What's different about the 250th Summer Exhibition curated by Grayson Perry?

What makes the 250th Summer Exhibition different?

I try every year to find a way of bringing some coherence to the sprawling mammoth which is the Summer Exhibition at the Royal Academy of Arts.  This year I've split my comments between

• those relating to the exhibition and 
• those relating to the redevelopment of the building.

The exhibition opens tomorrow (12th June) and then runs until 19th August.  
I'll be going back for another visit and will probably do a "10 favourite artworks" blog post after I do. I've got a shortlist - but could do with a few more!

RA 250th Summer Exhibition - the front of Burlington House

Let's start with what's the same

• it's a huge exhibition - the biggest in the world - and is expected to get more than 200,000 visitors
• it's always going to be crowded - unless you visit at the very start or end of the day.
• it's advisable to allow enough time if you want to see it properly and to pace yourself with (I had lunch in the restaurant in the middle) in order to cope with both the visual overload and virtually total absence of seats in the main galleries!
• you may be well advised to book if you want to go on a particular day as only Friends of the RA enjoy all day access irrespective of the crowds. You'll find ticket details on the website.

The way in to the Summer Exhibition

About the Exhibition

#1 - The Biggest Ever - 1,351 artworks, 24% more than 2017 

The exhibition contains 24% more artwork than 2017 - in what I think is only slightly more space (this is a mental calculation on my part re the loss of Galleries I and II and the Large and Small Weston Room vs. the new and additional locations for the Summer Exhibition.)

I gather they committed to looking at 15,000 artworks but that Grayson Perry has indicated he probably looked at c.20,000 artworks in total.

Bottom line - the hang is crowded - but there are many more smaller works and many fewer enormous works.  Those given to HUGE works have typically toned down or not submitted work.

Only one really big artwork by David Hockney

#2 - All the Summer Exhibition posters say "curated by Grayson Perry" 

This seems very odd as I've never seen one Summer Exhibition poster ever mention who curated it before. That's because although every Summer Exhibition has its appointed Co-ordinator (i.e. this is not an exhibition literally by Committee), most of them have names which are not well known to the British public - even if they're Friends of the RA!

Interestingly, with a nod in the direction of history given the 250th anniversary, there is a display of past Summer Exhibition posters just outside the shop!

Old Summer Exhibition posters outside the shop

I'm assuming therefore that this is a marketing ploy on the part of RA because other than that massive crowd-puller a.k.a David Hockney, there is no bigger "name" in the RA with country-wide recognition. That's because both of them have been on the television at regular intervals.

Speaking of which.....

#3 - I got to see the Summer Exhibition before it's shown by the BBC!

I get slightly narked each year that despite paying to be a Friend, the BBC seem get to go round and deliver a programme about the Summer Exhibition before I get inside the door. This year, Kirsty Wark does her bit on BBC2 on Saturday 16 June (9.00pm-10.00pm) - which is AFTER the exhibition opens to the public.

#4 - It's in 3 different places - and all over the walls

For those of us used to starting at one end and wending our way through the different galleries to the end, we now have to take a different approach.  That's because:

• the Main Galleries have been "cropped". 
• You can't turn left out of the end of Gallery III (the huge gallery this year hung by Grayson Perry)
• you can only turn right - into the Humprey Ocean room....
• that's because there's ANOTHER major exhibition about the The Great Spectacle - tracing 250 years of the RA's Summer Exhibition (which I've not yet seen so a review in future)  This occupies the Weston Rooms - meaning these are not available for Summer Exhibition displays. (Here's a preview of some of the works from past exhibitions on display in the exhibition plus my blog post about MUST VIEW online: 250 years of the Summer Exhibition Chronicle)
• The Print Room and photographic art have also moved to the Sackler Galleries at the top of the building. This is a HUGE IMPROVEMENT. Both the overhead light and the flow make for a much better exhibition.

Panoramic view of the Sackler Galleries - the Print Rooms
click the pic to see a much larger version

• The third part is in The McAulay Gallery (not to be confused with The McAulay Gallery at Tate Modern) - a very odd inconsequential gallery as you enter the building beyond the bridge. It stars David Shrigley - see below.

#5 - "Art Made Now" is NOT "more of the same"

Perry made a major change by announcing the theme "Art Made Now" in advance

Grayson Perry wants to ‘show the diversity of work being made in this moment’ - and is encouraging artists to submit only work made in 2017/18.

I'm guessing that his agenda was about NOT showing "more of the same" - and it's interesting to see how Royal Academicians have responded to the challenge.

It certainly looks different!

Call for Entries for Society of Women Artists Annual Exhibition 2018

The Deadline for the Call for Entries for the 2018 Annual Open Exhibition of the Society of Women Artists is 22nd June 2018. So just under two weeks left to get an entry ready.

Below you can find:

• who is eligible to enter
• what types of artwork are eligible
• how to enter - with key dates
• details of the exhibition

Last year I commented that the SWA has made huge progress with its exhibition in recent years. Do read my review of last year's exhibition for a summary of the ways in which it has changed.

I remarked yesterday evening that they've moved further faster than any other national art society I know.

This year, to date, apart from a change in President, there's just one difference so far - I've been invited to judge one of the prizes!

If you're wondering what the exhibition is like below you can see the video I made of last year's exhibition

Who can enter

• There is no stated restriction on who can enter. However this is an exhibition of work by women artists!
• Women artists under the age of 35 are judged to be young artists and can submit work at a reduced fee of  £8 per work.

A corner of last year's exhibition

What you can enter

Categories of work which are acceptable:

• paintings, pastels, drawings;
• mixed media
• sculpture, in all media; 
• Original unique printing is acceptable e.g. engraving, lithography. Etchings must show their plate indentations. Commercially printed line work or photographically/digitally reproduced work printed with commercial machines (such as giclée work) is NOT admissible. 
• ceramics, glass and metal not of a utilitarian nature. 

Prints Wall at last year's exhibition

How to enter

Closing date: 12 noon on 22nd June 2018 (the Call for Entries has been open since 16 February 2018)

This is the General Terms and Condition Sheet for Non-Members (PDF)

• ENTRY: Entry is digital and online by the deadline for entry.  Artists may upload images of their work online at http://mallgalleries.oess.uk/. 
• SELECTION: Pre-selection is online. 
• Online pre-selection enables artists to submit works for initial consideration without transport and framing costs.
• Works that are pre-selected are not automatically accepted for the exhibition.
• The selectors will choose works to be delivered on Receiving Day, to be judged at final selection. 
• HANDING IN: Saturday 28 July, 10am - 5pm at the FBA Offices 17 Carlton House Terrace.
• The Society of Women Artists entry schedule (pdf) must accompany all works on receiving day. 
• all work must be labelled at the back using the approved labels for the exhibition 
• You need to print the pdf form and labels and complete by hand. You can actually type straight in to the form and the labels by inserting the cursor - but it's not obvious. Just keep clicking until a box comes up with two blue dots either side

Mall Galleries Receiving Day at 17 Carlton House Terrace - down the stairs

• SELECTION: The works selected for exhibition will be published on 1 August
• PRICES: All work must be for sale (unless commissioned). 
• Prices should allow for commission charged at 40% for members and 45% for non-members. 
• There are specific minimum prices for different types of work
• £350 for all hanging works
• £350 for 3D works.  
• £150 for framed etchings or lithography or drawings.
• PRESENTATION:  All pictures must be securely framed, although well presented box canvases are acceptable.  All frames must be wide enough and stout enough to accept the mirror plates (which are supplied and attached by the Mall Galleries) which are screwed in at the back of the frame for hanging purposes. Terms and conditions prohibit specific types of frames.
• STORAGE: Note in particular arrangements re. storage and storage charges for entries and exhibits not collected at the correct time.

157th Exhibition of the SWA

Private View - SWA Exhibition 2017

The 157th Exhibition opens to the public at 4pm on 25th September.

It will be officially opened by Her Royal Highness Princess Michael of Kent at the Private View on Wednesday, 26th September at 11am.

• Venue: the Main and North Galleries of the Mall Galleries in the Mall, London
• Dates: Tuesday 25 September to Sunday 30 September 10am to 5pm daily - EXCEPT it opens at 4pm on the 25th and closes at 3pm on the 30th September
• Admission: 
• £4 or £6 with an exhibition catalogue, 
• 50% off for National Art Pass holder, 
• Free for Friends of Mall Galleries and under 18s

See the blog posts below for more about past exhibitions

• VIDEO Society of Women Artists Annual Exhibition 2017 - which highlights pieces which caught my attention
• Review: Society of Women Artists Annual Exhibition 2017 - which highlights changes made to the exhibition
• Review: Society of Women Artists Annual Exhibition 2016
• Review - Society of Women Artists Annual Exhibition 2015

More about Women and Art

The Singh Twins at The Queen's Gallery

This week I saw an art work by The Singh Twins. I'm not entirely why they hadn't registered on my art radar before now - but I'm now very interested to find out more.

Part of the triptych with The Singh Twins bottom right in the boat

Below is the artwork I saw - which was specially commissioned to accompany - Splendours of the Sub-Continent which opened this week at the Queen's Gallery (Buckingam Palace)  -  and which has also been touring the UK prior to coming to London.

This comprises three exhibitions in one:

• Four Centuries of South Asian Painting and Manuscripts
• A Prince's Tour of India 1875-6
• The Singh Twins commissioned artwork - not mentioned on the Queen's Gallery website, which is odd since it was specifically commissioned for this exhibition.

Their artwork

"explores the interconnected themes of maritime trade and exploration, cultural exchange, British Empire, colonialism, as well as its legacies."

The Singh Twins Triptych

The image really doesn't give the impression of absolutely glowing colour created by this digital artwork.

The artwork is a triptych and includes two side panels relating to the years 1600-1857 (headed up by Queen Elizabeth 1) and the period 1857-1947 (headed up by Queen Victoria)

I came home and looked up the reason why the dates for the first panel are 1600-1857 - and, as I suspected 1857 was the year of the Indian Rebellion. I already knew that 1947 was the year of the Partition of India and very many massacres.....

1600-1857

The middle panel includes various references to aspects of England including the Great Exhibition - when a great interest was generated in Indian culture and artifacts.  This one is packed full of symbols and metaphor and I need a handbook to sort it all out!

The UK as a home to Indian Culture. Don't miss the reference to "Britain's got talent"!

This artwork needs a small booklet to explain the huge number of symbolic references - I think I probably got about a third of them!

1858-1947: This panel needs to come with a 'Reader'!

I'm interested to find out more about the The Singh Twins. Below are a couple of videos about:

• (from 2010) about how they came to become artists
• a Tate video from 2016 about their artwork which comments on the appropriation of British and Indian culture within the UK
  

I recommend viewing them - they're absolutely fascinating and very articulate about the motivations behind their artwork - and make some exceptionally good points!

The best way I can describe them in shorthand is  that they are the female Sikh version of Grayson Perry commenting on culture, society and the variation in how people from different backgrounds behave - except they work in the style of Indian miniature artworks.

Camilla Dowse: the practice of period house portraiture on commission

Recently I read a post by very popular and award-winning painter Camilla Dowse on Facebook. It was a snippet about her practice when commissioned to paint a portrait of a house. I was intrigued and asked her to talk about her practice of working on commission to paint buildings - and below you can read what she had to say.

The images below include recent past and current commissions - demonstrating the different stages of sketching, studies and final painting she creates when executing a commission.
___________________________________

My work has always featured period buildings and so from very early on in my career I’ve been approached about painting to commission. 

Past Commission (2017) - acrylic on gesso, 41 x 41cm
copyright Camilla Dowse

Past commissions have included everything from small cottages and townhouses to large country homes. One corporate client even flew me to America to complete a series of paintings of the historic buildings found along the Freedom Trail in Boston.

For me, painting to commission is an almost entirely different process to painting for exhibition. There is an additional logistical and administrative responsibility. It’s a commercial process and I think it’s important to remember that I’m being hired by a client who has expectations.

For most people the experience of buying an artwork is simply to pay for a completed piece. But commissioning a painting of a building requires a visit to the location and preliminary work for client approval, so I’ve found it’s useful to break the process down into stages and to charge fairly for each stage.

Whatever the size of the commission the process is the same. I start by visiting the location and collecting reference to work from, then I make some drawings and a small study painting to determine the best composition.

Current Commission - sketches on location
copyright Camilla Dowse

Past Commission (2016) - watercolour sketch
copyright Camilla Dowse

Part of my process is to work from photographs, but only for logistical reasons. It isn’t always possible to tell from my paintings, but often the best angle on a location is found by standing in the middle of the road. Unfortunately with traffic these days that isn’t a practical place to sit and paint.

For this first stage I charge a small fee to cover my time and travel expenses, which is payable even if a final painting isn’t commissioned.

Current Commission: Sketch and Study painting
copyright Camilla Dowse

Past Commission(2017): Study Painting - gouache, 18 x 18cm
copyright Camilla Dowse

Past Commission (2016) : Study painting
copyright Camilla Dowse

Once the client approves the drawings and small study painting I ask them to sign a simple contract and pay a non-refundable deposit before I start work on the final painting. The remaining fee is payable on the client’s approval of the final piece.

Mostly people commission a painting of a building because they have a sentimental attachment it, and it’s great to see faces light up when you present them with a painting they love.

Past commission (2016) - Completed painting (76cm x 76cm)
copyright Camilla Dowse

But commissioning a painting is, for most people, something they do once in a lifetime, so it’s my job to help them through the process and to make them feel as confident and in control of the process as I can, to minimise the chance of them being surprised by something they’re not keen on.

My goal is always to complete the commission to their absolute satisfaction.

____________________________________

Camilla Dowse is opening her studio to visitors as part of the Bucks Art Weeks from 9-24 June 

Fancy trying 'The National Art Pass'?

If you like art exhibitions

• BUT have never tried The National Art Pass before....
• OR if you're staying in or near London temporarily over the summer (hello to Louise and Cynthia!)

you might well be interested in trying what seems to me like an excellent offer from The Art Fund which caught my eye today. Appealing to the numbers in me is always guaranteed to get a response!

Right now you can buy a 3 month trial of the National Art Pass for just £10. This in turn will reduce the entrance to a lot of exhibitions at museums and art galleries around the country - often by 50%

Note that this offer ends 30 June so to me it's one of those offers you don't put on the backburner - rather you need to decide PDQ!

What is The National Art Pass?

The National Art Pass is "a good thing".

I've got one and I actually use it very little - however that's because I'm a Friend of most of the museums and art galleries where I go to see exhibitions. 

Instead I tend to think of my annual membership fee of £67 as a charitable gift to The Art Fund which is the organisation which issues The Art Pass and also helps museums and art galleries buy and display works of art.  Plus it sends me an annual guidebook, Art Quarterly Magazine and regular email updates.

However I have been thinking of late of reviewing my Policy on Friends' Memberships (we Friends are the cash cow which keeps on giving...!)

1. They're getting more and more expensive
2. The expense relative to the value has been reducing for me 
3. I've been aware there is another way of keeping the costs of exhibitions under control

Plus I've been on the point of doing a spreadsheet to look at just how much I spend relative to benefits!

The National Art Pass will get me into exhibitions at (frequently) 50% discount - without the need to pay into any other subscription or membership scheme. 

To me, as Friends' memberships get more and more expensive , the National Art Pass begins to look more and more like a very good deal as a way of managing the expense if I don't mind forgoing the perks of a Friends Membership.

This was the graphic which got me thinking about it again today.

If you spend £10 you can give it a go but don't have to make any commitment to an annual membership AND you get to save more than it cost you.....

Spend £10 and save over £25 on online bookings