Democratic and diverse at its heart, the Summer Exhibition is acknowledged as the most popular open-submission occasion in the art calendar, where works by established names sit alongside those by emerging and aspiring artists. As we open our very own Summer Exhibition, we reflect on the history surrounding this bastion of the art world, and explore its contemporary guise, appeal and function. Beginning within the context of the British art scene, we must look to the Royal Academy for our baseline. Champions of the Summer Exhibition tradition, their own is the undisputed longest-running of its kind, having been held without interruption since 1769. Such is the reverence for this institution, the Academy has curated a major exhibition this year, coordinated by Grayson Perry and his fellow committee of RA artists, in celebration of the 250th anniversary, devoted to its history and the legacy it has bequeathed. The exhibition will extend across the newly-expanded cultural campus and even reach beyond its walls, spilling out into the capital’s West End by virtue of an installation of over 200 flags, designed by fellows of the Royal Academy. Indeed, the concept of a Summer Exhibition has translated and evolved in recent times, adopted as a practice by industries with little or no connection to the world of art. We have seen many institutions embrace the tradition, from Goodwood to The Royal Society, architectural faculties at leading universities and local historical societies. These occasions, much like our own Summer Exhibition, are held to celebrate the achievements of the participants and promote competition and collaboration. Since its emergence in the 18th century, the Summer Exhibition has chronicled social change. The carefully curated displays have mirrored the pivotal moments in modern history, from the role of women through the increasing prominence of contributing female artists, to themes of imperialism, politics and warfare, as reflected in the subject matter of the work within the collections. Given the events of recent months, and the centenaries that fall in 2018, this now has more resonance and relevance than ever. Further, it is often possible to track the shifts within the selection committees based on the final collections they present, and the ensuing critical writings that the exhibitions attract. In short, it is not hyperbole to state that the Summer Exhibition acts as a thermometer for what’s hot and what’s not, a barometer that measures socio-economic pressures and a compass that sets the path for our next direction of travel.
DANIELA LACEY
HEAD OF MARKETING | WASHINGTON GREEN
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