RA Summer Exhibition 2024 Review: A Quirky Artistic Mix

The Royal Academy’s Summer Exhibition remains the world’s oldest open-submission art show, functioning as both a massive commercial marketplace and a barometer for contemporary trends. While critics often cite the sheer volume of works—ranging from amateur flower drawings to large-scale installations—as overwhelming, recent curatorial shifts toward conceptual experimentation suggest a move away from traditional, crowded hangings toward more restrained, thematic presentation.

How Curatorial Choices Influence Exhibition Quality

The quality of the Summer Exhibition often fluctuates based on the vision of its annual coordinator. According to reporting from The Guardian, conceptual artist Ryan Gander, who coordinated a recent iteration, attempted to mitigate the “stuffy” reputation of the show by introducing unconventional spaces, such as a dedicated living room installation featuring video art and found objects. This approach contrasts sharply with traditional gallery sections, which often suffer from what critics describe as “Summer Exhibition-blindness”—a sensory overload caused by floor-to-ceiling displays of repetitive landscapes and still lifes.

Why the Marketplace Model Affects Art Consumption

Unlike curated museum retrospectives, the Royal Academy show is fundamentally a buying opportunity. This commercial reality dictates the visitor experience, as thousands of attendees navigate the space to view items ranging from affordable prints to high-value sculptures. Because the exhibition prioritizes accessibility for buyers, works by household names like Tracey Emin or Antony Gormley often dominate the visual landscape, sometimes eclipsing emerging talent. However, as noted by observers, this environment allows for a mix of “bleak and silly” items, such as Harry Hill’s paintings, to sit alongside professional-grade minimalist work by artists like Harriet Porter.

Future Trends in Open-Submission Shows

The future of large-scale open exhibitions likely lies in tighter thematic curation. While the “cramming” technique remains an anachronistic hallmark of the Royal Academy, recent experiments by curators like Eileen Cooper suggest that audiences respond better to smaller, more serene “hangs” that allow individual pieces to breathe. As digital platforms continue to democratize art sales, the physical exhibition may increasingly focus on the “experience” of the gallery rather than just the volume of inventory.

Pro Tips for Navigating Large Exhibitions

• Focus on the curation: Identify rooms curated by specific artists or printmakers, as these often feature more cohesive themes than the general, high-density galleries.
• Look for the “Small” rooms: Secondary spaces, like the Weston Room, often house experimental video or installation works that provide a necessary break from the tidal wave of canvas paintings.
• Prioritize specific mediums: If you find yourself overwhelmed, select one category—such as portraits or brutalist architecture—to focus your viewing efforts.

Frequently Asked Questions

Is all art at the Summer Exhibition for sale?

Yes, the vast majority of works on display are available for purchase by the general public, making it one of the most accessible commercial art events in London.

How are artists selected for the show?

The exhibition is an open-submission event, meaning anyone can apply to have their work reviewed by the committee. The final selection is a mix of these submissions and invited contributions from established artists.

When is the Summer Exhibition usually held?

The exhibition typically runs through the summer months, generally opening in mid-June and closing in late August.

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