for consideration this year. There is something

:20:32.:20:37.

obviously -- obvious about the idea of a naked new-born riding on a

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tiger. It feels like Blake. A visionary piece of another world.

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It is odd, I quite like the oddness. So I think I'll pick this one.

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feels evocative to me of the situation we are in now, where the

:20:55.:21:02.

tiger is an endangered species and our environment is in danger too. I

:21:02.:21:10.

like the idea that the infant and the tiger in it are in harmony. So

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rather like man and his environment should be, they are working

:21:16.:21:26.
:21:26.:21:26.

together and the angels there as a guiding presence. That's quite hard

:21:26.:21:33.

to read this, initially. It seems quite gloomy. It looks like, I

:21:33.:21:39.

guess a big glass skyscraper and there, that seems to be graffiti? I

:21:39.:21:44.

guess the thing that caught my eye here is all of this mark-making all

:21:44.:21:50.

over the place. Let's have a look at the label. What is it? Wow!

:21:50.:21:57.

Medium Photography. What?! That's amazing. I thought that this was a

:21:57.:22:03.

painting. I quite like this. Let's hang on to it. The picture is by

:22:03.:22:06.

Isidro Ramirez, a Spanish photographer living in London. This

:22:06.:22:11.

is the first time he has tried to get into the Summer Exihibition.

:22:11.:22:15.

There are four photographs of the same building, photographing the

:22:15.:22:19.

four corners of the building and then putting them together through

:22:19.:22:26.

a digital process. It creates a very glostly image at the end. That

:22:26.:22:33.

does not correspondent to anything. It is a creation. The work is about

:22:33.:22:38.

the limitations of photography, what it has to represent a place.

:22:38.:22:45.

In this case a building. Now I'm not saying that those four works

:22:45.:22:49.

are necessarily the greatest pieces of art ever made, but I do think

:22:49.:22:52.

that they deserve a place in the Summer Exihibition. They caught my

:22:52.:22:56.

eye, you have to follow your instinct. They had a certain

:22:56.:23:00.

strangeness. The sad thing is that I have no say in the process

:23:00.:23:04.

whatsoever. It is the curators that have the final decision about all

:23:04.:23:07.

of the works in the Summer Exihibition, but I will be keeping

:23:08.:23:13.

my fingers firmly crossed. I'll let you know if my choices turned out

:23:13.:23:18.

to be good ones, but I want to show you this, far and away, the biggest

:23:18.:23:23.

gallery in the show. As you can see, it's been hung in a busy American.

:23:23.:23:26.

An attempt to refer back to the history of the Summer Exihibition.

:23:26.:23:35.

Nancy Durrant was here when the room was put together. The Summer

:23:35.:23:40.

Exihibition has never looked quite like any other show. Right from the

:23:40.:23:47.

start, back in 1769, the RA crammed its walls what paintings hung from

:23:47.:23:51.

floor-to-ceiling in a style known as the Salon Hang. A visit to this

:23:51.:23:54.

show was very different to our experience of galleries now. We are

:23:54.:23:59.

used to a cool, calm, light, open space with a great deal of thought

:23:59.:24:03.

put into how best it hang a work. The Summer Exihibition, on the

:24:03.:24:13.
:24:13.:24:13.

other hand was mayhem! So, tell me about the Salon Hang, how did it

:24:13.:24:21.

work? Well, as this print shows, you stacked them high, racked them

:24:21.:24:26.

deep, essentially, frame-to-frame, literally touching each other.

:24:26.:24:31.

There is not an inch of space? is what they were trying to achieve.

:24:31.:24:37.

In recent years, when the smaller paintings have packed the walls,

:24:37.:24:42.

the larger gallery spaces were hung more sparsely, however, that is not

:24:42.:24:45.

what academician, Christopher Le Brun, is planning for this year.

:24:45.:24:51.

It's not working. Let's put them up on the rack. He is responsible for

:24:51.:24:56.

the biggest gallery in the show. He decided to revisit the idea of the

:24:56.:25:01.

Salon Hang. A lot of the strategy of contemporary art is to control

:25:01.:25:05.

the responses of the vier. So you go into the whilst gallery, there

:25:05.:25:09.

is a single painting. You appreciate it, it is wonderful, but

:25:09.:25:14.

you are controlled as to how you see it, what is said. When you come

:25:14.:25:17.

into a gallery with 500 paintings in it, you cannot control the

:25:17.:25:22.

response of the spectator. So, it is a very, very different notion.

:25:22.:25:30.

It is very anarchic and exciting. Is there anybody to be a bit

:25:30.:25:34.

disconcerted by where their picture ends up? It is difficult to please

:25:34.:25:39.

everybody. Year after year as we come in, you never know how your

:25:39.:25:43.

colleagues feel about where their work is. The problem is that there

:25:43.:25:48.

are many different languages going on at the same time. It could be

:25:48.:25:53.

tote chaos, a sort of Babel, really confusing. To make sense of the

:25:53.:25:57.

chaos, Christopher Le Brun is hanging the framed and unframed

:25:57.:26:02.

works on different walls. There is a sort of logic to it. The framed

:26:02.:26:06.

paintings coming down here, more figure rative, smaller scale of

:26:06.:26:13.

touch and handling, narrative, moving through, coming round to get

:26:13.:26:20.

a more, a sort of more questioning sense of space and a freer sense of

:26:20.:26:24.

comma. Although inspired by the traditional Salon Hang, he has not

:26:24.:26:29.

followed the old rules to the letter. There is more wall space

:26:29.:26:33.

visible in the gallery than would have been the case in the 18th and

:26:33.:26:40.

the 19th centuries. This is a scaled representation of the 1851

:26:40.:26:46.

exhibition. And the pictures are hung floor-to-ceiling frame-to-

:26:46.:26:54.

frame? Yes, here is the prime position given to 551. That work

:26:54.:27:04.
:27:04.:27:04.

down there, 561 is a work by mill away -- Millais. Why so low? Maybe

:27:04.:27:12.

the Academy were making a point?! Really? There used to anybody the

:27:12.:27:22.

traditional hanging such a thing as "skying" that was a snub, but there

:27:22.:27:28.

are these Irvine up at the top, but they work out? The reason it was a

:27:28.:27:32.

snub, you could not see them, but with Christopher Le Brun, you can

:27:33.:27:38.

see that right from the other side of the room. It still works. Were

:27:38.:27:43.

you ever tempted to do the real, kind of proper, squeezed in Salon

:27:43.:27:49.

Hang? It was partly my idea to do that, but in fact, you have to be

:27:49.:27:54.

flexible. It is no good coming in with a tough idea and shoe horning

:27:54.:28:02.

everything into it. We are just watching and adapting as we go.

:28:02.:28:12.
:28:12.:28:13.

It's kind of like a jigsaw, suspect it? Jigsaw, meets Sudoku, meets 3-

:28:13.:28:16.

dimensional chess! Now, this room through here is one of the smaller

:28:16.:28:21.

galleries in the show. It is the Architect's Room. It is packed full

:28:22.:28:27.

of the surprisingly beautiful and intricate models and drawings. Tom

:28:27.:28:33.

Dyckhoff went to have a look at it as it was installed. It is strange

:28:33.:28:37.

to come to thekm architect's Room in the Summer Exihibition, but what

:28:37.:28:41.

draws me here is that you are guaranteeed to find surprises

:28:41.:28:50.

inside. I'm expecting a wealth of surprises this year. As Piers Gough,

:28:50.:28:58.

the flamboyant architect is in charge. Maybe the playful one? Yeah,

:28:58.:29:04.

that thing. Piers Gough is famous for his colourful, bold buildings

:29:04.:29:11.

and has stated that his mission is to combat dreariness. This room

:29:11.:29:18.

reflects that, a rye ot of colour, texture and ideas. Oh, kpwre!

:29:18.:29:22.

Before putting his final touches to the room, he has agreed to show me

:29:22.:29:27.

some of the highlights from the show. The most important structure

:29:27.:29:31.

at the moment, with the Olympics coming up is King's Cross and what

:29:31.:29:36.

to do with it. What happens under the ground at King's Cross is

:29:36.:29:42.

almost beyond belief. Insane. There is this concourse, and underneath

:29:42.:29:47.

this calmness, the beautiful swan is this frantic pedalling

:29:47.:29:51.

underneath of getting the escalators, the routes, down into

:29:51.:29:55.

the various stueb stations sorted out. This is brilliantly engineered

:29:55.:30:01.

stuff. By this time next year, this magnificent piece of infrastructure

:30:01.:30:11.
:30:11.:30:14.

Then a building that has a tin of mackerel. This is exuberance that

:30:14.:30:19.

you may not expect from an older generation, but it is so lovely. So

:30:19.:30:23.

much reflects the feeling of architecture now, that is that you

:30:23.:30:33.
:30:33.:30:36.

You can see it is getting behind the facade, peeling the surface.

:30:36.:30:42.

am so jealous, I really wish I had designed that. It is so beautiful,

:30:42.:30:47.

the ridge and furrow. Some buildings, you just think I wish I

:30:47.:30:53.

had Dom R. That is one of them. What is fascinating about this new

:30:53.:31:00.

generation emerging is that they are so experiment are tiered. We

:31:00.:31:03.

have this building next to this building, I don't quite know what

:31:03.:31:11.

it is. Maybe it is a shelter that doesn't! The pavilion? It is coming

:31:11.:31:16.

towards sculpture and slightly towards a bicycle helmet. One thing

:31:16.:31:20.

you can't avoid is that the computer is allowing so many

:31:20.:31:25.

expressive forms to come through in architecture. He can design by

:31:25.:31:30.

computer for quite a long time, and now you can build it with a

:31:31.:31:35.

computer. He what about this staircase. Was that built in a

:31:35.:31:40.

similar way? Isn't it dreamy? Who would have thought the computer

:31:40.:31:45.

would bring you back to Art Nouveau? Businesses seem to have an

:31:45.:31:50.

image of toughness, and now they are being used for this insanely

:31:50.:31:57.

complicated gorgeous stuff. This is being built. It is not just a model,

:31:57.:32:02.

they have actually constructed it so it is very exciting times where

:32:02.:32:08.

these forms are made possible again and it is now just up to your brain.

:32:08.:32:17.

Can you invented? Can you think of it? If you look across the room, it

:32:17.:32:24.

is such a rich stew. Do you think that causes problems? It is so

:32:24.:32:29.

complex, a building can almost be anything. Does that present a

:32:29.:32:32.

problem? What could be more daunting than to be presented with

:32:33.:32:38.

an architectural establishment that really only does things more or

:32:38.:32:43.

less one way? And you have got to accept it. That was perhaps the

:32:43.:32:48.

perception of architecture in the 60s or 70s, now blown apart, but we

:32:48.:32:52.

are not even fighting amongst ourselves about that. It is just

:32:52.:32:56.

the nature of the way we are now and I welcome it because it gives

:32:56.:33:01.

me space to work. I know you have got a lot of work still to do, I

:33:01.:33:08.

don't want to hold you up any more. There it is, finished, and I think

:33:08.:33:13.

it looks fantastic. Over here is a room curated by an artist called

:33:13.:33:19.

Michael Craig-Martin, who is very influential, so I was intrigued to

:33:19.:33:26.

see what he had done when I came a couple of weeks ago. Michael Craig-

:33:26.:33:28.

Martin is one of the most important artists working in Britain today,

:33:28.:33:32.

not just because of his own work but because he was the

:33:32.:33:36.

inspirational teacher behind a whole generation of young British

:33:36.:33:43.

artists who studied at Goldsmiths College in the 80s and 90s.

:33:43.:33:50.

Grego six inches over? A member of the Academy since 2006, he has

:33:50.:34:00.
:34:00.:34:01.

decided only to show work by fellow Royal academicians in his room. I

:34:01.:34:06.

have come to see this room before the exhibition has opened. There is

:34:06.:34:10.

obviously a piece that will go there, but first impressions...

:34:10.:34:19.

This feels strong. These are confident works, also recognisable.

:34:19.:34:26.

This is a Tony Cragg. Richard Deacon. This cloud, which looks

:34:26.:34:35.

like a metallic swarm of bees, that is by Antony Gormley. In is very

:34:35.:34:40.

enjoyable curating a show like this because, if you have good toys to

:34:40.:34:45.

go with, it is nice to go to the playground. Because I want this

:34:45.:34:49.

room to show off these people, I have encouraged people to show work

:34:49.:34:53.

that is recognisably theirs, rather than something which is off the

:34:53.:34:57.

beaten track from what people expect. There will be works which

:34:57.:35:03.

are signature works. One of the most easily identifiable pieces on

:35:03.:35:09.

display is a colourful word painting by Michael Grade. I quite

:35:09.:35:14.

like the fact that, quite unashamedly, he has hung a number

:35:14.:35:18.

of works next to his painting by artists that he taught. Fiona Rae,

:35:18.:35:28.
:35:28.:35:30.

Gary -- Gary Hume... It he rejected me the first time I tried to get

:35:30.:35:37.

into the college in 2004, then accepted me later but I don't bear

:35:37.:35:46.

a grudge. This is a reworking of Cezanne's famous painting of

:35:46.:35:49.

bathers. The original hangs in the National Gallery, where Landy is

:35:49.:35:55.

currently Artist in Residence. It is literally a copy. But I

:35:56.:36:00.

didn't draw in front of the painting, I was too embarrassed, I

:36:00.:36:03.

got a postcard. It is a lovely thing to draw because once you get

:36:03.:36:07.

into the rhythm of that it is about shapes. Similar to what I would

:36:07.:36:17.
:36:17.:36:21.

have done as a child, just copying out of books. And there is a Tracey

:36:21.:36:30.

-- Tracey Emin up here. I wonder if there was a risk of so many

:36:30.:36:35.

powerful and familiar pieces creating a slight sense of deja-vu.

:36:35.:36:43.

It is a little bit expected. These are artists whose work I feel like

:36:43.:36:48.

I have seen often, often at the Summer Exhibition as well. I think

:36:48.:36:53.

Michael Craig-Martin was going for an artist's brand, signature style,

:36:53.:36:58.

but in a sense I would like something more surprising. I wish

:36:58.:37:03.

there was more mischief in the room. That said, the one piece I have not

:37:03.:37:09.

talked about yet if is this. A think it is very beautiful. The

:37:09.:37:18.

artist who made the peace is Cornelia Parker. It is flattened

:37:18.:37:24.

sugar bowls made from silver plate. It is like an encyclopaedia of

:37:24.:37:28.

sugar bowls which have all been gone. They have been squashed by a

:37:28.:37:35.

metal bending press. I spend most of my time taking things apart, so

:37:35.:37:45.

I like to use objects found in the world and rejigging them slightly.

:37:45.:37:50.

I have rocked the volume but given it back through suspension so it is

:37:50.:37:55.

like a real animation. A one challenge was to create a dialogue

:37:56.:38:04.

between all the works on display. If you look up here you can see

:38:05.:38:08.

here's this Tracey Emin neon "I whisper to my past, do I have

:38:08.:38:11.

another choice?" and the answer is, if you look down below, Michael

:38:11.:38:14.

Craig-Martin's painting, which says fate with a very closed gate, the

:38:14.:38:17.

answer is "sorry, love, you don't". It's delicate though, isn't it? The

:38:17.:38:20.

idea of whispering to your past is sort of what's going on with the

:38:20.:38:23.

Cornelia Parker piece as well. Maybe I've been a bit unfair, maybe

:38:23.:38:26.

there is a greater degree of subtlety in the room than I first

:38:27.:38:36.
:38:37.:38:40.

Michael Craig-Martin is famous for being a teacher as well as an

:38:40.:38:43.

artist, and if I were forced to try and grade his homework here, I'd

:38:43.:38:47.

say he'd done a very good job. It's very solid, a very substantial room

:38:47.:38:50.

but I wish there'd been a few more unexpected moments. I love art that

:38:50.:38:55.

has a slightly naughty, anarchic side. There's the odd moment like

:38:55.:38:58.

that, the David Mach collage really has it I think. The Bill Woodrow

:38:58.:39:03.

sculpture, which is just a little bit bizarre, has it as well. And I

:39:04.:39:08.

love those qualities. But this piece is the star of the show for

:39:08.:39:12.

me. This Cornelia Parker. It strikes a slightly different note

:39:12.:39:14.

to some of the more bombastic paintings and sculptures elsewhere

:39:14.:39:21.

in the room that have obvious wall power. This is just a bit more

:39:21.:39:25.

subtle and for that reason I think this is the piece I'll remember for

:39:25.:39:31.

the longest. I've come back outside into the sunshine to catch up with

:39:31.:39:33.

our guests, Philip Hensher and Janet Street-Porter, you've just

:39:33.:39:39.

been looking round the show. Now I brought with me the list of works

:39:39.:39:43.

and this year there are almost 1200 pieces in the exhibition. So Philip

:39:43.:39:46.

why don't you start, how on earth can anyone make sense of this

:39:46.:39:52.

cacophony of art? It is less cacophonous then it has been in the

:39:52.:39:58.

past. It focuses around two brilliant rooms. There is a

:39:58.:40:05.

fantastic room by Michael Craig- Martin which is very authoritative.

:40:05.:40:12.

There is also a great room of international contributors, with a

:40:12.:40:17.

Baselitz and Key For. The two German heavyweight painters. Yes,

:40:17.:40:22.

terrific. That is very positive. John it, you thought it was like a

:40:22.:40:27.

car boot sale before you went in. still think so. I would agree with

:40:27.:40:32.

Philip, the best room is without a doubt the one curated by Michael

:40:33.:40:38.

Craig-Martin. Isn't he a friend of yours? He is, but what is good

:40:38.:40:43.

about that room is that it has less in it. We start from a position of

:40:43.:40:49.

going into her room which is calm, ordered, and you agree with the way

:40:49.:40:55.

it is thinking. It really sings out, and you can only contrast it with

:40:55.:40:59.

the cacophony of some of the other rooms, where there is the Great

:40:59.:41:04.

Room, the largest room of all, it has this weird thing where they

:41:04.:41:10.

decided to hang it like the salon. I thought they would cram things in

:41:10.:41:15.

up against each other, but what it is they have put on one long wall a

:41:15.:41:19.

lot of completely abysmal - and I don't mince my words here -

:41:19.:41:23.

landscapes. It is what I call walking the dog in the Park

:41:23.:41:30.

paintings. It didn't even seem honk in the 19th century style, I

:41:30.:41:35.

couldn't see how it deferred. not like the salon hang, it is more

:41:35.:41:39.

like a miscellaneous village hall hang really. There was something

:41:39.:41:46.

very controlled and hierarchical about these salon hangs, which

:41:46.:41:50.

doesn't try to achieve at all. There is also the question that so

:41:50.:41:55.

much of the painting in that the groom is terrible. It is really,

:41:55.:42:01.

really terrible. I picked out four or 5 paintings which had any kind

:42:01.:42:06.

of quality, which is not a high strike rate. Given there are 40

:42:06.:42:14.

along the wall, it is not great. wrote down here "room five" Which

:42:14.:42:19.

was hung by Tess Jaray, a really good artist. She has written on her

:42:19.:42:24.

a note, "this room is hung for people who are sensitive,

:42:24.:42:28.

intelligent and thoughtful". Nothing like being patronising, and

:42:28.:42:33.

yet it has the same cacophony as all the other rooms. What was your

:42:33.:42:40.

stand out peas? Probably Cornelia Parker's work, the diptych with the

:42:40.:42:47.

Budget box. Not the levitating silver? I like the Budget box

:42:47.:42:52.

because I loved the diptych, the two images. What it is saying is

:42:52.:42:57.

that women control everything. Philip, how about you? No question,

:42:57.:43:06.

the Edmund De Waal ceramics Cabinet. It is 30 pieces of sports learn

:43:06.:43:12.

with that magical historic White delays. You are so drawn into this,

:43:12.:43:16.

it is so rich. I could look at it forever. It is a very tranquil

:43:16.:43:23.

peace, isn't it? Yes, he is a wonderful artist. I loved the

:43:23.:43:27.

levitating silver Cornelia Parker pieces, but I also enjoyed looking

:43:27.:43:32.

at the Baselitz painting. The upside-down Helms against this eye-

:43:32.:43:38.

popping yellow. It is basically the area of my flat, it is so big and

:43:38.:43:45.

it has a lot of war power. He is incredible, Baselitz. Those are our

:43:45.:43:49.

favourite artworks but sadly none of them made it on to the judges'

:43:49.:43:52.

shortlist for the Wollaston Award. It is not as famous as the Turner

:43:52.:43:59.

Prize, the winner does get the same amount of money, �25,000. Then

:43:59.:44:03.

Lewis went to look at the shortlisted works and listen in as

:44:03.:44:13.
:44:13.:44:15.

The Wollaston Award is given every year to the most distinguished work

:44:15.:44:19.

in the Summer Exihibition. The judges have identified a short-

:44:19.:44:23.

list of seven artworks. I've come to take a look at what they have

:44:23.:44:28.

chosen. First on the list is a sculpture by a well-known

:44:28.:44:32.

minimalist, Martin Creed. It is four chairs of different sizes,

:44:32.:44:37.

stacked on top of each other. I can hear you scoff and say this

:44:37.:44:42.

is not a sculpture, but take a look at it. What makes us look at this

:44:42.:44:50.

to thing it is art? Well it is tall and totemic. It has an elgant

:44:50.:44:55.

colour scheme, it looks -- an elgaent colour scheme, it looked

:44:55.:45:00.

organised. There is precision in the size of each chair, the legs

:45:00.:45:05.

somehow fit the seat of the chair underneath. That is clever and the

:45:05.:45:13.

red chair forming a phinth. That is smart. Throw away junk and pop it

:45:13.:45:20.

on top of each other to get an organised structure? Ten out of ten.

:45:20.:45:25.

The judges have chosen two works in Michael Craig-Martin's room. One is

:45:25.:45:30.

by painter, Gary Hume. It looks very cute and in fact it is based

:45:30.:45:35.

on an image or photograph, perhaps, of a young child or a baby, but,

:45:35.:45:43.

what Gary Hume has done with this, he has created a cons mate abstract

:45:43.:45:47.

colour-filled painting in his own style. It is very, very refined. He

:45:47.:45:53.

has a wonderful sense of line and the colours are gorgeous. Lots of

:45:53.:45:58.

pastel pinks and blues and browns. It is a surprise for the eye to be

:45:58.:46:02.

moving around the painting and encountering different, unusual,

:46:02.:46:07.

splopblgs of colour. In the same room is a sculpture leaning against

:46:07.:46:13.

the wall, it is by Alison Wilding. It is composed of just three

:46:13.:46:18.

elements, a foam circle, a copper circle and a small resin sphere.

:46:18.:46:23.

You can see each of the decisions that the artist has taken here.

:46:23.:46:27.

Three simple contrasting textures. The best comparison that one can

:46:27.:46:32.

make is that this is like Italian cooking. That is about few

:46:32.:46:36.

ingredients but high-quality, you combine them, cook them quickly and

:46:36.:46:40.

end up with something delicious and fresh. Sitting amongst the three

:46:40.:46:45.

dimensional pieces in the Student tower Room is a abstract painting

:46:45.:46:50.

by Frank Bowling. It is like an essay in paint. There are dabs of

:46:50.:46:58.

green and turquiose and a lovely crimson orange background. Then as

:46:58.:47:02.

you come down the picture, the painting is cascading like a

:47:02.:47:06.

waterfall. You get to the bottom, the paint is trier, thicker. It is

:47:06.:47:13.

plastered on a bit. You could read it as foam or Earth. There you have

:47:13.:47:19.

it, a landscape made from the textures and the qualities of paint.

:47:19.:47:23.

Onya McAusland's piece. That slips from its boundaries and on to the

:47:23.:47:27.

side of it. It is saying something quieter about the nature of

:47:27.:47:31.

painting and the materials. The effort of this work is not in the

:47:31.:47:35.

surface, that is three brush strokes, if is in where the

:47:35.:47:39.

materials come from. The artist goes into mines and other obscure

:47:39.:47:44.

locations to find substances that she has to treat and process and

:47:44.:47:48.

then comes up with a wonderful shade of turquiose that is

:47:48.:47:51.

delivered to us in three brushstrokes on this small and

:47:51.:47:57.

slight work of art. It's a good trick.

:47:57.:48:01.

James Hugonin's painting is more complicated to look at. A grid of

:48:01.:48:07.

tiny multi-coloured boxes. This colour grid is not based on a

:48:07.:48:10.

random sequence of colours organised by a computer. This is

:48:10.:48:19.

all painted by the artist, it takes months! His work has meant he has

:48:19.:48:25.

looked at it close and from far away to create this painting. You

:48:25.:48:29.

get a feeling of something undulating and glowing and

:48:29.:48:35.

throbbing in front of us. It is gorgeous, pain-staking, deliberate

:48:35.:48:41.

work. Last on the list is a painting by Italian artist and

:48:41.:48:51.
:48:51.:48:53.

honourary Royal Academician, mim ow -- MimmoPaladino.

:48:53.:48:57.

What a gorgeous painting. It is remarkable of a place that this

:48:57.:49:04.

chap can evoke with a few strokes of white paint on a fantastically

:49:04.:49:08.

bright, lucious, marine background. A good picture, a bit of a tour de

:49:08.:49:13.

force. So those are my thoughts on the seven artworks shortlisted for

:49:13.:49:18.

the Wollaston Award, but which will the judge's decide is the most

:49:18.:49:23.

distinguished? Is they going to go for sploshes, dribbles or the stuff

:49:23.:49:27.

that is done with masking tape? love the Onya McAusland for the way

:49:27.:49:34.

that it changes everything so subtley. Yet I think that I would

:49:34.:49:42.

elevate the Gary Hume or the Alison Wilding above that, each of them I

:49:42.:49:47.

find powerful and compelling and so of the moment, somehow. 7 Coming

:49:47.:49:53.

down to two, I think that I would pick Frank Bowling and Alison

:49:53.:49:58.

Wilding. For me, the Wildfire, this material of foam, gently sagging

:49:58.:50:03.

against the wall and then caught with this wonderful intervention of

:50:03.:50:10.

the copper and the globe-like object inserted into it, it does it

:50:10.:50:16.

for me. It is both discreet, awkward and in a way almost a

:50:16.:50:22.

little bit annoying in the space and so that one really does stand

:50:22.:50:26.

out for me and does have that quality of distinction and

:50:27.:50:33.

distinguishedness about it. Yes. Are we edging towards the

:50:33.:50:37.

Wilding? To be surprising at a time when art can be anything it is

:50:37.:50:45.

amazing. If it is surprising, which I thing -- think it is, I would

:50:45.:50:48.

support that. So, everybody is happy. We have a

:50:48.:50:58.
:50:58.:50:58.

final decision and the winner is Alison Wilding's "Take A Deep

:50:58.:51:02.

Breath." So, this is the winner. I am really

:51:02.:51:08.

happy about that. This is beautiful. There is a simplicity. It has the

:51:08.:51:11.

beauty of transparency. You can see all of the decisions that the

:51:11.:51:16.

artist has made. Lastly, it has the beauty of modesty. It is just

:51:16.:51:21.

leaning against the wall, saying look at me if you want to, but I'm

:51:21.:51:24.

not going to dominate the space. Those are all very important things

:51:24.:51:28.

in art today. That's why I think this is a wonderful piece of

:51:28.:51:33.

artwork to win the prize. A few days later, I'm off to meet Alison

:51:33.:51:43.
:51:43.:51:44.

Wilding in her studio. She thinks that we are here to give an

:51:44.:51:51.

interview, but I have been allowed to tell her about the competition.

:51:51.:51:59.

I have some wonderful news for you. Have you? You have won the

:51:59.:52:06.

Wollaston Award? Really? Are you joking? No! I think this that is

:52:06.:52:11.

amazing. Congratulations! So, very good news

:52:11.:52:15.

for Alison Wilding, congratulations to her, but what about my specially

:52:15.:52:19.

selected art works and my mum who entered the public process. Was it

:52:19.:52:25.

good news for them? Well, here they all are on the day that they got

:52:25.:52:35.
:52:35.:52:46.

PJ Crook and David Newens had both shown oft no-one the past, but will

:52:46.:52:51.

their paintings be selected this time? Thank you for entering this

:52:51.:52:55.

year's Summer Exihibition, with over 11,000 entries, the

:52:55.:53:02.

competition was extremely strong, however I'm delighted to inform you,

:53:02.:53:04.

that your work, "Greenhouse Interior" has been selected and

:53:04.:53:10.

hung in the exhibition. "The Infant" and "Revolution" have

:53:10.:53:12.

been selected and hung in the exhibition.

:53:13.:53:20.

Great news. Really it is extremely pleasing. I

:53:20.:53:25.

was already delighted to be chosen by the art critic, Alastair Sooke,

:53:25.:53:33.

for the Culture Show programme. So this is really an added extra,

:53:33.:53:38.

brilliant news. I'm really delighted. Especially as they have

:53:38.:53:43.

exhibited both. Will things go so well for first-

:53:43.:53:48.

time applicants, Isidro Ramirez and Alexander Korzer-Robinson? Are you

:53:48.:53:56.

excited? Yes! I'm sorry to inform you that the work was not hung in

:53:56.:53:59.

the exhibition. However it was short-listed which is a fine

:53:59.:54:04.

achievement. So, it is not in the exhibition, it's not been selected.

:54:04.:54:09.

It is natural to be a little bit disappointed, but to be short-

:54:09.:54:15.

listed is an achievement so I will take the positive and be happy with

:54:15.:54:25.
:54:25.:54:26.

it. I'm delighted to inform you that your work, Strictly Come

:54:26.:54:32.

Dancing It Takes Two has been accepted to the -- that your work

:54:32.:54:38.

has been accepted into the competition.

:54:38.:54:42.

Fantastic! There is one artist left to open her letter.

:54:42.:54:49.

Hello, how are you? Good. Have you been think being this?

:54:49.:54:57.

Only a little bit. Fleetingly. You do seem nervous? I am a little.

:54:57.:55:01.

Ready? Thank you for entering this year's Summer Exihibition, with

:55:01.:55:06.

over 11,000 entries, the competition was very strong. On

:55:06.:55:10.

this occasion, I'm sorry to inform you that your two works were not

:55:10.:55:15.

selected for this exhibition. Oh! Oh, well. That's a shame.

:55:15.:55:21.

That is a shame. I think that they made a mistake. My poor mum! I'm

:55:21.:55:26.

still feeling so gutted for her. I may be slightly biased, but I

:55:26.:55:30.

really thing that she deserved to make it through. The reality is

:55:30.:55:34.

that getting work past the hanging Committee, it can be tough. That

:55:34.:55:41.

said, I'm chuffed about the artists that I chose, three out of the four

:55:41.:55:45.

that I chose have made it through and their work is on display.

:55:45.:55:49.

Over there is the book structure, there is the greenhouse painting

:55:49.:55:54.

and up there, the two paintings by PJ Crook. If you would like to see

:55:54.:55:58.

them for yourself, and indeed the rest of the Summer Exihibition it

:55:58.:56:04.

is open until Monday the 15th of August. The Culture Show is back on

:56:04.:56:09.

mund with a show all about the Kennedys. Thank you for watching.

:56:09.:56:13.

Good night. I tend to like the things, I must

:56:13.:56:18.

admit, that I can recognise what they are. I come about eight times.

:56:18.:56:24.

You are kidding? I think it is nice that people can come to the Royal

:56:24.:56:30.

Academy and have works of arts, access to them for a few hundred

:56:30.:56:36.

dead pounds. It was an impulse buy. There is the dog in the trash can,

:56:36.:56:39.

it is moving around and all kinds of surprising.

:56:39.:56:43.

I think it is brilliant. There is something for everybody and

:56:43.:56:48.

everybody can enter. I am really impressed. I did not expect that.

:56:48.:56:54.

It is great, everything is so different. An excellent variety of

:56:54.:57:00.

artwork, some of it expensive, some of it is very cheap.

:57:00.:57:06.

We bought this, a little owl by Tracey Emin. I tried to buy a piece

:57:06.:57:10.

Alastair Sooke presents this Culture Show special from the 243rd Summer Exhibition at the Royal Academy of Arts. The Summer Exhibition is the visual arts world's largest and longest running open-submission show.


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