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The Royal Academy Summer Exhibition 2011: A Culture Show Special

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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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:00:32.:00:35.

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

:02:04.:02:14.
:02:14.:02:18.

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

:03:04.:03:14.
: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

:03:28.:03:35.

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,

:03:59.:04:07.

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.
:05:12.:05:17.

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.
:06:23.:06:24.

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

:06:36.:06:41.

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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:06:56.:06:57.

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

:07:40.:07:45.

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

:08:14.:08:18.

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

:09:09.:09:13.

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,

:10:48.:10:54.

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

:11:00.:11:04.

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,

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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

:19:34.:19:38.

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.

:20:06.:20:14.

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

:20:14.:20:20.

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

:20:37.:20:42.

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.

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