I walk in and the first thing I think is “I’m going to need those chairs”. The middle of the Central Hall is ironically ornamented with four steel-legged chairs, stacked by size – one on top of another. (It almost reminded me of the three little bears, as the big to small objects represent the absence of its owner or occupier.) Anyway the reason for this is because everyone knows this annual Royal Academy exhibition is one copious mess of churned out art. It is the world’s largest open-submission contemporary art exhibition – this year with 1117 works on show – displaying pieces in all styles and media, such as painting, printmaking, photography, sculpture, architectural models and film. (It sometimes feels like the end of year A-level student art exhibition.)
The affair has been going since the Royal Academy opened in 1768, and the lure of seeing a range of famous works and up-and-coming artists under one grand roof is what I believe keeps it going. It’s prime purpose however is to draw revenue for the organisation and the art world, which is what the other half – or maybe a third – of visitors come for. For them it is a prestigious art market where you can make purchases ranging from anything between £25 to £108,000.
So how do you approach this colossal exhibition (for those of us who aren’t buying)? What do you look at and how long are you meant to dwell on each piece?
Each room is divided by a theme so you could head for the one that interests you the most though you could easily slip past something worth looking at, which does make you think there’s no easy way through this exhibition than skimming through it all. For example, in gallery III, it is pretty much filled with abstract art (which isn’t often my favourite) but then you have five Ken Howard oil’s hung together of both interiors and exteriors. Note this is handily where the sofa bench is.
Each room is divided by a theme so you could head for the one that interests you the most though you could easily slip past something worth looking at, which does make you think there’s no easy way through this exhibition than skimming through it all. For example, in gallery III, it is pretty much filled with abstract art (which isn’t often my favourite) but then you have five Ken Howard oil’s hung together of both interiors and exteriors. Note this is handily where the sofa bench is.
The key is to look for the infamous gems and then the funny and queer entrees which will be the talk of the show:
*THE GOOD*
Ken Howard, No. 48-52 in Gallery III.
Venice, London and the studio are his favourite places to paint, and this is a wonderful insight into the brush strokes and great sense of light he captures time after time.
Bill Jacklin, ‘Calle V’ No.154 and ‘Crossing the Square in the snow VI’ No.155 in Gallery II.
One of my favourite artists, he is the master of silhouettes and people in cityscapes and this is work looking out for.
Rob Ryan, ‘Look closer and closer’ No.193 in Gallery II.
The contemporary papercutting and print artist who shot to fame for his sentimental pieces (you can buy them on mugs, plates and cards). This showcased print shows his trademark silhouettes with the words reading: “Look closer and closer and look further and further and listen harder and harder to the noise of the Earth and the silence of the stars and what you will hear is a small voice that whispers – don’t try to get, try to give”.
Tom Phillips’s A Humument pieces No. 230 and No.231 in gallery II.
I am a big fan of his portrait drawings but these small works are from one of the most important parts of his large body of work. ‘A Humument: A treated Victorian Novel’ is a forgotten 1892 book titled ‘A Human Document’ that Phillips cut, pasted and altered and then republished first in 1970, to tell new visual and verbal tales. Here is an insight into that little creative story and what he did to those pages.
Gavin Turk’s ‘Turk Love’ screenprint no. 212 in gallery II
In the internationally known style of Robert Indiana’s Love
Frederick Cuming, ‘Etna’ No. 254 and ‘Thaw’ No. 260 in Gallery I
Cuming is an exceptional landscape artist.
Gillian Wearing, ‘Self portrait as my mother Jean Gregory’ No. 1041 in the Lecture Room. Winner of the Rose Award for Photography.
*THE GOOD*
Ken Howard, No. 48-52 in Gallery III.
Venice, London and the studio are his favourite places to paint, and this is a wonderful insight into the brush strokes and great sense of light he captures time after time.
Bill Jacklin, ‘Calle V’ No.154 and ‘Crossing the Square in the snow VI’ No.155 in Gallery II.
One of my favourite artists, he is the master of silhouettes and people in cityscapes and this is work looking out for.
Rob Ryan, ‘Look closer and closer’ No.193 in Gallery II.
The contemporary papercutting and print artist who shot to fame for his sentimental pieces (you can buy them on mugs, plates and cards). This showcased print shows his trademark silhouettes with the words reading: “Look closer and closer and look further and further and listen harder and harder to the noise of the Earth and the silence of the stars and what you will hear is a small voice that whispers – don’t try to get, try to give”.
Tom Phillips’s A Humument pieces No. 230 and No.231 in gallery II.
I am a big fan of his portrait drawings but these small works are from one of the most important parts of his large body of work. ‘A Humument: A treated Victorian Novel’ is a forgotten 1892 book titled ‘A Human Document’ that Phillips cut, pasted and altered and then republished first in 1970, to tell new visual and verbal tales. Here is an insight into that little creative story and what he did to those pages.
Gavin Turk’s ‘Turk Love’ screenprint no. 212 in gallery II
In the internationally known style of Robert Indiana’s Love
Frederick Cuming, ‘Etna’ No. 254 and ‘Thaw’ No. 260 in Gallery I
Cuming is an exceptional landscape artist.
Gillian Wearing, ‘Self portrait as my mother Jean Gregory’ No. 1041 in the Lecture Room. Winner of the Rose Award for Photography.
*THE QUEER*‘Credit Crunch’ by Eddie Farrell
This is a cereal box with cut out type reading “credit crunch”.
‘Untitled’ by Anish Kapoor, No. 1046 in the Lecture Room. An odd bell shaped large vase made from fiberglass and paint.
*(and) THE UGLY*‘Coffin “To Die For” by Olu Shobowale, No. 723 in Gallery V
In my opinion there were many pieces that fit this but this one topped them all. It is a coffin made of animal bones.
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