|The News Line Saturday June 8
2013 PAGE 7
SUMMER EXHIBITION 2013
BY A GUEST REVIEWER
Summer Exhibition 2013
Royal Academy of Arts
Piccadilly, London W1
10 June-18 August 2013
10am-6pm daily (last admission 5.30pm).
Late night opening: Fridays until 10pm (last admission 9.30pm)
Admission includes the list of Works giving details on every exhibit in the show.
10 UK pounds full price; concessions available; under 12s and Friends of the RA go free
NOW in its 245th year, the Royal Academy of Arts Summer Exhibition 2013 has been coordinated by the Royal Academicians Norman Ackroyd and Eva -Jiricna.
Greeting visitors as they approach the gallery is a huge wall-hanging sculpture draped from the roof of the Royal Academy.
The Site-based work TSIATSIA - searching for connection. 2013, by Nigerian artist El Anastsui has won the Charles Wollaston Award which is presented to the 'most distinguished work' in the exhibition.
One of the judges, Matthew Collings, said that 'we considered it a miracle of transformation. Made of old junk, nevertheless it reminded us in its glittering organic opulence of golden mosaics from the Byzantine era.'
The Summer Exhibition continues to be the world's largest open submission contemporary art show, providing a platform for both emerging and established artists to showcase their work to an international audience.
The majority of the 1,300 works are for sale, offering visitors an opportunity to purchase original artwork by the artists selected for the show.
The diverse media includes painting, sculpture, photography, printmaking, architecture and film.
To its credit. the Academy has learned from previous cluttered summer exhibitions and given the works space, making It less overwhelming for viewers.
Printmaker Norman Ackroyd highlights the range and quality of printmaking, and Eva Jiricna has co-ordinated the architecture gallery, seeking to blur the boundaries between architecture and sculpture with particular focus on experimental design.
Other members of the Summer Exhibition committee include Humphrey Ocean, who has hung the small works' galleries, and John Wragg RA who. together with John Maine RA, have arranged the sculpture galleries.
Inside the main galleries, first to greet visitors in the Wohl Central Hall is a new monumental rusted steel sculpture, Shadows, by Anthony Caro.
In the adjoining large Gallery III are mostly bright works, dancing abstractions chosen by Norman Ackroyd. The gallery features a contrasting painting in muted colours of a disused building, Tate Moss, by Jock McFadyen.
Standing out from among abstract works is a figurative artist's house interior, Sarah at Oriel by Ken Howard. that features a seated nude model and delightfully captures the fall of sunlight pouring in.
Gallery II contains smaller works including small expressionist landscapes in saturated poster colours by Barbara Rae, and familiar, brightly colourful patterned paintings by Gillian Ayres.
In complete contrast, in Gallery I, is Dolor, a large, monochrome, anti-war linocut by Richard Galloway.
A topical painting in this gallery Is a view of a flood-hit market, Seal Market by Benjamin Buckley, replete with foaming waves.
A witty set of works by Ron Arad satires the Austin. now BMW, 'mini' car - a lattice-work 'mini' stainless steel sculpture Blame the Tools stands in front of two colourful swirling prints, Let's Drop It, OK? and Let's Drop It, OK? Sideview.
Gallery IV contains dramatic large, abstract paintings, including the moody, black and white Melancholia, woodblock and collage by Anselm Kiefer, and a witty two-dimensional sculpture Inebriate Owl by Ivor Abrahams.
In Gallery X, Grayson Perry shows his series of six large, cartoon-like tapestries entitled The Vanity of Small Differences. telling the story of the rise and demise of Tim Rakewell, inspired by Hogarth's A Rake's Progress.
His tapestries are composed of characters. incidents and objects he encountered on journeys through Sunderland, Tunbridge Wells and the Cotswolds.
Gallery VIII Is dedicated to portraiture, which includes photography and works on paper along with new works by Frank Auerbach, Tom Phillips, Michael Craig-Martin and Alex Katz.
Here also is a moving, spare work by Gary Hume, Neama El Sayed And Her Children Whose Father Was Killed By A Sniper During The Protests.
Gallery IX, photography, contains the portrait of a store, seated woman by a door, The Long Wait (from the series Border 2005- 2006) by Mitra Tabrizian, that won the Rose Award for Photography.
Also standing out Is a roads cape with lowering skies, Deluge NM, by Boyd and Evans.
Rounding off the exhibition. the Lecture Room gallery contains a mix of figurative and surreal paintings, and a bold, expansive polished sculpture Klorts By Zaha Hadid For Rove Gallery, by Zara Hadid.
Christopher Le Brun, President of the Royal Academy of Arts says: 'One of the founding principles of the Academy was to "mount an annual exhibition open to all artists of distinguished merit" to finance the training of young artists in the RA Schools.
This has been held every year without interruption since 1769, The Royal Academy receives no public funding so each purchase made at the Summer Exhibition directly contributes to maintaining our free art school.'
Each year, the Summer Exhibition recognises artists of exceptional merit by awarding over 60,000 UK pounds prize money donated by commercial sponsors.