Royal Academy Of Art: Summer Exhibition Review

The Royal Academy of Arts put up an edgy and modern exhibition running from 10^th June to 19^th August in the main galleries for the 245^th year this summer, which was a colorful contrast to previous years.

The crowd was not your expected mix of stuffy art critics and snooty Art history majors, but instead was a welcome pot of students, tourists, couples and families.

This is the largest exhibition in the world and this year the coordinators, Norman Ackroyd and Eva Jiricna, revamped the display, where the rooms were a variation from the conservative layout that has been the RAs trademark for the last 244 years.

There was a noticeable energy to the entrance room, where the tightly packed walls made you jump right into it. The rooms were divided by discipline namely photography, prints, architecture, films and much more.

Some rooms were more appealing than others, first among them being the series of six tapestries entitled The Vanity of Small Differences by Grayson Perry, telling the story of the rise and fall of Tim Rakewell.

These tapestries were beautifully done, with bright colours and surreal drawings complete with illustrations telling Mr. Rakewells story. It was these illustrations that captivated you, making you feel more connected with the work once you understood the background.

The last of these tapestries, which illustrated his death, was a very moving piece. The work was very stark and blunt which is probably why it was so memorable

Another room that left a mark was the media of painting, drawing, photography and video. Photography always has a more human aspect to it, so it was no surprise that it was a well-received display. With some beautiful landscapes and portraits, it was a welcome change from the rest of the exhibition.

The sculpture display, which was a surprisingly easy room to co-ordinate through despite my large backpack, was the only room that was not packed to capacity. The sculptors were well lit, setting a welcoming ambience for people to take their time walking through them.

The most striking piece was a life-size recreation of an original Fiat 500 in steel and bronze rods by Ron Arad, which posed a sudden contrast to the modern everyday vehicle making you realize how far the world has come.

The largest room, which was hall three, was the least flattering of the lot, with unending abstract canvases draped across the walls assaulting your senses and leaving you with a confused taste.

Over all, the exhibition was an afternoon well spent, especially since a portion of the revenues is used to fund the R.A schools, providing a platform for future Picassos.