The Royal Academy of Arts Summer Exhibition 2017 will be coordinated by the Keeper of the RA Schools, Eileen Cooper RA. The hanging committee for the Summer Exhibition includes Royal Academicians Ann Christopher, Gus Cummins, Bill Jacklin, Farshid Moussavi, Fiona Rae, Rebecca Salter and Yinka Shonibare The first female Keeper of the RA Schools, Eileen Cooper is a painter and printmaker known for her instantly recognisable style, sometimes described as “magical realism”. Her remarkable body of work explores such subjects as sexuality, birth, family, fecundity and creativity. In 2016, she was made an Officer of the British Empire (OBE) for services to arts and art education and was invited to the Women of the Year annual lunch. The Architecture Gallery will be curated by Farshid Moussavi RA. Meet the 2017 committee Farshid Moussavi RA Elect Sheep Meadow NYC I. Museum of Contemporary Art Cleveland into the light 1, Yinka Shonibare RA's Wind Sculpture
Entry to the Summer Exhibition 2017 has now closed For the first round of the selection process, artists are asked to submit digital photographs of their work online. For the next stage of the application process, judges will shortlist up to 4,000 entries to be delivered to the Academy for a second round. If you have already purchased entry, you have until 15 February to submit your artwork. What is the Summer Exhibition? Reynolds, Turner and Constable At one time the show was known simply as ‘The Exhibition’, where the likes of Gainsborough and Reynolds, Turner and Constable sharpened their skills against each other. Nowadays, although there’s a plethora of art fairs, commercial galleries and contemporary exhibitions to choose from, the galleries at Burlington House make an unrivalled setting for artists to display and sell their artworks. For all of the works displayed, the artist is the seller of the work and the Academy takes a 30% commission on all ‘Offers to Purchase’, the proceeds going towards the RA Schools and our diverse programme of exhibitions.
The array of works and the celebratory atmosphere of the exhibition make for an unique experience where visitors can browse, buy and discuss the works on show. In the eighteenth century all the exhibits were figurative. Hung from dado to cornice, pictures were abutted, tipped towards the viewer and arranged symmetrically. History painting and swagger portraits by the celebrated artists of the day sat on the line (the bottom edge of the exhibit being eight foot from the ground), with smaller pieces below and others by lesser-known artists skied above. From the abstract to the conceptual Works came in standard sizes, including the ‘Kit-kat’, and were self-contained in obligatory gold frames. Nowadays the show reflects the gamut of contemporary practices, with works by established and emerging artists often being hung side-by-side. Abstract and conceptual works, which often defy regimentation, are in the ascendant, but traditional techniques and genres are still very much in evidence.
In recent years densely hung rooms have been interspersed with lighter spaces and galleries have been dedicated to film works, photography, installations and even to a body of work by an individual artist. The Summer Exhibition Committee The members of the Summer Exhibition Committee serve in rotation and convene at monthly meetings to discuss the shape of the show, ensuring that each exhibition has a distinctive character. Each Member is responsible for certain areas and the final selection is made during the eight-day hang. The exhibition is finalised on ‘Sanctioning Day’ when the Committee meets for the last time; beyond this point no changes can be made. Non-Member’s Varnishing Day is traditionally the last opportunity for artists to ‘touch up’ their work. Some still take advantage of this privilege, but on the whole the event is a celebratory one. One of the wonderful eccentricities of the Summer Exhibition is the procession down Piccadilly of artists led by a steel band;
another element that distinguishes it from any other show in the world. The 166th Summer Exhibition, 1934 William Russell Flint RA at work arranging the hanging of watercolours in one of the galleries, April 1934 Pilgrims Progress pt 1.26 x 25 x 2 cm. “I think my work was successful as it is bold, and confident in both its use of colour and form. I feel that you should always be pushing your practice further, be confident in what you do and don’t be afraid to take risks. Mistakes will happen, but they are all part of the development process. Your work needs to stand out from the 1000s of other entries. Smaller pieces stand a greater chance of inclusion over larger works. Look at the works that have been included in recent years and use them as a yardstick to compare your own to. Be different or be really at what you do; even better, be both. If at first you don’t succeed, keep trying until you do.”46 x 38 x 3 cm. “Study, research and resolve, I believe are key factors in the quest for success in getting accepted for the RA Summer Exhibition.
Although there are of course no guarantees, plus enormous competition, I feel it is helpful to study the art works in the current show, and records of previous shows. Also reading the RA magazines, and noting what the Royal Academicians say, both in print and on line in their short videos is beneficial. Most importantly, observe carefully and make notes. Absorb the very essence of the RA Summer Exhibition. Winter sunshine in the trees.60 x 80 x 4 cm. “I try to approach my art with curiosity, and soak up everything around me. I spend time with as many like-minded fellow artists as I can, sharing creative thinking, learning new techniques, and getting inky together. Printmakers should "see one, do one, teach one”. I am also tenacious, entering every year – third time lucky. I looked on rejection as a spur to get better and try more ideas. I submitted different-looking works, as you can’t predict the vision of the curators. It has made my art better, I think. It's an exhibition selected by artists, hung by artists... we just choose the best art, and try to make sense of it on the walls.