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Hello and welcome to this special edition of The Culture Show, coming | :00:18. | :00:22. | |
to you from the Royal Academy of Arts in London to mark the 243rd | :00:22. | :00:32. | |
:00:32. | :00:35. | ||
On the show tonight, we are behind the scenes as the latest exhibition | :00:35. | :00:43. | |
comes together. I go to New York to meet Jeff Koons. This is rubber. | :00:43. | :00:48. | |
it is aluminium. He is sculpture now dominate the Royal Academy's | :00:48. | :00:53. | |
courtyard. Nancy Durrant explores a room based on the old idea of the | :00:53. | :00:59. | |
frame to frame salon hang. I cast a critical eye over gallery made up | :00:59. | :01:04. | |
of work only by Royal academics, among them some of the most famous | :01:05. | :01:11. | |
names in British art today. And Tom Dyckhoff chats to Piers Gough about | :01:11. | :01:15. | |
the star exhibits in the architecture room. Look what | :01:15. | :01:21. | |
happens behind your house, things go bananas. Also, I will be | :01:21. | :01:27. | |
following the fortunes of five artists, including my mum. She | :01:27. | :01:31. | |
submitted work to this exhibition, the largest and longest running | :01:31. | :01:36. | |
submission art show in the world. Jana Street-Porter and philip will | :01:36. | :01:40. | |
be revealing what they think of the exhibition this year. And we will | :01:40. | :01:46. | |
be announcing the winner of the 25,000 pound Wollaston Award for | :01:46. | :01:49. | |
the most distinguished work on display. | :01:49. | :01:52. | |
Every year, more than 150,000 people come to the Royal Academy to | :01:52. | :01:55. | |
visit the Summer Exhibition. And that is an enormous number, and | :01:55. | :01:57. | |
proves quite how popular this extraordinary show is, where work | :01:57. | :02:01. | |
by amateurs can hang side by side with pieces by some of the world's | :02:01. | :02:04. | |
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 | :02:18. | :02:21. | |
key role in the British social calendar ever since the Royal | :02:21. | :02:27. | |
Academy of Arts was established in 1768. Every year its opening party | :02:27. | :02:33. | |
attracts the great, the good and the glitterati. But behind the | :02:33. | :02:37. | |
glamour the event is steeped in ritual and tradition. I've put | :02:37. | :02:40. | |
together a few facts and figures to show how this famous exhibition | :02:40. | :02:50. | |
comes together year after year after year. The main reason why the | :02:50. | :02:52. | |
Summer Exhibition causes so much excitement is because it's the | :02:52. | :02:57. | |
biggest open art exhibition in the world. And the idea is that anyone | :02:57. | :03:00. | |
can submit up to two works of art and, if they're accepted, they'll | :03:00. | :03:04. | |
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 | :03:19. | :03:28. | |
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 | :03:35. | :03:41. | |
year's artistic hopefuls is someone very close to my heart. This is a | :03:41. | :03:45. | |
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 | :03:50. | :03:53. | |
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 | :04:07. | :04:11. | |
somebody says "yes, you can be hanging on the wall in the Royal | :04:11. | :04:14. | |
Academy" it will be fantastic. have been doing some research into | :04:15. | :04:20. | |
my mother's chances of getting in, and the news is not great. Over | :04:20. | :04:25. | |
11,000 people have submitted work for this year's exhibition. That is | :04:25. | :04:31. | |
what that represents. 1200 works by 650 artists end up on display, but | :04:31. | :04:36. | |
of these some are by famous artists invited to take part, and over a | :04:36. | :04:41. | |
third are by Academy members. The rest come from public submissions, | :04:41. | :04:46. | |
but less than 200 of these artists will be showing for the first time. | :04:46. | :04:53. | |
Frankly, the figures don't really work in my mother's favour. The | :04:53. | :04:57. | |
judging of the public's work is carried out by a group of eminent | :04:57. | :05:02. | |
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. | :05:17. | :05:22. | |
think it is basically Bovril with some sherry in it. It sounds | :05:22. | :05:28. | |
disgusting, but in cold conditions it warms you up a bit. The rituals | :05:28. | :05:32. | |
of the selection process are the same every year. Works are rested | :05:32. | :05:35. | |
on this ancient stool and pictures are marked with an X, meaning | :05:35. | :05:38. | |
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, | :05:52. | :05:56. | |
a painter called David Winter had two pictures accepted. Winter | :05:56. | :06:01. | |
turned out to be Winston Churchill. Like many good old-fashioned | :06:01. | :06:03. | |
British establishments, you get voted into the club by other | :06:03. | :06:08. | |
members. And at any one time there are meant to be 80 academicians and | :06:08. | :06:13. | |
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 | :06:24. | :06:30. | |
space for me. I suspect he moved on and got older. I say he because | :06:31. | :06:36. | |
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 | :06:41. | :06:46. | |
the honour of artists, but I don't think artists necessarily have much | :06:46. | :06:56. | |
:06:56. | :06:57. | ||
honour to uphold. I look far -- for what to joining in the running of | :06:57. | :07:03. | |
the Royal Academy. Many visitors to the Royal Academy may not realise | :07:04. | :07:08. | |
their entrance fee support not just an art gallery but an art school as | :07:08. | :07:13. | |
well. Students at the Royal Academy Schools can do a three-year | :07:14. | :07:18. | |
postgraduate fine art course without paying any tuition fees. | :07:18. | :07:21. | |
But how is such generosity possible? Partly because of the | :07:21. | :07:25. | |
Summer Exhibition, one of the ways the Royal Academy makes its money. | :07:25. | :07:30. | |
It cost �25 to enter work and there are usually around 11,000 | :07:30. | :07:35. | |
submissions, that is already around a quarter of a million pounds in | :07:35. | :07:40. | |
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 | :07:45. | :07:50. | |
Royal Academy receives no public funding whatsoever, but there is a | :07:50. | :07:54. | |
secret to its financial survival, which is the rent on Burlington | :07:54. | :08:01. | |
House only cost them �1 a year, thanks to a lease agreement that | :08:01. | :08:10. | |
was sagely negotiated in 1868 to last for 999 years. The arrangement | :08:10. | :08:14. | |
has given the Royal Academy the freedom to stick to its own | :08:14. | :08:18. | |
traditions and rituals, particularly around the Summer | :08:18. | :08:22. | |
Exhibition. It's not every gallery that invites its artists to parade | :08:22. | :08:27. | |
down the street before the show, but its love of the old fashioned | :08:27. | :08:31. | |
has sometimes felt out of step with the times. Most famously just after | :08:31. | :08:36. | |
the war, when the President of the Royal Academy used the after dinner | :08:36. | :08:44. | |
speech to attack Modern Art. I find myself a president of the body of | :08:44. | :08:49. | |
men who feel that there is something in this so-called modern | :08:49. | :08:59. | |
:08:59. | :09:05. | ||
art. If you paint a tree, for Lord's sake, try and paint it! | :09:05. | :09:09. | |
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 | :09:13. | :09:18. | |
made a strong effort to shed that image. People love the summer show. | :09:18. | :09:23. | |
It is still going every year for almost two-and-a-half centuries, | :09:23. | :09:27. | |
despite everything. One of the reasons it has surprised his | :09:27. | :09:32. | |
because it keeps a dream alive for hopeful young artist and a few | :09:32. | :09:38. | |
years ago one of those hopefuls was me. I submitted this piece. It is a | :09:38. | :09:47. | |
conceptual sculpture consisting of a jar of red Mantel's. It is a | :09:47. | :09:53. | |
portrait of my mother about maternity, memory and a tribute to | :09:53. | :09:57. | |
the ready-mades of Marcel Duchamp. I don't think those complexities | :09:57. | :10:02. | |
were understood, and even if they did it got rejected. This year it | :10:02. | :10:06. | |
is my mother chasing the dream of getting into the exhibition. Let's | :10:06. | :10:11. | |
hope she did better than I did. We will find out later if my mother | :10:11. | :10:15. | |
has managed to get her paintings into the show, but I have been | :10:15. | :10:19. | |
joined by two people who have been to lots of exhibitions over the | :10:19. | :10:25. | |
years - Janet Street-Porter and philip. What do you normally make | :10:25. | :10:30. | |
for the exhibition? It is normally a bit of a mess, normally quite | :10:30. | :10:35. | |
chaotic. In the middle of it there are some gems. Over the last few | :10:35. | :10:40. | |
years they have been trying to make it more serious and engaged. | :10:40. | :10:48. | |
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 | :11:05. | :11:09. | |
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 | :11:14. | :11:18. | |
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 | :11:22. | :11:26. | |
put you through this again, but he both kindly agreed to have a look | :11:26. | :11:31. | |
and we will catch up with the later. Before we go inside, I want to show | :11:31. | :11:37. | |
you this enormous and very playful joyful stainless steel sculpture | :11:37. | :11:41. | |
called Coloring Book. It is by the American artist Jeff Koons, and | :11:41. | :11:49. | |
recently I went to New York to meet him. In the world of contemporary | :11:49. | :11:55. | |
art, Jeff Koons is a global superstar. His work delights in the | :11:55. | :12:00. | |
aesthetics of trash culture and it sells for millions. I have always | :12:01. | :12:04. | |
found Jeff Koons a fascinating artist, partly because it is so | :12:04. | :12:09. | |
tricky to get a handle on what he does. He is the king of kitsch and | :12:09. | :12:13. | |
his work makes people feel uneasy because it seems like the epitome | :12:13. | :12:19. | |
of bad-taste, and yet it sells for so much money. I can never work out | :12:19. | :12:23. | |
whether it is purely superficial or perhaps offers a searing commentary | :12:23. | :12:27. | |
on the banality of our world. Nobody ever really knows for sure | :12:27. | :12:37. | |
:12:37. | :12:39. | ||
and that is what makes his work so interesting. Can I do what you did? | :12:39. | :12:47. | |
This looks like rubber, is it metal? It is aluminium. There is | :12:47. | :12:52. | |
something I have always wanted to ask you, because you really use | :12:52. | :12:56. | |
popular culture so much in your work and I can never work out if | :12:56. | :13:04. | |
you are celebrating it, or may be satirising it. Which is it? It I am | :13:04. | :13:11. | |
celebrating it. I enjoy the life, I enjoy the world, and I don't | :13:11. | :13:18. | |
believe in judgment so it is about acceptance. I work with inflatables | :13:18. | :13:22. | |
because they are life-saving devices. It is like being in the | :13:22. | :13:26. | |
water and you have something to hold onto. In the water with this, | :13:26. | :13:31. | |
you would sink. It is a symbol. are producing objects which most | :13:31. | :13:36. | |
people would overlook, replacing them in the gallery, but you try to | :13:36. | :13:41. | |
make banal things. What is the thinking behind it? I am not | :13:41. | :13:46. | |
trying! I follow my interests, and I think honesty is something people | :13:46. | :13:54. | |
find shocking. Am always very honest about my interest. One of | :13:54. | :13:59. | |
his particular interests is the imagery of childhood. His stainless | :13:59. | :14:03. | |
steel sculpture for the summer exhibition is based on a picture | :14:03. | :14:13. | |
:14:13. | :14:14. | ||
from a child's colouring book. comes from an image from Winnie the | :14:14. | :14:18. | |
Pooh so I made my own watercolour drawing on top of it. Is that what | :14:18. | :14:25. | |
this is? Yes, this is taking the watercolour and the market during, | :14:26. | :14:29. | |
and then breaking it down into those colours so I can create a | :14:29. | :14:34. | |
sculpture from it. Childhood dreams are so strong in your work, is that | :14:34. | :14:39. | |
an important way of looking at the world? Children do not participate | :14:39. | :14:46. | |
in judgment. They are open to everything. They love colours and | :14:46. | :14:50. | |
to smell the grass. There is no judgment. There is a sadder side to | :14:50. | :14:54. | |
his fascination with childhood. Coloring Book is part of a series | :14:54. | :14:59. | |
of work called Celebration, which he used to reach out to his son | :14:59. | :15:03. | |
after being taken to Italy following a custody battle with his | :15:03. | :15:12. | |
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 | :15:17. | :15:26. | |
much I loved him. Can I ask why you are drawn to working in stainless | :15:26. | :15:30. | |
steel? It is something that has happened again and again through | :15:30. | :15:34. | |
your career? It reflects you and it needs you. Without you it does not | :15:34. | :15:39. | |
exist. If you state something that is polished and put it in a dark | :15:39. | :15:43. | |
room, it disappears. It only reflects its environment. Art is | :15:43. | :15:48. | |
never in the object, art is inside the viewer. A reflective surface | :15:48. | :15:54. | |
continues to communicate that. Imagine it will be a very different | :15:54. | :16:00. | |
experience seeing an 18ft high stainless steel coloured sculpture, | :16:00. | :16:05. | |
to seeing the drawing, so I'm looking forward to it a lot. Thank | :16:05. | :16:11. | |
you. Thank you, I enjoyed today. Jeff Koons is one of the biggest | :16:11. | :16:16. | |
names in contemporary art, yet here he is in a show with a load of | :16:16. | :16:20. | |
unknowns. That is the charm for me of the Summer Exihibition. I was | :16:20. | :16:23. | |
allowed into the vaults of the Royal Academy to rifle through the | :16:23. | :16:27. | |
works sent in by the members of the public, to see if I could spot | :16:27. | :16:32. | |
anything that may make it on to the walls of the final exhibition. | :16:32. | :16:36. | |
These are all works of art that have made it through the first | :16:37. | :16:41. | |
stage of the selection process, but there is no guarantee that they | :16:41. | :16:45. | |
will be chosen by the curators. I want to have a quick rummage around | :16:45. | :16:50. | |
and see if I can pull out a few artworks that catch my eye and I | :16:50. | :17:00. | |
:17:00. | :17:02. | ||
think are good enough to be So let's have a little leaf through. | :17:02. | :17:07. | |
I think that the judges have 11,000 submissions, they have to look at | :17:07. | :17:12. | |
them so quickly, to make a snap judgment, in a sense I'm doing it | :17:12. | :17:16. | |
too slowly. I should be whipping through it. Oh, look at this box. | :17:16. | :17:23. | |
Now, this I really like. It seems to be a book and the pages are | :17:23. | :17:30. | |
hollowed out. Inside is a mad, what looks like a 19th century prints of | :17:30. | :17:36. | |
dogs and people from the tropics, soldiers and old maps. Let's have a | :17:36. | :17:41. | |
look at the label. The book sculpture is made by Alexander | :17:41. | :17:45. | |
Korzer-Robinson, an artist from Berlin, based in Bristol. He has | :17:45. | :17:48. | |
never submitted anything to the Summer Exihibition before. The way | :17:48. | :17:54. | |
that I work, I cut out images in the books where they are in the | :17:54. | :17:59. | |
books. I build a composition from the front to the back. I like to | :17:59. | :18:04. | |
work with Encyclopaedias a lot. You get a variety of different themes | :18:04. | :18:09. | |
and images that are really un- related other than by their place | :18:09. | :18:14. | |
in the alphabet, really. So there is a lot of potential to develop a | :18:14. | :18:18. | |
narrative. I think that this has got a great deal of imagination. It | :18:18. | :18:23. | |
is different. So, for that reason, I'm going to go with it. I think | :18:23. | :18:33. | |
:18:33. | :18:33. | ||
that this will make it into the final show. This piece is very | :18:33. | :18:43. | |
:18:43. | :18:44. | ||
different to what has come before, but when you say Royal Academy | :18:44. | :18:48. | |
royal -- Royal Academy Summer Exihibition, it conjures up, in | :18:48. | :18:51. | |
many people's minds, I suspect, something painted like this. It is | :18:51. | :18:57. | |
very well painted. It is possibly a little bit old-fashioned, but I | :18:57. | :19:04. | |
think there is a deaf place for it, so I will hedge my bets and say | :19:04. | :19:12. | |
this is a contender. The painter of The Greenhouse is by David Newens. | :19:12. | :19:19. | |
He has submitted every year since the mid-1980s and so far has been | :19:19. | :19:25. | |
selected six times. I have painted greenhouse interiors several times | :19:25. | :19:34. | |
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 | :19:38. | :19:43. | |
paint a bunch of flowers, but the colour harm onis that you get of | :19:43. | :19:48. | |
the various plants in a greenhouse, off-set against a strong structure, | :19:48. | :19:58. | |
:19:58. | :20:01. | ||
provides to me a very nice subject. Now this... This piece is so weird! | :20:01. | :20:06. | |
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 | :20:20. | :20:25. | |
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. | :20:42. | :20:49. | |
It is odd, I quite like the oddness. So I think I'll pick this one. | :20:49. | :20:55. | |
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 | :21:10. | :21:16. | |
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. |