Since we are in a lists mood I thought I would set out my list of the 10 artists who, in my opinion, make RCA Secret the great event that it is. This is my own personal list. Not all of the artists are “names” some are just artists who over the years have caught my eye, both through their talent or for some other reason.
1) Damien Hirst – the ultimate symbol of the YBA Britart scene, Hirst has been a regular contributor and supporter of RCA Secret. Whilst many have said that he disguises his cards for the sale in fact his drawings are frequently follow his tried and tested themes of death, pharmacology and butterflies. He has also contributed cards featuring a drawing of a dog and of hieroglyphics. Contrary to the apparent popular view I find a lot of card extremely interesting.
2) Mary Fedden – the grand old lady of British Art. In her 90’s and still producing work of simplistic genius. Last year she produced one of her cats which was amongst the finest RCA Secret postcards I have ever seen. It stood out like a beacon amongst the sea of cards around it. These cards are always sold to the first 1 or 2 in the queue and I can understand why.
3) Sol LeWitt – Is Sol LeWitt a minimalist? Is he an abstract artist? We could argue about this until the cows come home but my opinion is that his secret postcards are rubbish and have no artistic merit whatsoever. This is a shame because so much of his other work is distinctive and interesting. The cards do not hold the slightest interest for me and the fact that they are always sold to people at the top of the queue tells you an awful lot about some of the people that queue.
4) Vicky Finding – not a particularly well known artist but I think her cards, typically abstract landscape done in oils look absolutely outstanding. I have one framed up in my living room from the 2004 sale and my eye is frequently drawn to it.
5) John Bellany – instantly recognisable and distinctive Bellany often contributes up to 5 cards for the show. One person I queue with picks up at least one of his cards every year. I’ve not added one to my collection yet but that is not through lack of admiration for them.
6) Peter Jones – this hugely talented London artist contributes only card to the show each year but what a card it is. Jones is a hugely talented painter whose current theme – exquisitely detailed stuffed monkeys – allows him to showcase his eye for detail, talent and wit.
7) Bob and Roberta Smith – real name Patrick Brill - the cards contributed by Bob and Roberts Smith are conceptual thought-provoking and funny, often providing a tongue in cheek dig at the art world.
8) Holly Johnson – the former frontman of Frankie Goes to Hollywood, Holly always contributes a couple of cards which, frankly, aren’t very good. Rumours abound that one year Holly’s work had not been bought and that he had to come in on the second day of the sale and buy his own card. Bless him. My sister has one of his cards in her collection and she swears to me that she actually quite likes it.
9) Candra Cassini – who is Candra Cassini? No really who is she? There is very little detail about her on the internet and even the RCA, when I asked them a couple of years ago, were only able to tell me that she was an Italian artist who was trained in the style of the old masters. And boy can you tell. Not everyone’s cup of tea but her works are miniature masterpieces. I have a still life by her of a bottle of wine and a bowl of fruit that is exquisitely painted.
10) Rut Blees Luxemburg - I had to put one Photographer in the list and for me this is definitely the one. Her photographs bring city scenes and architectural features to life.
So there is my list. I would love to hear from others with their list.
Friday, September 29, 2006
Monday, September 25, 2006
7 reasons why I love the RCA secret sale
Here is a piece originally posted on the yahoo group by John MacMahon. Sums up I think how we all feel about RCA Secret.
My 7 reasons why I love the RCA Secret Sale.
1. Accessibility
The RCA Secret Sale is open to everybody, no exclusive opening, no pretentious setting, no worries about not having a clue about art, no need to pretend you know what you are looking at. No problems in looking at something and saying "yeah right, that'll be the last one to go". No Entry fee, No overzealous sales staff.
2. Making your list
I like the one with the dogs, but my wife likes the metal one with the ladder. Do I really like the blue one more than the red one? I think that would look really good in the living room next, no maybe the corridor is better. That one is terrible, but it might be Damien Hirst trying to disguise his work. But what if it isn't?.....
After a few times there, making your list is a lot of fun. If you want to have an idea who the work is by before you buy, or are looking for a particular artist famous or otherwise, then this can open up all sort of other possibilities (see last point).
3. Queuing
I can safely say that I have never met such a fun, friendly, yet diverse collection of people as I have while queuing for the postcards. The excitement builds as you'd expect, it's like a social game of poker, with everyone wanting to talk about the postcards, the artists, their desires, but all holding their book of numbers close to their chest. Its a great place to celebrate and discuss what you like about art. When I have brought a printout of all the cards, it has been the source for many last minute changes and re-re-prioritisatio n of lists. Lots of advice abounds, but people are often conscious of those in the queue ahead of you. Having said that advice trickles mostly down, but sometimes up the queue.
4. Sale Day
Here you are, cold, with nothing but Snickers, a Starbucks,and adrenaline holding you together. As the queue surges downstairs you cannot help but be nervous, clumsily checking you still have your credit card, and your 'Red marker of disappointment' as your go through the 'Argos meets Bingo' scenario of seeing your numbers being sold in front of you on the LCD Screens. As the queue progresses the numbers seem to go quicker to a stage where its no longer possible to keep up. Just when your list gets totally unmanageable you get to the front, give them your ID number and then GO!!!
"Do you have 1123?" …….."No."
"724?" ………......…………….."Yes!"
"Oh my God" you think, "I can't believe it. I'mgetting something that I want!!!!" Your excitement is overtaken by the desire to keep it moving, as you blurt out a list of numbers. But with Three down and one to go, you pause, reflect upon the numbers already called, and hesitate on the next number on your list. Why? Because the next card is a landscape and you already chose one of them becuase you didnt think you would get it? But you really wanted it up to 45 seconds ago, more than the next postcard of a pair of red shoes. Time is ticking; you feel the tension like you are the one that has to cut either the red or the blue wire to defuse a bomb. You make the decision, breathe a sigh of relief that's it all over, collect your receipt and try to find the energy to make it upstairs.
5. Turning Your Cards over
After swearing that you'd never ever queue again for anything, you are immediately thrust into another queue for one of the runners to collect your cards. At this stage indecision, regret, and confusion about what exactly you chose dominate your mind. But not for long, as I inevitably guide the runner to where the cards are in the gallery, (having had severalvisits to confirm their location). And then, after a signature the moment arrives. Any one of the following can happen up to four times…
Turnover (the one you thought wouldn't be there) …Yes! I am the King!!!
Turnover (the one your knew all along) …As expected, phew.
Turnover (the famous artist gamble) …Oh well, Another Fridge Magnet,
Turnover (the one of the red shoes) …Never heard of her, still lovely though!
6+7. Enjoyment + Much More
I'll put the last two reasons into one as they go hand in hand. I first went to RCA Secret thinking I would get lovely cards worth a fortune and some stuff like that. But what actually happened I didn't expect. I got interested! I wanted to get a card by Sol Lewitt, as his retrospective was on show in San Francisco when I visited in 2000 while on my honeymoon, and I thought it would be a nice memento for our home. So, I looked up Sol Lewitt up in Books and the web. I got to understand what his art was all about, and why his art was deemed worthy to make them an artist of note (something that the MoMA inSanFran failed to do).
At the RCA Secret, there is a lot of Conceptual/Abstract art on display, which I can't fully enjoy the without the knowledge of what it is about. So when I realised the postcard wasn't Sol LeWitt's, I instead looked up the artist I chose, and read about how she interprets Life experiences using Lines of Different Colours and layers. Not to say I am now a diehard fan of Colette Morey du Morand as a result, but I can enjoy my postcard for what it truly represents. And the whole experience inadvertedly opened my mind just a little more, to the world of art.....
.....Which would NEVER have happened thanks to RCA Secret. Hell, I didn't even know what the RCA was before I went to my first postcards sale!
So, Thanks RCA, thanks for making Art more accessible, affordable, for showing it for what is really is without names or prices, for organising a show that is fun to attend, has something for everyone, and a personal thanks for providing me with the only opening to the world of Art that has worked for me. See you soon!
My 7 reasons why I love the RCA Secret Sale.
1. Accessibility
The RCA Secret Sale is open to everybody, no exclusive opening, no pretentious setting, no worries about not having a clue about art, no need to pretend you know what you are looking at. No problems in looking at something and saying "yeah right, that'll be the last one to go". No Entry fee, No overzealous sales staff.
2. Making your list
I like the one with the dogs, but my wife likes the metal one with the ladder. Do I really like the blue one more than the red one? I think that would look really good in the living room next, no maybe the corridor is better. That one is terrible, but it might be Damien Hirst trying to disguise his work. But what if it isn't?.....
After a few times there, making your list is a lot of fun. If you want to have an idea who the work is by before you buy, or are looking for a particular artist famous or otherwise, then this can open up all sort of other possibilities (see last point).
3. Queuing
I can safely say that I have never met such a fun, friendly, yet diverse collection of people as I have while queuing for the postcards. The excitement builds as you'd expect, it's like a social game of poker, with everyone wanting to talk about the postcards, the artists, their desires, but all holding their book of numbers close to their chest. Its a great place to celebrate and discuss what you like about art. When I have brought a printout of all the cards, it has been the source for many last minute changes and re-re-prioritisatio n of lists. Lots of advice abounds, but people are often conscious of those in the queue ahead of you. Having said that advice trickles mostly down, but sometimes up the queue.
4. Sale Day
Here you are, cold, with nothing but Snickers, a Starbucks,and adrenaline holding you together. As the queue surges downstairs you cannot help but be nervous, clumsily checking you still have your credit card, and your 'Red marker of disappointment' as your go through the 'Argos meets Bingo' scenario of seeing your numbers being sold in front of you on the LCD Screens. As the queue progresses the numbers seem to go quicker to a stage where its no longer possible to keep up. Just when your list gets totally unmanageable you get to the front, give them your ID number and then GO!!!
"Do you have 1123?" …….."No."
"724?" ………......…………….."Yes!"
"Oh my God" you think, "I can't believe it. I'mgetting something that I want!!!!" Your excitement is overtaken by the desire to keep it moving, as you blurt out a list of numbers. But with Three down and one to go, you pause, reflect upon the numbers already called, and hesitate on the next number on your list. Why? Because the next card is a landscape and you already chose one of them becuase you didnt think you would get it? But you really wanted it up to 45 seconds ago, more than the next postcard of a pair of red shoes. Time is ticking; you feel the tension like you are the one that has to cut either the red or the blue wire to defuse a bomb. You make the decision, breathe a sigh of relief that's it all over, collect your receipt and try to find the energy to make it upstairs.
5. Turning Your Cards over
After swearing that you'd never ever queue again for anything, you are immediately thrust into another queue for one of the runners to collect your cards. At this stage indecision, regret, and confusion about what exactly you chose dominate your mind. But not for long, as I inevitably guide the runner to where the cards are in the gallery, (having had severalvisits to confirm their location). And then, after a signature the moment arrives. Any one of the following can happen up to four times…
Turnover (the one you thought wouldn't be there) …Yes! I am the King!!!
Turnover (the one your knew all along) …As expected, phew.
Turnover (the famous artist gamble) …Oh well, Another Fridge Magnet,
Turnover (the one of the red shoes) …Never heard of her, still lovely though!
6+7. Enjoyment + Much More
I'll put the last two reasons into one as they go hand in hand. I first went to RCA Secret thinking I would get lovely cards worth a fortune and some stuff like that. But what actually happened I didn't expect. I got interested! I wanted to get a card by Sol Lewitt, as his retrospective was on show in San Francisco when I visited in 2000 while on my honeymoon, and I thought it would be a nice memento for our home. So, I looked up Sol Lewitt up in Books and the web. I got to understand what his art was all about, and why his art was deemed worthy to make them an artist of note (something that the MoMA inSanFran failed to do).
At the RCA Secret, there is a lot of Conceptual/Abstract art on display, which I can't fully enjoy the without the knowledge of what it is about. So when I realised the postcard wasn't Sol LeWitt's, I instead looked up the artist I chose, and read about how she interprets Life experiences using Lines of Different Colours and layers. Not to say I am now a diehard fan of Colette Morey du Morand as a result, but I can enjoy my postcard for what it truly represents. And the whole experience inadvertedly opened my mind just a little more, to the world of art.....
.....Which would NEVER have happened thanks to RCA Secret. Hell, I didn't even know what the RCA was before I went to my first postcards sale!
So, Thanks RCA, thanks for making Art more accessible, affordable, for showing it for what is really is without names or prices, for organising a show that is fun to attend, has something for everyone, and a personal thanks for providing me with the only opening to the world of Art that has worked for me. See you soon!
So how much are they worth?
When I tell people about the RCA Secret show after they have picked their jaw up from the floor when I tell them the maximum period of time I have queued for (24 hours) and the maximum period of time I am aware that others have queued for (2 weeks) the next question I am always asked is how much the postcards are worth.
The simple answer for me personally is that I don't really care. I wouldn't sell my collection and for me RCA Secret is a way of enabling me to have contemporary art on my walls that I would not be able to afford otherwise. I did attempt to sell one postcard once in a period when I was really skint. It was a postcard created by Lawrence Weiner (pictured) for the 2004 sale and I put it in a Bonhams sale with a reserve of £250. It didn't sell. I later sold it on ebay for £150. I felt really bad selling it but I still have 2 cards by this artist in my collection and at the time I really needed the money.
One of the people I regularly queue with says that he would only sell his secret postcards to buy other art. This chap never queues for more than 18 hours but has, in his secret postcard collection, cards by Damien Hirst, Grayson Perry, Nick Park. Sir Paul McCartney and Sol LeWitt amongst many others. So I guess if he were ever to sell he would make a lot of money. But I am pretty sure he never will.
One concern with the queueing system for the first 50 places in this years sale is that people will be more inclined to see the sale as a money making opportunity. I have already spoken to a number of people who have no real interest in contemporary art but have decided to buy raffle tickets in the hope that they can pick up a card by a leading artist and sell it the next day. Once you take out the "investment time" of queueing for hours it is inevitable you will get more cash hungry punters.
Anyway since it is such a repeatedly asked question I thought I would try and answer it as best I can.
Not many of the postcards by the leading lights of the RCA Secret sale have ever, to my knowledge, been sold. If anyone has any concrete information about sales that have taken place (or are going to take place) then I would love to hear it.
A comparable event was the art of care auction in 2005. This was an auction of postcard sized cards for in aid of tsunami relief. The auction took place in Scotland.
Because it was a charity event the prices realised may be slightly higher than in a normal event. Nevertheless we are given a good clue about potential values. Some of the prices realised for Secret artists are as follows:
Norman Ackroyd - £700 and £400
Elizabeth Blackadder - £800
Tracey Emin - £1,000
Anthony Frost - £350
Damien Hirst - £4,500
Paul McCartney - £1,500
Chris Orr - £380
Barbara Rae - £600
Mario Testino - £800
David Hockney - £7,200
A full list of prices realised can be found by clicking here.
As for sales of secret postcards there is a database on the rca secret yahoo group of cards sold on ebay. A John Bellany card sold for £245 and a Billy Childish card for £255. Of the less well known artists the smallest amount I have seen paid for a potscard was one by Rose Peeters that did not even make £3, and it was framed.
So the answer to the question "How much are they worth" is difficult to give. To me they are priceless.
Tuesday, September 19, 2006
New Queuing system in operation for RCA Secret 2006
A new innovative queueing system will be in place for this year's sale. This is what the RCA Say:
"And secondly, we’re going to give everyone the chance of being in the first 50 places in the queue on the morning of the sale by entering a raffle. During the viewing period visitors can buy a maximum of 5 raffle tickets, at £1 each, and be entered into a raffle for the places. On the day before the sale, tickets will be drawn for the first 50 places and the winning participants will be notified. A normal queueing system will be resumed after the first 50 people have bought their cards."
This scheme is not dissimilar to a proposal I made to them last year. I sent them an email suggesting that they adopt this system:
"Instead of handing out raffle tickets to people at the front of the
queue to show which order they are in the queue why not have a bucket
full of 48 numbered raffle tickets. The first 48 people in the queue
would then be invited to remove a raffle ticket from the bucket. The
numbers on the ticket would be the order they could purchase cards
in. The security staff would then allow the first 48 people in the
queue downstairs. The holders of tickets 1-6 would then be invited
(all at the same time) to go up to the purchase point and purchase
their cards. Once they were done you would then invite holders 7-12
to purchase etc etc until you had got rid of all the diehard
queuers. The rest of the queue could be dealt with in the same way
you have always dealt with it.
I think that this would stop completely people camping for days and
days and the competition at the front of the queue to see who could
get there first. It wouldn't matter who was first or who was
thirtieth, everyone would be in with the same chance of being in the
first six to buy cards"
Personally I think that my way is better, but then I would say that wouldn't I. It is clear, however, that the RCA have had to do something about the die hard queuers and I can see that this definitely makes sense from their perspective. Administratively it is going to be hard for the RCA - how do they notify all 50 of the lucky people who are first in the queue on the day before the sale?
Also I still think it will not necessarily stop people queueing. I would still be inclined to queue for a few hours for a chance to be 51st in the queue.
What does everyone else think?
"And secondly, we’re going to give everyone the chance of being in the first 50 places in the queue on the morning of the sale by entering a raffle. During the viewing period visitors can buy a maximum of 5 raffle tickets, at £1 each, and be entered into a raffle for the places. On the day before the sale, tickets will be drawn for the first 50 places and the winning participants will be notified. A normal queueing system will be resumed after the first 50 people have bought their cards."
This scheme is not dissimilar to a proposal I made to them last year. I sent them an email suggesting that they adopt this system:
"Instead of handing out raffle tickets to people at the front of the
queue to show which order they are in the queue why not have a bucket
full of 48 numbered raffle tickets. The first 48 people in the queue
would then be invited to remove a raffle ticket from the bucket. The
numbers on the ticket would be the order they could purchase cards
in. The security staff would then allow the first 48 people in the
queue downstairs. The holders of tickets 1-6 would then be invited
(all at the same time) to go up to the purchase point and purchase
their cards. Once they were done you would then invite holders 7-12
to purchase etc etc until you had got rid of all the diehard
queuers. The rest of the queue could be dealt with in the same way
you have always dealt with it.
I think that this would stop completely people camping for days and
days and the competition at the front of the queue to see who could
get there first. It wouldn't matter who was first or who was
thirtieth, everyone would be in with the same chance of being in the
first six to buy cards"
Personally I think that my way is better, but then I would say that wouldn't I. It is clear, however, that the RCA have had to do something about the die hard queuers and I can see that this definitely makes sense from their perspective. Administratively it is going to be hard for the RCA - how do they notify all 50 of the lucky people who are first in the queue on the day before the sale?
Also I still think it will not necessarily stop people queueing. I would still be inclined to queue for a few hours for a chance to be 51st in the queue.
What does everyone else think?
RCA Secret Sponsorship
I understand from the Royal College of Art that David Roberts is not sponsoring RCA Secret 2006, contrary to previously advised. Apologies for the incorrect information.
RCA secret Yahoo group
Don't forget to join the RCA Secret Yahoo group for more chat about RCA Secret. We are now only 2 months away from the sale and the period of research really starts now. The contemporary art world goes into a fair and auction frenzy in October and this gives everyone a real opportunity to carry out more research. Whilst you don't have to share your research with everyone it is good to talk.
Click here to sign up - it only takes a few minutes.
Monday, September 04, 2006
Fiona MacDonald's view on RCA secret
You don't have to be a devoted and obsessional fan of RCA secret to enjoy it. Fiona MacDonald has attended the sale on a number of occasions. She has a website where she has put up pictures of some of the cards she has bought in the past (including this Richard Smith card pictured opposite). This is what she says about the sale:
Reading about the research and stoicism involved in being a Secret Art devotee makes me feel rather naive and amateurish.
I collect printed postcards anyway, so it's good to have a subset of originals, and perhaps I will accidentally find a gem by a current or future celebrity artist.
I tend to turn up and see what catches my eye. I have had some quirky themes over the years, most recently gardens, after an abstract phase. Ended up buying two by same artist because I liked the lime green colour. Postcard size is ideal for miniature exquisitely detailed drawings, although it's amazing what creative people can do with a postcard. Some don't look as though they would last though.
Arriving sometimes on the second sales day has meant pretty empty walls, but at least there's less choice! And no queue. I find that about 30 minutes of looking is enough before my eyes & brain are overcome with the sea of haphazard images. And I haven't found the tearoom yet. It's great fun though, especially when not too crowded.
As for contemporary art, my interest is as abstract as some of the art. I liked the neon light installations at Yorshire Sculpture Park, but would have to look up the artist (James Turrell).
I like both the building and art of Tate Modern (big spider & huge horn thing were amazing, sugar cubes were interesting), and am an RA Friend, but don't get there enough. Saw the Summer Exhibition - I like art that makes me laugh, even when it's not meant to.
Monday, August 14, 2006
Another secret sale
This one is in Cincinnati for those readers of this blog from across the pond. Looks like a good cause as well. Click on Artworks Cincinnati for more details.
RCA secret 2006 announced
The RCA Secret sale has been announced by the RCA. Click here to go to the original article (or it is reproduced below).
Two points to note. Firstly they have
not said that camping in banned, merely that it is discouraged. This
is the same sort of language that was being used last year.
Secondly the sale date has been moved to a Saturday. If they wanted to
reduce the amount of queueing etc it seems to me that this is not the
way to do it. The queue was kept shorter because a lot of people
couldn't make the sale due to work commitments. That is now not the
case.
Personally I see no reason why the RCA shouldn't make as much money
from the sale as possible and it therefore makes sense to move it to
Saturday. It does mean the queue will be longer though...
Also what is the point of the second day of the sale? With the first
day of the sale being Saturday surely nothing will be left by Sunday.
I have been there at 6pm on a Friday before and there is hardly
anything left.
Perry
-----------------
RCA Secret was initiated in 1994 and has become an annual exhibition and sale of postcard sized works of art. Each year hundreds of artists including established and up and coming names, create unique pieces of art which the public can buy for just £35 each. As in previous years all monies raised go to the Royal College of Art Fine Art Student Award Fund, which helps support emerging artists during their time at the College. To date, sales of postcards have raised over £650,000 for the Fund.
Of course it’s not quite that simple. Each artwork has a number but remains a secret until the buyer has handed over their money and the artist's signature is revealed on the back.
Support for RCA Secret has grown over the years and the list of artists who have contributed to the event reads like a Who’s Who of the artworld – from Damien Hirst, Bill Viola and Tracey Emin to David Hockney, Julian Opie and Paula Rego. And the best thing of all is, even if you don’t spot a postcard by a well-known name this time, you could go home with a star of the future. Many of the contributing artists are current students or recent graduates of the Royal College of Art along with other leading art colleges, destined to go on to big things. The only piece of advice we offer is: choose something because you like it. Anything else is just a bonus.
Here are some frequently asked questions which may help:
When can I view the postcards?
Postcards can be viewed at the Royal College of Art on the following dates:
17-23 November: 10am-6pm daily and 24 November: 10am-8pm
Potential buyers will also be able to view all the postcards on-line from the first day of the show at www.rca.ac.uk. This means that buyers living outside London only need to make one visit on the sale days.
When can I buy the postcards?
Postcards can only be bought on the allocated sale days in person. The sale days this year are:
Saturday 25 November: 8am to 8pm
Sunday 26 November: 10am to 4pm
Postcards are sold strictly on a first come, first served basis, they can't be reserved in advance and there are no sealed bids or auctions.
A maximum of 4 cards can be bought per person.
How do I become a buyer?
Potential buyers need to pre-register before the sale days. This is to make the sales process much quicker. You can register in person during the viewing days or by email: secret@rca.ac.uk. You will be given a registration number which you must bring with you on sale day.
What methods of payment do you accept?
Cash, cheque, debit and credit card.
What if I don't get the cards I have picked?
It is always a good idea to have alternative numbers of cards in case your first choices have been bought. Please keep a note of the numbers you would like to buy.
How long will I have to queue on sale day?
RCA Secret is very popular and the first day will be very busy. Try and come down an hour or two before the doors open at 8am. Please do not be tempted to camp outside the building as the College cannot take any responsibility for your health and safety. As it will be November please wear warm clothes or bring a blanket. Once the doors open the process moves fairly quickly and the queue usually subsides by about 12 noon.
Do all the best cards go in the first few hours?
Alot of the cards do sell quickly in the morning but many cards are usually still available in the afternoon and the next day. Please don't be discouraged if you can only come in the afternoon - you may be surprised how many big names are left!
Can I return the cards if I don't like them?
We will only make a refund if there has been a genuine mistake made and you have received incorrectly numbered cards.
Good luck!
Two points to note. Firstly they have
not said that camping in banned, merely that it is discouraged. This
is the same sort of language that was being used last year.
Secondly the sale date has been moved to a Saturday. If they wanted to
reduce the amount of queueing etc it seems to me that this is not the
way to do it. The queue was kept shorter because a lot of people
couldn't make the sale due to work commitments. That is now not the
case.
Personally I see no reason why the RCA shouldn't make as much money
from the sale as possible and it therefore makes sense to move it to
Saturday. It does mean the queue will be longer though...
Also what is the point of the second day of the sale? With the first
day of the sale being Saturday surely nothing will be left by Sunday.
I have been there at 6pm on a Friday before and there is hardly
anything left.
Perry
-----------------
RCA Secret was initiated in 1994 and has become an annual exhibition and sale of postcard sized works of art. Each year hundreds of artists including established and up and coming names, create unique pieces of art which the public can buy for just £35 each. As in previous years all monies raised go to the Royal College of Art Fine Art Student Award Fund, which helps support emerging artists during their time at the College. To date, sales of postcards have raised over £650,000 for the Fund.
Of course it’s not quite that simple. Each artwork has a number but remains a secret until the buyer has handed over their money and the artist's signature is revealed on the back.
Support for RCA Secret has grown over the years and the list of artists who have contributed to the event reads like a Who’s Who of the artworld – from Damien Hirst, Bill Viola and Tracey Emin to David Hockney, Julian Opie and Paula Rego. And the best thing of all is, even if you don’t spot a postcard by a well-known name this time, you could go home with a star of the future. Many of the contributing artists are current students or recent graduates of the Royal College of Art along with other leading art colleges, destined to go on to big things. The only piece of advice we offer is: choose something because you like it. Anything else is just a bonus.
Here are some frequently asked questions which may help:
When can I view the postcards?
Postcards can be viewed at the Royal College of Art on the following dates:
17-23 November: 10am-6pm daily and 24 November: 10am-8pm
Potential buyers will also be able to view all the postcards on-line from the first day of the show at www.rca.ac.uk. This means that buyers living outside London only need to make one visit on the sale days.
When can I buy the postcards?
Postcards can only be bought on the allocated sale days in person. The sale days this year are:
Saturday 25 November: 8am to 8pm
Sunday 26 November: 10am to 4pm
Postcards are sold strictly on a first come, first served basis, they can't be reserved in advance and there are no sealed bids or auctions.
A maximum of 4 cards can be bought per person.
How do I become a buyer?
Potential buyers need to pre-register before the sale days. This is to make the sales process much quicker. You can register in person during the viewing days or by email: secret@rca.ac.uk. You will be given a registration number which you must bring with you on sale day.
What methods of payment do you accept?
Cash, cheque, debit and credit card.
What if I don't get the cards I have picked?
It is always a good idea to have alternative numbers of cards in case your first choices have been bought. Please keep a note of the numbers you would like to buy.
How long will I have to queue on sale day?
RCA Secret is very popular and the first day will be very busy. Try and come down an hour or two before the doors open at 8am. Please do not be tempted to camp outside the building as the College cannot take any responsibility for your health and safety. As it will be November please wear warm clothes or bring a blanket. Once the doors open the process moves fairly quickly and the queue usually subsides by about 12 noon.
Do all the best cards go in the first few hours?
Alot of the cards do sell quickly in the morning but many cards are usually still available in the afternoon and the next day. Please don't be discouraged if you can only come in the afternoon - you may be surprised how many big names are left!
Can I return the cards if I don't like them?
We will only make a refund if there has been a genuine mistake made and you have received incorrectly numbered cards.
Good luck!
Wednesday, July 19, 2006
Music as therapy secret postcard show
News of another secret postcard show hit me recently. This is the secret postcard show from the small but perfectly formed london based charity Music as Therapy.
The show featured postcards donated by artists which, true to form were anonymous on the front and were signed on the back. They cost the familiar sum of £35. You only get to find out the identity of the artist once you buy the postcard. Sound familiar?
The postcards are still available for viewing online.
Unfortunately this is written in the past tense as the sale has sadly come and gone. The friendly organisers tell me, however, that they are planning another sale next year and will keep me posted on the when and the where. The first sale was a great success and raised over £2,500. When I know the date of the next sale I will let you know. In the meantime I'm sure the charity would be happy for anyone's support.
Tuesday, May 30, 2006
RCA Summer Show review
On Sunday I went along to Part 1 of the Royal College of Art Summer show for graduating students.
As usual the college has put on a highly professional show which is well signed and a pleasure to walk round. The catalogue (both online and in print) is also well written and produced. Other art schools could really learn a thing or two from the way in which the RCA put on their show.
There were many highlights for me but to sum up a few of them:
Abigail Smith (painting) - beautiful, thought provoking intimately woven embroidered silk tapestries depicting what at first sight would appear to be traditional mythological scenes but look closer and you will see hints of a darker sexual nature. For me the highlight of the painting show.
Ursula Llewellyn (painting) - nude men, deceptive scales, well executed.
Brigida Mendes (photography) Original photos of old women - visual tricks with shadow and perception. In my opinion head and shoulders above the other photography offerings.
Ulrich Gebert (photography) much has been made of this talented young german artist. He shunned photography to produce a thought provoking piece on genetically modified crops and seeds. Well worth a second look.
Duncan Cook (Photography) this appealed to the scientist in me - pictures of marbles set up to look like the planets. Fun.
Nick Turvey (Glass) quite stunning pieces of coloured glass in all sorts of different tactile curves. I would have gone home with one of Nick's pieces if I could afford it!
Olivia Lowe absolutely beautiful silver vases for single stemmed flowers. Stunning. How do you put the water in though?
Adam Bridgland (printmaking) quirky 1950's style prints advertising a more wholesome time. Not totally original but well executed, quirky and amusing.
Well those are just some of the highlights but I would strongly suggest that you go along and see it for yourself. There is plenty of interesting stuff.
As usual the college has put on a highly professional show which is well signed and a pleasure to walk round. The catalogue (both online and in print) is also well written and produced. Other art schools could really learn a thing or two from the way in which the RCA put on their show.
There were many highlights for me but to sum up a few of them:
Abigail Smith (painting) - beautiful, thought provoking intimately woven embroidered silk tapestries depicting what at first sight would appear to be traditional mythological scenes but look closer and you will see hints of a darker sexual nature. For me the highlight of the painting show.
Ursula Llewellyn (painting) - nude men, deceptive scales, well executed.
Brigida Mendes (photography) Original photos of old women - visual tricks with shadow and perception. In my opinion head and shoulders above the other photography offerings.
Ulrich Gebert (photography) much has been made of this talented young german artist. He shunned photography to produce a thought provoking piece on genetically modified crops and seeds. Well worth a second look.
Duncan Cook (Photography) this appealed to the scientist in me - pictures of marbles set up to look like the planets. Fun.
Nick Turvey (Glass) quite stunning pieces of coloured glass in all sorts of different tactile curves. I would have gone home with one of Nick's pieces if I could afford it!
Olivia Lowe absolutely beautiful silver vases for single stemmed flowers. Stunning. How do you put the water in though?
Adam Bridgland (printmaking) quirky 1950's style prints advertising a more wholesome time. Not totally original but well executed, quirky and amusing.
Well those are just some of the highlights but I would strongly suggest that you go along and see it for yourself. There is plenty of interesting stuff.
Wednesday, May 24, 2006
RCA Show starts soon
The round of Art School summer shows has started with the Scuplture show at the Royal College of art starting on 25 May and the show Part 1 starting on 26 May 2006. Of all the Art school summer shows I find this one to be the most professionally run and an absolute pleasure to attend. It is also great for RCA secret research as many of the students showing will subsequently submit cards for the sale.
There is so much to see you could be there all day. The RCA have set up a dedicated website for the show.
Click here to be taken to it.
There is so much to see you could be there all day. The RCA have set up a dedicated website for the show.
Click here to be taken to it.
Tuesday, February 21, 2006
Postcards from the Edgy
Here is is an article originally published in the independent in 2003:
POSTCARDS FROM THE EDGY
Each year, the Royal College of Art sells `postcards' at pounds 35 each to raise money for its students. Most are by unknown artists, but a few are by the biggest names in the business. Caroline Wingfield meets the buyers who got lucky Portraits by Martin Salter
Caroline Wingfield
TIM SMITH
LEARNING SUPPORT ASSISTANT
"We only went once. I was supposed to be taking my two daughters Eppie (5) and India (2) to a swimming lesson but I thought: sod it! We were really in debt and we're really into art so instead I took them along to the exhibition. I said they could have a postcard each. India kept veering towards one postcard in particular and trying to pick it off the wall. As you can imagine the staff were getting a bit paranoid about it: there were no other children in there. I had a vague glance at it, wrote the number down and that was it really. It turned out to be the Damien Hirst severed finger (right). It's a red and black pen and ink drawing of a finger in a pool of blood. I suppose I was quite disturbed by the fact that she chose it, it's a strong image. I was just really surprised, and really pleased. We haven't mounted it yet, it's still down in the cellar. We were thinking of selling it because we haven't got much money. We had it valued at about pounds 900. I wouldn't sell it at that price, no way; we'll need to keep it for a few more years - it's not worth enough yet. But to be honest, I don't really want to sell it. What I'd like to do is pass it on to India as a legacy when she's 18. I want her to appreciate art: I think she does already!
I like it, yeah, of course I do, but I'd have liked it anyway, without knowing it was by him. I do generally like Hirst's art, I like the spots and the animals in formaldehyde; it makes you think about what they are, why he did it. It stimulates the brain and I like that aspect of it.
In a way, it has made me more interested in art. I work in a school and they've put me in the art department. That's partly because I used to be a lighting designer, but I get to look at lots of art books to get ideas; I help plan some work for some of the kids. The art tutors know we own the Hirst, but I haven't told anyone else.
I would like to go back to the exhibition, but I'd only go back to buy something I liked, I wouldn't go to gamble. I wouldn't deliberately go to try and get an artwork for nothing - I'd go to get a nice postcard. We were just lucky."
JUSTINE BELCHER
GRAPHIC DESIGNER
"I like the fact that it's affordable; you could get something by someone who is famous, or who might be famous in the future, and it could be worth a lot of money. I was working in the college shop and was there for the very first show. I particularly wanted to get a postcard by Bryan Kneale, who was professor of drawing at the time, so I went for his style. He's not the biggest name but he's a Royal Academician and his work sells for thousands of pounds, so to be able to buy a piece of his work for a relatively small amount of money was amazing. I think that's the wonderful thing about it. I used to queue but I find it a bit stressful actually. I think the earliest I went was 1am and it was freezing, there were no loos or anything.
There's that whole thing of: `Are there dealers here?' People get paranoid that not everyone is playing fair. You're standing there for hours talking about all sorts of stuff, but people don't want to divulge their numbers, just in case somebody in front of you buys what you want. It's all a bit cloak-and-dagger - it's a terribly serious business. I've bought an Elizabeth Blackadder, four John Bellanys and an Anna Maria Pacheco, which is gorgeous. I also have ones by various artists who aren't well known but they're just lovely pictures. It's so important to go for what you like. The nice thing is to wander, I always go and have a look, if there's anything I really fancy I might put myself out for it. But it's quite an investment in time and commitment, and there's the fact that you might not get it. One year I was disappointed, I didn't get all the numbers I wanted but then you have your back ups! It sounds crazy. I think my friends thought I was mad queuing for hours and getting so worked up about it. Now, having seen what I got, I think there's a bit of: `Oh I wish I'd done it, too'." f
WILLIAM HACKMAN
RECENT GRADUATE
"I've been up in the top ten of the queue pretty much every year. Before I set up camp I go to the White Cube Gallery, down Cork Street, and look on the internet to refresh my memory and see what the artists are up to. I'm not an expert, it's not residual knowledge, it's all crammed. I've been successful in that I've got what I've liked. I've got one Damien Hirst, which took me two guesses to get. That's the problem really: you have a limited number of choices, so do you risk it and go for the Hirst when he's notorious for being difficult to spot? I've gone for Cecil Rogers, Terry Frost (right), Ellie Howitt, Mary Fedden. I've just come out of university so for me it's a chance to acquire original art which I'd never be able to afford. Sometimes I buy limited-edition prints from the Serpentine. I'm interested in art and I paint oils and acrylics. I made a mistake the first couple of years, trying to go for the big names all the time - I guessed wrong or I was fooled by a current RCA student doing a good impression.
The atmosphere in the queue is really good, everyone's friendly, and we're like-minded in that we all appreciate art so there's common ground. We're quite reasonable too, you can go off for a few hours, do some shopping, get a bite to eat. You don't have to be there rigidly for the whole day; as long as you're there for the night. One year a couple from overseas put two chairs outside and went off to spend the night in a hotel. They were first but the regulars arrived and moved the chairs. If you're not going to stay the night then it's not on. I suppose there are rivalries. Sometimes number one and number two will declare which ones they're after because they know they'll get them. People lower down are always trying to get information. I can't be bothered with all of that so I just make up numbers and really confuse them all. This year I'm not going to do a single bit of research, and just go for what I like. Who knows - I might get a complete unknown who might be big in the future. If you're going to hang it up on the wall, you might as well like it and enjoy it."
CARLOS BRIONES
FOREIGN EXCHANGE OPERATIONS MANAGER
"The first time I went was in about 1997 when I bought an Ellie Howitt. I'd seen it on the front page of a magazine and it caught my attention. After that I read all the articles about the RCA sale and decided I would go along, but get there early. I queued up for two nights. I didn't have a tent at the time so I camped in a deck chair.
I have had a couple of disappointments but I haven't sold any of my postcards and I never would. I have more than 20 in my collection. One of my successes was Mary Fedden's The Melon. I didn't know her at the time, but I liked the picture so much I bought it. I did some research afterwards and to my astonishment found she was very famous. I've been buying her postcards ever since and I now have four. She is definitely my favourite. I also have the last postcard submitted by Terry Frost.
One year I bought three Nick Parks and had my photograph taken for the newspaper. My boss saw me and was really surprised; he had no idea what I'd been doing - I'd just taken the time off as holiday. He said, `You're mad queuing up for 62 hours' - I think I must be. I've bought a small tent for myself this year. As soon as the door opens you'll find me right at the front of the queue. It's fun, as the day comes for queuing up I feel excited, it's a new challenge every year. Once I'm in the queue and the sale starts to get nearer I get a feeling of relief that the day is coming. The ambience is very good, the people are very friendly and we look after one another." f
PETER SARGENT
RETIRED
"Various people have advised over the years to go for what you like, as opposed to going for the artist. If it isn't by them, it's disappointing because you haven't got what you thought you'd got - and is it worth looking at in its own right?
In the past a lot of my hobbies have been competitive. I found the proposition of the RCA show a challenge to what little knowledge I had, and I liked the possibility of a treasure hunt. 1999 was a big year: I was first in the queue. It's always a matter of guess-work: too early and you freeze for more nights than necessary, too late and you're not first. I did three days and two nights. I bought a Peter Howson and he's since become one of my favourites. In 2002 I got the Paula Rego: I was first in the queue again, but this time I went crazy. I thought I've got to do something that nobody else can beat, I'm going to get there first. I did eight days and nights. Although in the real depths of night you find cold coming up from below, generally speaking the air temperatures have been very kind. I'm not going to say how long I'll be camping out this year because there is this competitive situation, you don't want to give away your secrets. You need two things in your favour: a bit of understanding, so you can learn what to like, and a high position in the queue. The make- up of people definitely affects what activities they do, and that competitive urge is something that for good or ill I seem to have.
I spend a lot of time going round all the galleries and I take loads of newspaper clippings with me. It's a combination of my intense interest in the subject, which has lead me to study for an Open University degree in the arts, and knowledge for the forthcoming show. I got caught out one year by an artist who was doing very good impersonations of Terry Frost. I thought, `OK, you learn'. I was a bit put out because I wanted to own a Terry Frost like I wanted to own a Paula Rego. It's the connection you make with the artist. One thing I love about the exhibition is the young artists as they are still forming and changing."
GILL NOCK
MANAGER,
THE RCA SHOP
"The first year was incredible, you could just go in and choose. It's extremely competitive now and I'm afraid queuing for a week is beyond me. I do go in after it's all calmed down and you can still find some really good artists. I've only ever bought what I really like, because if you're caught out what's the point? I don't look at it as an investment, it's only for my own personal collection. Working in the shop means I've got to know certain students' work and I've often bought them, not because they're worth anything, but because they're very good painters.
My two favourites are an Anna Maria Pacheco and Nicola Hicks. The most well-known one I've got is a John Bellany, but I wouldn't necessarily say it was my favourite. I have to admit I did buy that because I knew it was his and I thought it would be a nice thing to say you owned. I am still pleased with it, and it's a good talking point; people instantly recognise it because it's `woman with fish on head'.
Listening to conversations in the queue you can tell some people do go there to strike gold, but I'd like to think the excitement of getting something they really like would take over in the end. You don't have to be an art buyer, you don't have to have a lot of money. If you've got a good eye, whatever you buy, so long as you like it, is worth buying for pounds 35. It's cheaper than buying a print. I think it's the most amazing opportunity. I hope it makes people feel more comfortable about looking at and buying art."
POSTCARDS FROM THE EDGY
Each year, the Royal College of Art sells `postcards' at pounds 35 each to raise money for its students. Most are by unknown artists, but a few are by the biggest names in the business. Caroline Wingfield meets the buyers who got lucky Portraits by Martin Salter
Caroline Wingfield
TIM SMITH
LEARNING SUPPORT ASSISTANT
"We only went once. I was supposed to be taking my two daughters Eppie (5) and India (2) to a swimming lesson but I thought: sod it! We were really in debt and we're really into art so instead I took them along to the exhibition. I said they could have a postcard each. India kept veering towards one postcard in particular and trying to pick it off the wall. As you can imagine the staff were getting a bit paranoid about it: there were no other children in there. I had a vague glance at it, wrote the number down and that was it really. It turned out to be the Damien Hirst severed finger (right). It's a red and black pen and ink drawing of a finger in a pool of blood. I suppose I was quite disturbed by the fact that she chose it, it's a strong image. I was just really surprised, and really pleased. We haven't mounted it yet, it's still down in the cellar. We were thinking of selling it because we haven't got much money. We had it valued at about pounds 900. I wouldn't sell it at that price, no way; we'll need to keep it for a few more years - it's not worth enough yet. But to be honest, I don't really want to sell it. What I'd like to do is pass it on to India as a legacy when she's 18. I want her to appreciate art: I think she does already!
I like it, yeah, of course I do, but I'd have liked it anyway, without knowing it was by him. I do generally like Hirst's art, I like the spots and the animals in formaldehyde; it makes you think about what they are, why he did it. It stimulates the brain and I like that aspect of it.
In a way, it has made me more interested in art. I work in a school and they've put me in the art department. That's partly because I used to be a lighting designer, but I get to look at lots of art books to get ideas; I help plan some work for some of the kids. The art tutors know we own the Hirst, but I haven't told anyone else.
I would like to go back to the exhibition, but I'd only go back to buy something I liked, I wouldn't go to gamble. I wouldn't deliberately go to try and get an artwork for nothing - I'd go to get a nice postcard. We were just lucky."
JUSTINE BELCHER
GRAPHIC DESIGNER
"I like the fact that it's affordable; you could get something by someone who is famous, or who might be famous in the future, and it could be worth a lot of money. I was working in the college shop and was there for the very first show. I particularly wanted to get a postcard by Bryan Kneale, who was professor of drawing at the time, so I went for his style. He's not the biggest name but he's a Royal Academician and his work sells for thousands of pounds, so to be able to buy a piece of his work for a relatively small amount of money was amazing. I think that's the wonderful thing about it. I used to queue but I find it a bit stressful actually. I think the earliest I went was 1am and it was freezing, there were no loos or anything.
There's that whole thing of: `Are there dealers here?' People get paranoid that not everyone is playing fair. You're standing there for hours talking about all sorts of stuff, but people don't want to divulge their numbers, just in case somebody in front of you buys what you want. It's all a bit cloak-and-dagger - it's a terribly serious business. I've bought an Elizabeth Blackadder, four John Bellanys and an Anna Maria Pacheco, which is gorgeous. I also have ones by various artists who aren't well known but they're just lovely pictures. It's so important to go for what you like. The nice thing is to wander, I always go and have a look, if there's anything I really fancy I might put myself out for it. But it's quite an investment in time and commitment, and there's the fact that you might not get it. One year I was disappointed, I didn't get all the numbers I wanted but then you have your back ups! It sounds crazy. I think my friends thought I was mad queuing for hours and getting so worked up about it. Now, having seen what I got, I think there's a bit of: `Oh I wish I'd done it, too'." f
WILLIAM HACKMAN
RECENT GRADUATE
"I've been up in the top ten of the queue pretty much every year. Before I set up camp I go to the White Cube Gallery, down Cork Street, and look on the internet to refresh my memory and see what the artists are up to. I'm not an expert, it's not residual knowledge, it's all crammed. I've been successful in that I've got what I've liked. I've got one Damien Hirst, which took me two guesses to get. That's the problem really: you have a limited number of choices, so do you risk it and go for the Hirst when he's notorious for being difficult to spot? I've gone for Cecil Rogers, Terry Frost (right), Ellie Howitt, Mary Fedden. I've just come out of university so for me it's a chance to acquire original art which I'd never be able to afford. Sometimes I buy limited-edition prints from the Serpentine. I'm interested in art and I paint oils and acrylics. I made a mistake the first couple of years, trying to go for the big names all the time - I guessed wrong or I was fooled by a current RCA student doing a good impression.
The atmosphere in the queue is really good, everyone's friendly, and we're like-minded in that we all appreciate art so there's common ground. We're quite reasonable too, you can go off for a few hours, do some shopping, get a bite to eat. You don't have to be there rigidly for the whole day; as long as you're there for the night. One year a couple from overseas put two chairs outside and went off to spend the night in a hotel. They were first but the regulars arrived and moved the chairs. If you're not going to stay the night then it's not on. I suppose there are rivalries. Sometimes number one and number two will declare which ones they're after because they know they'll get them. People lower down are always trying to get information. I can't be bothered with all of that so I just make up numbers and really confuse them all. This year I'm not going to do a single bit of research, and just go for what I like. Who knows - I might get a complete unknown who might be big in the future. If you're going to hang it up on the wall, you might as well like it and enjoy it."
CARLOS BRIONES
FOREIGN EXCHANGE OPERATIONS MANAGER
"The first time I went was in about 1997 when I bought an Ellie Howitt. I'd seen it on the front page of a magazine and it caught my attention. After that I read all the articles about the RCA sale and decided I would go along, but get there early. I queued up for two nights. I didn't have a tent at the time so I camped in a deck chair.
I have had a couple of disappointments but I haven't sold any of my postcards and I never would. I have more than 20 in my collection. One of my successes was Mary Fedden's The Melon. I didn't know her at the time, but I liked the picture so much I bought it. I did some research afterwards and to my astonishment found she was very famous. I've been buying her postcards ever since and I now have four. She is definitely my favourite. I also have the last postcard submitted by Terry Frost.
One year I bought three Nick Parks and had my photograph taken for the newspaper. My boss saw me and was really surprised; he had no idea what I'd been doing - I'd just taken the time off as holiday. He said, `You're mad queuing up for 62 hours' - I think I must be. I've bought a small tent for myself this year. As soon as the door opens you'll find me right at the front of the queue. It's fun, as the day comes for queuing up I feel excited, it's a new challenge every year. Once I'm in the queue and the sale starts to get nearer I get a feeling of relief that the day is coming. The ambience is very good, the people are very friendly and we look after one another." f
PETER SARGENT
RETIRED
"Various people have advised over the years to go for what you like, as opposed to going for the artist. If it isn't by them, it's disappointing because you haven't got what you thought you'd got - and is it worth looking at in its own right?
In the past a lot of my hobbies have been competitive. I found the proposition of the RCA show a challenge to what little knowledge I had, and I liked the possibility of a treasure hunt. 1999 was a big year: I was first in the queue. It's always a matter of guess-work: too early and you freeze for more nights than necessary, too late and you're not first. I did three days and two nights. I bought a Peter Howson and he's since become one of my favourites. In 2002 I got the Paula Rego: I was first in the queue again, but this time I went crazy. I thought I've got to do something that nobody else can beat, I'm going to get there first. I did eight days and nights. Although in the real depths of night you find cold coming up from below, generally speaking the air temperatures have been very kind. I'm not going to say how long I'll be camping out this year because there is this competitive situation, you don't want to give away your secrets. You need two things in your favour: a bit of understanding, so you can learn what to like, and a high position in the queue. The make- up of people definitely affects what activities they do, and that competitive urge is something that for good or ill I seem to have.
I spend a lot of time going round all the galleries and I take loads of newspaper clippings with me. It's a combination of my intense interest in the subject, which has lead me to study for an Open University degree in the arts, and knowledge for the forthcoming show. I got caught out one year by an artist who was doing very good impersonations of Terry Frost. I thought, `OK, you learn'. I was a bit put out because I wanted to own a Terry Frost like I wanted to own a Paula Rego. It's the connection you make with the artist. One thing I love about the exhibition is the young artists as they are still forming and changing."
GILL NOCK
MANAGER,
THE RCA SHOP
"The first year was incredible, you could just go in and choose. It's extremely competitive now and I'm afraid queuing for a week is beyond me. I do go in after it's all calmed down and you can still find some really good artists. I've only ever bought what I really like, because if you're caught out what's the point? I don't look at it as an investment, it's only for my own personal collection. Working in the shop means I've got to know certain students' work and I've often bought them, not because they're worth anything, but because they're very good painters.
My two favourites are an Anna Maria Pacheco and Nicola Hicks. The most well-known one I've got is a John Bellany, but I wouldn't necessarily say it was my favourite. I have to admit I did buy that because I knew it was his and I thought it would be a nice thing to say you owned. I am still pleased with it, and it's a good talking point; people instantly recognise it because it's `woman with fish on head'.
Listening to conversations in the queue you can tell some people do go there to strike gold, but I'd like to think the excitement of getting something they really like would take over in the end. You don't have to be an art buyer, you don't have to have a lot of money. If you've got a good eye, whatever you buy, so long as you like it, is worth buying for pounds 35. It's cheaper than buying a print. I think it's the most amazing opportunity. I hope it makes people feel more comfortable about looking at and buying art."
Having a wonderful time, wish you were sol le witt
Here is an old but very interesting article about Secret 2003 originally published in the New York Times:
LONDON WHEN I became an art historian, my mother decided that my only hope for financial security was to stumble on a Rembrandt at a garage sale. Last weekend was my chance. The Royal College of Art was holding its 10th annual R.C.A. Secret, an exhibition and fund-raiser that has become the best-loved gamble in British collecting.
The show features more than 2,000 postcard-size works by unknowns and genuine stars, including Sol LeWitt, Christo, Damien Hirst, Tracey Emin and the designer Alexander McQueen. The catch: none of the works are labeled. They all cost $60; you buy what you like, or what you think you can identify, but you don't find out what you've got until it's yours -- it's signed on the back.
The event has become so popular with bargain-hunting art lovers that people start camping out days in advance; the doors open to a crowd of hundreds. Clearly, to find my modern masterpiece I would have to get a very early start. My friends may have 401(k)'s, but I had a borrowed tent and a stack of degrees that say I can spot a Sol LeWitt at 30 paces.
Tuesday's preview was discouraging -- I saw nothing I thought was a LeWitt, just a dozen sloppy student attempts at minimalism. The Tracey Emins were obvious and strangely beautiful -- raw drawings of naked women. Surely they would be gone in a jiffy. The Christos were the biggest disappointment -- souvenir postcards of his famous projects, some of which, returning buyers told me, were the same as last year.
On Wednesday, after a research trip to some galleries, I decided to focus on two "breaking" artists: Grayson Perry and Sophie von Hellerman. Mr. Perry, a finalist for this year's Turner Prize, makes large ceramic vessels covered with dark, witty, sexually provocative drawings. He also has a transvestite alter ego named Claire. I was pretty sure I had spotted his postcards: a village scene made up entirely of penises and a portrait of a girl with blonde pigtails -- and hairy arms.
Ms. von Hellerman, a recent graduate of the Royal College of Art, creates large, moody canvases, sketching a scene with a few bold lines and washes of color. A natural storyteller, she was given her first solo show in 2001 by Charles Saatchi. Three loose watercolors in shades of black, blue and rusty pink were perfect examples of her style.
On Wednesday night, I pitched camp, 12th in line, to await the Friday sale. I expected to find myself surrounded by 21-year-old art students in search of famous artists. In fact, most of the hard-core campers were closer to 50 than 20 and were looking not for today's megastars, but for more traditional British artists -- Mary Fedden, Eileen Cooper, Peter Blake.
Austin Clarke, 53, flew in from Northern Ireland and camped for five nights to be first in line. Last year he'd gone home with a Damien Hirst. "It's a buzz," he admitted. "Brings out the kid in you." And he admired his competition: "These guys are an education. They don't have the money to buy the big stuff, but they know their art."
The elder statesman of the group was Peter Sargent, 74, a London suburbanite with cropped white hair and dressed in purple Gore-Tex. He had been coming to the sale since 1997. Last year he camped out for eight nights to be first in line for a postcard by the Portuguese artist Paula Rego.
Benjamin, 20, an American student of political science who declined to give his last name, had wedged himself in at No. 4. "There's some Machiavellian stuff behind the scenes," he said, "but in the end, gentlemen's rules apply. It's very civilized." Indeed. Each participant can buy only five cards. It turned out that Nos. 1, 2 and 3 all wanted Sol LeWitts and Mary Feddens. Instead of No. 1 hogging the goods, they decided to take one each.
Around 11 p.m., I settled in to get some sleep. Mummified in six layers, I could see my breath.
Thursday morning, trouble arrived in the form of a handsome law student, No. 20, who was wild about Mr. Perry. He spent the morning telling everyone how he had to have one. I suggested that he might be better off keeping his enthusiasm to himself. He ignored me, and by the end of the day, I was pretty sure the Perrys had been publicized beyond my reach. Happily, no one mentioned Ms. von Hellerman.
Thursday night was Thanksgiving; my friend Courtney brought me a piece of pumpkin pie at midnight. By that time I had refined my list: praying for the Perrys, confident of the von Hellermans and, just in case, a consolation prize -- a beautifully painted card by an unknown artist.
On Friday morning we lined up in front of six computers and two flat screens displaying a rolling list of numbers, which turned red when the postcard in question had been sold. As I moved up the line, I saw the Emins go. Then the first Grayson Perry was gone. A pause. I was almost there when the second one flashed red on the screen; No. 11, who 24 hours ago showed no interest in the Turner Prize nominee, went home with my phallic village.
I walked away with the three von Hellermans, a Nick Park for my husband's Christmas present and a sketch by Stephen Jones, a British hat designer, for Courtney, my midnight pumpkin fairy.
When I packed up my tent at noon, two Sol LeWitts were still at large (the top three in line had missed them; so had I), and an unimpressive drawing in ballpoint pen had been identified as a Damien Hirst.
On my way home, I began to consider how to frame my new mini-collection. I wondered if my von Hellermans were a real prize or just hype. My thoughts turned to friend who had bought Warhol when Andy still had brown hair and Pop was still soda. Sophie, my money's on you.
LONDON WHEN I became an art historian, my mother decided that my only hope for financial security was to stumble on a Rembrandt at a garage sale. Last weekend was my chance. The Royal College of Art was holding its 10th annual R.C.A. Secret, an exhibition and fund-raiser that has become the best-loved gamble in British collecting.
The show features more than 2,000 postcard-size works by unknowns and genuine stars, including Sol LeWitt, Christo, Damien Hirst, Tracey Emin and the designer Alexander McQueen. The catch: none of the works are labeled. They all cost $60; you buy what you like, or what you think you can identify, but you don't find out what you've got until it's yours -- it's signed on the back.
The event has become so popular with bargain-hunting art lovers that people start camping out days in advance; the doors open to a crowd of hundreds. Clearly, to find my modern masterpiece I would have to get a very early start. My friends may have 401(k)'s, but I had a borrowed tent and a stack of degrees that say I can spot a Sol LeWitt at 30 paces.
Tuesday's preview was discouraging -- I saw nothing I thought was a LeWitt, just a dozen sloppy student attempts at minimalism. The Tracey Emins were obvious and strangely beautiful -- raw drawings of naked women. Surely they would be gone in a jiffy. The Christos were the biggest disappointment -- souvenir postcards of his famous projects, some of which, returning buyers told me, were the same as last year.
On Wednesday, after a research trip to some galleries, I decided to focus on two "breaking" artists: Grayson Perry and Sophie von Hellerman. Mr. Perry, a finalist for this year's Turner Prize, makes large ceramic vessels covered with dark, witty, sexually provocative drawings. He also has a transvestite alter ego named Claire. I was pretty sure I had spotted his postcards: a village scene made up entirely of penises and a portrait of a girl with blonde pigtails -- and hairy arms.
Ms. von Hellerman, a recent graduate of the Royal College of Art, creates large, moody canvases, sketching a scene with a few bold lines and washes of color. A natural storyteller, she was given her first solo show in 2001 by Charles Saatchi. Three loose watercolors in shades of black, blue and rusty pink were perfect examples of her style.
On Wednesday night, I pitched camp, 12th in line, to await the Friday sale. I expected to find myself surrounded by 21-year-old art students in search of famous artists. In fact, most of the hard-core campers were closer to 50 than 20 and were looking not for today's megastars, but for more traditional British artists -- Mary Fedden, Eileen Cooper, Peter Blake.
Austin Clarke, 53, flew in from Northern Ireland and camped for five nights to be first in line. Last year he'd gone home with a Damien Hirst. "It's a buzz," he admitted. "Brings out the kid in you." And he admired his competition: "These guys are an education. They don't have the money to buy the big stuff, but they know their art."
The elder statesman of the group was Peter Sargent, 74, a London suburbanite with cropped white hair and dressed in purple Gore-Tex. He had been coming to the sale since 1997. Last year he camped out for eight nights to be first in line for a postcard by the Portuguese artist Paula Rego.
Benjamin, 20, an American student of political science who declined to give his last name, had wedged himself in at No. 4. "There's some Machiavellian stuff behind the scenes," he said, "but in the end, gentlemen's rules apply. It's very civilized." Indeed. Each participant can buy only five cards. It turned out that Nos. 1, 2 and 3 all wanted Sol LeWitts and Mary Feddens. Instead of No. 1 hogging the goods, they decided to take one each.
Around 11 p.m., I settled in to get some sleep. Mummified in six layers, I could see my breath.
Thursday morning, trouble arrived in the form of a handsome law student, No. 20, who was wild about Mr. Perry. He spent the morning telling everyone how he had to have one. I suggested that he might be better off keeping his enthusiasm to himself. He ignored me, and by the end of the day, I was pretty sure the Perrys had been publicized beyond my reach. Happily, no one mentioned Ms. von Hellerman.
Thursday night was Thanksgiving; my friend Courtney brought me a piece of pumpkin pie at midnight. By that time I had refined my list: praying for the Perrys, confident of the von Hellermans and, just in case, a consolation prize -- a beautifully painted card by an unknown artist.
On Friday morning we lined up in front of six computers and two flat screens displaying a rolling list of numbers, which turned red when the postcard in question had been sold. As I moved up the line, I saw the Emins go. Then the first Grayson Perry was gone. A pause. I was almost there when the second one flashed red on the screen; No. 11, who 24 hours ago showed no interest in the Turner Prize nominee, went home with my phallic village.
I walked away with the three von Hellermans, a Nick Park for my husband's Christmas present and a sketch by Stephen Jones, a British hat designer, for Courtney, my midnight pumpkin fairy.
When I packed up my tent at noon, two Sol LeWitts were still at large (the top three in line had missed them; so had I), and an unimpressive drawing in ballpoint pen had been identified as a Damien Hirst.
On my way home, I began to consider how to frame my new mini-collection. I wondered if my von Hellermans were a real prize or just hype. My thoughts turned to friend who had bought Warhol when Andy still had brown hair and Pop was still soda. Sophie, my money's on you.
Wednesday, January 25, 2006
RCA Secret 2005 by bourgeois wife
I love this article posted by blogger Bourgeois wife. To see the original go to her blog:
A royal robbery
'It's 8am on a November morning and the temperature's hovering somewhere around minus three. The weather forecast predicts the worst blizzards in a decade. What shall we do?'
'I know, let's put on some flimsy clothing and forget to eat breakfast. Then let's stand outside in the cold for four hours, queueing to buy a £35 piece of lazily-scribbled tat that purports to be art!'
'What a resoundingly fucking brilliant idea. Let's do that!'
And herein lies the success of the Royal College of Art's annual Secret Sale.
The idea is simple. RCA graduates past and present contribute a postcard-sized piece of work. Every one is priced £35 and nothing is signed or labelled - you're not told who the artist is until you've paid for the piece. Since past RCA students have gone on to enjoy swizzy careers, there is a chance you could go home with a Damien Hirst, Tracey Emin, Julian Opie or David Bailey. Or you could not. More than 2,000 artists take part and approximately 15 of those are big names - you work out the chances.
It's a brilliant wheeze in that it appeals both to people's greed and their vanity. Every Guardian-reading, Tate Modern-frequenting, Grim-Up-North-London nonce likes to think they could spot an Emin at 50 paces. And what if they managed to grab one for £35? Just think of the kudos! Oh, how they could brag over the griddled aubergine at Ottolenghi! Everyone at the Duke of Cambridge would be green. And think what it would fetch on Ebay! (Although it's not done to verbalise this last thought. I said as much and was bollocked by some mealy-mouthed twerp who said it was 'not in the spirit of the event'. What a liar.)
The sale opens at 8am and attracts somewhere in the region of two billion people, all desperate to get their hands on some art, and all in front of me in the queue. Many have camped out overnight (although as of next year, this will be banned, thanks to 'unsanitary practices'). By the time I eventually got to the cashdesk, there were about 10 postcards left. One of which was a photograph of a poo with a flag in it. I'm not joking.
But, having waited that long, I wasn't about to go home empty handed. I limited myself to one; Husband got carried away and bought four, the maximum purchase allowed. I don't think Charles Saatchi will be shitting his pants, somehow. Our artists are total nobodies, without so much as a Google entry to their name. Actually, that's not strictly true - mine is a professor at the University of Richmond, although I have serious doubts there's any such place.
What's really annoying is that yesterday I saw a genuinely lovely picture, framed, for the same price as these five stupid postcards I have no idea what to do with. You'd think I'd have learned something from the Stella-McCartney-at-H&M experience. But no.
A royal robbery
'It's 8am on a November morning and the temperature's hovering somewhere around minus three. The weather forecast predicts the worst blizzards in a decade. What shall we do?'
'I know, let's put on some flimsy clothing and forget to eat breakfast. Then let's stand outside in the cold for four hours, queueing to buy a £35 piece of lazily-scribbled tat that purports to be art!'
'What a resoundingly fucking brilliant idea. Let's do that!'
And herein lies the success of the Royal College of Art's annual Secret Sale.
The idea is simple. RCA graduates past and present contribute a postcard-sized piece of work. Every one is priced £35 and nothing is signed or labelled - you're not told who the artist is until you've paid for the piece. Since past RCA students have gone on to enjoy swizzy careers, there is a chance you could go home with a Damien Hirst, Tracey Emin, Julian Opie or David Bailey. Or you could not. More than 2,000 artists take part and approximately 15 of those are big names - you work out the chances.
It's a brilliant wheeze in that it appeals both to people's greed and their vanity. Every Guardian-reading, Tate Modern-frequenting, Grim-Up-North-London nonce likes to think they could spot an Emin at 50 paces. And what if they managed to grab one for £35? Just think of the kudos! Oh, how they could brag over the griddled aubergine at Ottolenghi! Everyone at the Duke of Cambridge would be green. And think what it would fetch on Ebay! (Although it's not done to verbalise this last thought. I said as much and was bollocked by some mealy-mouthed twerp who said it was 'not in the spirit of the event'. What a liar.)
The sale opens at 8am and attracts somewhere in the region of two billion people, all desperate to get their hands on some art, and all in front of me in the queue. Many have camped out overnight (although as of next year, this will be banned, thanks to 'unsanitary practices'). By the time I eventually got to the cashdesk, there were about 10 postcards left. One of which was a photograph of a poo with a flag in it. I'm not joking.
But, having waited that long, I wasn't about to go home empty handed. I limited myself to one; Husband got carried away and bought four, the maximum purchase allowed. I don't think Charles Saatchi will be shitting his pants, somehow. Our artists are total nobodies, without so much as a Google entry to their name. Actually, that's not strictly true - mine is a professor at the University of Richmond, although I have serious doubts there's any such place.
What's really annoying is that yesterday I saw a genuinely lovely picture, framed, for the same price as these five stupid postcards I have no idea what to do with. You'd think I'd have learned something from the Stella-McCartney-at-H&M experience. But no.
Thursday, January 12, 2006
Lefteris Heretakis's take on RCA secret
Lefteris is one of the artists who contributes to RCA Secret. He is also a member and contributor to the rca secret yahoo groups. Here is his take on RCA secret:
"As a practicing illustrator, RCA Secret is a great opportunity to be completely
free of
any limitations that apply to the real world. It is a lot different for the fine
artists of the
group. Being anonymous initially is also fun. Overall, RCA Secret is an amzing
experience."
"As a practicing illustrator, RCA Secret is a great opportunity to be completely
free of
any limitations that apply to the real world. It is a lot different for the fine
artists of the
group. Being anonymous initially is also fun. Overall, RCA Secret is an amzing
experience."
Monday, December 19, 2005
Secret Postcards for Sale?
Secret Postcards for Sale?
Do you have any postcards from previous RCA Secrets sale you want to sell? If so why not advertise them on the RCA Secret yahoo group. I’ll also post any adverts up on this blog as well. Just send me the details. Who knows I may make you an offer for a postcard myself.
Do you have any postcards from previous RCA Secrets sale you want to sell? If so why not advertise them on the RCA Secret yahoo group. I’ll also post any adverts up on this blog as well. Just send me the details. Who knows I may make you an offer for a postcard myself.
RCA Secret 2005
RCA Secret 2005
This year the college said that they would publish the cards on the internet (this had not been done in 2004). Also the other big difference was that the number of cards that could be purchased at the exhibition was reduced from 5 to 4. Initially I was disappointed about this change but then in retrospect thought that for the likes of me who is only prepared to queue for one night it might actually make my chances of getting my first choice cards even higher.
Lisa and I went to see the sale on Sunday but unfortunately with the kids in tow didn’t have a brilliant opportunity to look at the cards in depth. I did however, straight away, spot two cards by Susie Hamilton that I absolutely loved and they went right to the top of the list. Most ridiculously there were no less than 11 tents outside already, with 5 days to go before the sale.
Some notable absentees from the list of contributors. No Nick Park in particular. To make up for that there were some high profile new contributors who I had not been at the show before: David Bailey and Nan Goldin to name two. Also contributing this year were artists such as Paula Rego and Olafur Eliasson (contrary to some of the press coverage both had actually contributed to RCA Secret before).
Anyway after my initial viewing on Sunday I thought that I would be able to spend a good few hours looking at the cards on the internet to narrow down my choices. In the end the cards only appeared on the internet on the Wednesday evening which gave me precious little time to look at them with Lisa and go through and make out selections.
In light of that I determined to get to the queue earlier than I had ever got there before and duly arrived around 10am on the Thursday to wait for the Friday sale.
London was in the midst of a terrible cold snap of weather and therefore it was absolutely freezing. Despite my 5 layers and my superwarm North Face coat I was absolutely freezing as I stood outside and erected my tent (a new purchase from Ebay specifically for that sale). Once the tent was erected my mate Dan pitched up and installed his tent next to me. We then waited for the next person in the queue to turn up (John) and then went inside the exhibition.
For the next 6 hours I spent this happily browsing the cards and refining my selections. In the meantime more familiar faces turned up. Hugh More was there already having turned up even earlier than me at around 8am. John MacMahon was the next “regular” as he turned up around 3pm with his cardboard box and sleeping bag. Shortly after John turned up there was the most incredible storm which biting rain and strong winds. I retreated to my tent in order to protect it as I genuinely thought it would blow away.
Chris Jones was next turning up about 4ish and rushing round the exhibition adding to his list.
As usual we exchanged tips and had a laugh and a joke. John got out a bottle of vodka which was very warming in the harsh temperatures.
I went off with Dan about 7.30 to a local burger bar to get a burger and chips and could tell that he was flagging. After our burgers we returned to queue for more vodka and a spot of whisky just to take the cold off.
At about 10pm Dan announced that he was so cold and uncomfortable that he was going home. I can’t really blame him by that stage it was absolutely freezing.
I stayed and John MacMahon got his laptop out and showed us all the cards he had downloaded from the internet. About 12pm we turned in and tried to get some sleep. I was glad for my tent which kept out the worst of the cold and the spots of rain (luckily it was a most dry night). It seems that next year I won’t be able to use my tent as the RCA have banned tents due to some “unsanitary practices”. I have mixed feeling about this. I agree with the college that it has become silly that people are queuing for so long. When you see how some of them look after their 2 weeks camping on the streets I question the wisdom of them doing it for their own health. Also with people camping that long I can understand the local residents frustration. Nevertheless you have to hand it to these guys: Austin, Carlos, Peter etc. They are all great guys and they love contemporary art. They are what makes the RCA Secret exhibition what it is and without them it just wouldn’t be the same.
Anyway eventually after the coldest might yet we eventually started packing up our tents and formed an orderly queue. As usual there were a couple of queue bargers who were told in no uncertain terms that they should go to the back of the queue. I cannot for the life of me understand these people as they display the most incredible arrogance when challenged.
Anyway once the tickets were handed out I found out that I was 23 in the queue. Not only was I the furthest up the queue I had ever been but also with only 4 cards being sold to each person in front of me I reckoned I had a really good chance of getting my first choices.
Well in the end I didn’t quite get my first choices but I did the following:
Susie Hamilton (number 48) - my number 1 choice and favourite card. Pictured on the left.
Nigel Rolfe (number 2437) - a card I just really liked. I had no idea who it was by. I'd not heard of Nigel Rolfe before but apparently he is a visiting professor at the RCA.
Boyd and Evans – (number 2371) – I love the work by these two.
Eileen cooper (number 2396) - an Eileen cooper card without an animal on it in sight!
This year the college said that they would publish the cards on the internet (this had not been done in 2004). Also the other big difference was that the number of cards that could be purchased at the exhibition was reduced from 5 to 4. Initially I was disappointed about this change but then in retrospect thought that for the likes of me who is only prepared to queue for one night it might actually make my chances of getting my first choice cards even higher.Lisa and I went to see the sale on Sunday but unfortunately with the kids in tow didn’t have a brilliant opportunity to look at the cards in depth. I did however, straight away, spot two cards by Susie Hamilton that I absolutely loved and they went right to the top of the list. Most ridiculously there were no less than 11 tents outside already, with 5 days to go before the sale.
Some notable absentees from the list of contributors. No Nick Park in particular. To make up for that there were some high profile new contributors who I had not been at the show before: David Bailey and Nan Goldin to name two. Also contributing this year were artists such as Paula Rego and Olafur Eliasson (contrary to some of the press coverage both had actually contributed to RCA Secret before).
Anyway after my initial viewing on Sunday I thought that I would be able to spend a good few hours looking at the cards on the internet to narrow down my choices. In the end the cards only appeared on the internet on the Wednesday evening which gave me precious little time to look at them with Lisa and go through and make out selections.
In light of that I determined to get to the queue earlier than I had ever got there before and duly arrived around 10am on the Thursday to wait for the Friday sale.
London was in the midst of a terrible cold snap of weather and therefore it was absolutely freezing. Despite my 5 layers and my superwarm North Face coat I was absolutely freezing as I stood outside and erected my tent (a new purchase from Ebay specifically for that sale). Once the tent was erected my mate Dan pitched up and installed his tent next to me. We then waited for the next person in the queue to turn up (John) and then went inside the exhibition.
For the next 6 hours I spent this happily browsing the cards and refining my selections. In the meantime more familiar faces turned up. Hugh More was there already having turned up even earlier than me at around 8am. John MacMahon was the next “regular” as he turned up around 3pm with his cardboard box and sleeping bag. Shortly after John turned up there was the most incredible storm which biting rain and strong winds. I retreated to my tent in order to protect it as I genuinely thought it would blow away.
Chris Jones was next turning up about 4ish and rushing round the exhibition adding to his list.
As usual we exchanged tips and had a laugh and a joke. John got out a bottle of vodka which was very warming in the harsh temperatures.
I went off with Dan about 7.30 to a local burger bar to get a burger and chips and could tell that he was flagging. After our burgers we returned to queue for more vodka and a spot of whisky just to take the cold off.
At about 10pm Dan announced that he was so cold and uncomfortable that he was going home. I can’t really blame him by that stage it was absolutely freezing.
I stayed and John MacMahon got his laptop out and showed us all the cards he had downloaded from the internet. About 12pm we turned in and tried to get some sleep. I was glad for my tent which kept out the worst of the cold and the spots of rain (luckily it was a most dry night). It seems that next year I won’t be able to use my tent as the RCA have banned tents due to some “unsanitary practices”. I have mixed feeling about this. I agree with the college that it has become silly that people are queuing for so long. When you see how some of them look after their 2 weeks camping on the streets I question the wisdom of them doing it for their own health. Also with people camping that long I can understand the local residents frustration. Nevertheless you have to hand it to these guys: Austin, Carlos, Peter etc. They are all great guys and they love contemporary art. They are what makes the RCA Secret exhibition what it is and without them it just wouldn’t be the same.
Anyway eventually after the coldest might yet we eventually started packing up our tents and formed an orderly queue. As usual there were a couple of queue bargers who were told in no uncertain terms that they should go to the back of the queue. I cannot for the life of me understand these people as they display the most incredible arrogance when challenged.
Anyway once the tickets were handed out I found out that I was 23 in the queue. Not only was I the furthest up the queue I had ever been but also with only 4 cards being sold to each person in front of me I reckoned I had a really good chance of getting my first choices.
Well in the end I didn’t quite get my first choices but I did the following:
Susie Hamilton (number 48) - my number 1 choice and favourite card. Pictured on the left.Nigel Rolfe (number 2437) - a card I just really liked. I had no idea who it was by. I'd not heard of Nigel Rolfe before but apparently he is a visiting professor at the RCA.
Boyd and Evans – (number 2371) – I love the work by these two.
Eileen cooper (number 2396) - an Eileen cooper card without an animal on it in sight!
Marianne Levy's RCA Secret 2005
Royal College of Art Secret Postcards (30.11.05)
I rose at four am.In fact, I didn't. I couldn't. It turns out that I can't. But I rose at ten past four, which really wasn't bad. Then I pulled on all the warm clothing I'd laid out the night before (at this point I felt like I was going on a school trip) said goodbye to John, who, because he is odd, hadn't managed to go to sleep, and then ventured out into the cold. The idea was to arrive just before the first tubes started dropping people there at 5.45.The Cold. It was so very, very cold. I have a super long scarf which I never wear because I look like a mollycoddled six year old in it. But on that chilly Friday, the scarf was my best friend.
I night bussed down to Kensington, and found the queue. It didn't look too bad, just the tents I'd seen a few days before, and the odd huddled person. Then I followed it round the corner and Oh! Oh! there were lots of people. I broke into a small, embarrased trot and took my place. It was dark. It was cold. It was 5.20am.I later found out I was somewhere between 94 and 102 in the queue (two different numbers given to me by RCA staff). A minute or two later a bloke called Jim from Guildford turned up, and then a young man whose name I clearly never bothered to commit to memory, but who I do remember is an investment banker. I'd already tried to exchange a few words with the man in front of me, but he wasn't having any. So it was me, Jim and investment banker.
Here is a picture of me at about 5.30 am. I was already quite cold. This didn't really improve.
So for two and a half hours I queued. On the down side I lost the feeling in all my toes, and, weirdly, my bottom. On the up side I got to realise my ambition of listening to the bleeps that signal the beginning of the Today programme. (Here I ought to point out that this isn't a proper ambition. It was just something I'd always vaguely wanted to do, but only when I thought about it and only when I was bored.)
At just before eight the queue shuffled forwards as people packed up their tents. There was a general sense of anticipation, and people started emerging from their coats; red snuffly noses bared to the dawn. We all started to discuss which postcards we wanted. No one around me was there to try to get anything by someone famous, like me they just fancied getting some cheap, fun art. A woman behind me said that last year she'd had a list of forty, and by the time she'd got to the desk only one of them was still there. I had a list of ten, and only four were for me. A cold hand gripped my heart. Or at least, it ought to have done, but my heart was probably already so cold that it had gone numb.
Then, just after eight, they let us in and my feet thawed out. The man ahead of me in the queue became unexpectedly chatty, but since by that time I'd stood next to him in near silence for nearly three hours I didn't know how to talk to him. Then, after another half an hour, we emerged into The Room Where You Buy The Postcards.
The Room Where You Buy The Postcards was a Bad Place. You queued up and down in a Disney Style formation, all the while watching this screen. It flicked up and down the numbers, and, as each card was sold that number went red. Everyone got out their flimsy bits of paper and started fixedly at it. Once every few minutes someone near me would shake their head and cross a number off their list. People were only allowed to buy four postcards, so, given that there were a hundred people ahead of me, that meant that 400 of 2000 + had gone. But that still meant that everyone round me didn't get their ultimate first choice. I didn't either; the poodle I liked went ten minutes before I got to the desk. So, art is very subjective, but not that subjective. Interesting.
I made it to the desk. I got my second choice postcard, and Beth's third choice. I decided I didn't like the poodle that much anyway. I paid. I relaxed.
Then I went round the corner to collect them, and managed to snap a picture of my postcard while it was still on display. It is the bear. Isn't he lovely?
While I waited I watched a woman interview a young man who'd managed to get four postcards by people like Grayson Perry. But I didn't see the actual cards so I can't tell you which ones they were, and I couldn't work out what channel she was from, so I couldn't watch the report.
And then, finally, four hours after I'd arrived, a runner went and got my cards, and I staggered out into the sun. And then back to bed. Would I do it again? Maybe, I'm not sure. It was cold and horrible and stressful and exciting and satisfying. Anyone want to come with me next year?
I rose at four am.In fact, I didn't. I couldn't. It turns out that I can't. But I rose at ten past four, which really wasn't bad. Then I pulled on all the warm clothing I'd laid out the night before (at this point I felt like I was going on a school trip) said goodbye to John, who, because he is odd, hadn't managed to go to sleep, and then ventured out into the cold. The idea was to arrive just before the first tubes started dropping people there at 5.45.The Cold. It was so very, very cold. I have a super long scarf which I never wear because I look like a mollycoddled six year old in it. But on that chilly Friday, the scarf was my best friend.
I night bussed down to Kensington, and found the queue. It didn't look too bad, just the tents I'd seen a few days before, and the odd huddled person. Then I followed it round the corner and Oh! Oh! there were lots of people. I broke into a small, embarrased trot and took my place. It was dark. It was cold. It was 5.20am.I later found out I was somewhere between 94 and 102 in the queue (two different numbers given to me by RCA staff). A minute or two later a bloke called Jim from Guildford turned up, and then a young man whose name I clearly never bothered to commit to memory, but who I do remember is an investment banker. I'd already tried to exchange a few words with the man in front of me, but he wasn't having any. So it was me, Jim and investment banker.
Here is a picture of me at about 5.30 am. I was already quite cold. This didn't really improve.So for two and a half hours I queued. On the down side I lost the feeling in all my toes, and, weirdly, my bottom. On the up side I got to realise my ambition of listening to the bleeps that signal the beginning of the Today programme. (Here I ought to point out that this isn't a proper ambition. It was just something I'd always vaguely wanted to do, but only when I thought about it and only when I was bored.)
At just before eight the queue shuffled forwards as people packed up their tents. There was a general sense of anticipation, and people started emerging from their coats; red snuffly noses bared to the dawn. We all started to discuss which postcards we wanted. No one around me was there to try to get anything by someone famous, like me they just fancied getting some cheap, fun art. A woman behind me said that last year she'd had a list of forty, and by the time she'd got to the desk only one of them was still there. I had a list of ten, and only four were for me. A cold hand gripped my heart. Or at least, it ought to have done, but my heart was probably already so cold that it had gone numb.
Then, just after eight, they let us in and my feet thawed out. The man ahead of me in the queue became unexpectedly chatty, but since by that time I'd stood next to him in near silence for nearly three hours I didn't know how to talk to him. Then, after another half an hour, we emerged into The Room Where You Buy The Postcards.
The Room Where You Buy The Postcards was a Bad Place. You queued up and down in a Disney Style formation, all the while watching this screen. It flicked up and down the numbers, and, as each card was sold that number went red. Everyone got out their flimsy bits of paper and started fixedly at it. Once every few minutes someone near me would shake their head and cross a number off their list. People were only allowed to buy four postcards, so, given that there were a hundred people ahead of me, that meant that 400 of 2000 + had gone. But that still meant that everyone round me didn't get their ultimate first choice. I didn't either; the poodle I liked went ten minutes before I got to the desk. So, art is very subjective, but not that subjective. Interesting.
I made it to the desk. I got my second choice postcard, and Beth's third choice. I decided I didn't like the poodle that much anyway. I paid. I relaxed.
Then I went round the corner to collect them, and managed to snap a picture of my postcard while it was still on display. It is the bear. Isn't he lovely? While I waited I watched a woman interview a young man who'd managed to get four postcards by people like Grayson Perry. But I didn't see the actual cards so I can't tell you which ones they were, and I couldn't work out what channel she was from, so I couldn't watch the report.
And then, finally, four hours after I'd arrived, a runner went and got my cards, and I staggered out into the sun. And then back to bed. Would I do it again? Maybe, I'm not sure. It was cold and horrible and stressful and exciting and satisfying. Anyone want to come with me next year?
Friday, December 16, 2005
RCA Secret 2004
RCA SECRET 2004
This year I resolved that I would get there by no later than lunchtime. The cards were not published on the internet and therefore I had only had the previous Sunday to look at the cards and to make my original list.
By arriving at around 12 noon it gave me the chance to look round the exhibition all afternoon and make my selection. I spent this time with by now the usual suspects - John, Hugh and Chris. As usual we compared notes and exchanged information on who we thought had done what.
The night passed reasonably uneventfully. I had a terrible cold and had had a bit of Jack Daniels and coke before I went to sleep so I am afraid that I snored a bit something which my next door neighbour in the queue probably wasn't best pleased about.
Again eventually the waiting was over and we filled into the hall to buy our cards.
I was much more organised with my list this year and had a much better structure about what I was going to ask for. By the time I got to the front all the talk around me was whether the Nick Park's had gone (they hadn't).
When I got to the front I therefore excitedly read out each of the Nick Park numbers. The first three numbers had all gone but then I struck lucky on number 4 and a Nick Park was mine.
I also got a card I had identified as the only Ray Richardson at the exhibition (a lovely little pencil drawing of a dog); a lovely abstract oil painting on board by Vicky Finding; a signature piece card by recent graduate of the RCA Debbie Lawson and, most exctingly, an abstract of a house that both me and Lisa had fallen in love with. It was only when the card was turned over that I saw it was by Donald Hamilton Fraser RA- a real piece of luck.
In fact our luck continued to be in as Lisa and I went back to the exhibition the following day and bought two cards by Lawrence Weiner and one by the Sculptor David Nash.
A great year.
This year I resolved that I would get there by no later than lunchtime. The cards were not published on the internet and therefore I had only had the previous Sunday to look at the cards and to make my original list.
By arriving at around 12 noon it gave me the chance to look round the exhibition all afternoon and make my selection. I spent this time with by now the usual suspects - John, Hugh and Chris. As usual we compared notes and exchanged information on who we thought had done what.
The night passed reasonably uneventfully. I had a terrible cold and had had a bit of Jack Daniels and coke before I went to sleep so I am afraid that I snored a bit something which my next door neighbour in the queue probably wasn't best pleased about.
Again eventually the waiting was over and we filled into the hall to buy our cards.
I was much more organised with my list this year and had a much better structure about what I was going to ask for. By the time I got to the front all the talk around me was whether the Nick Park's had gone (they hadn't).
When I got to the front I therefore excitedly read out each of the Nick Park numbers. The first three numbers had all gone but then I struck lucky on number 4 and a Nick Park was mine.
I also got a card I had identified as the only Ray Richardson at the exhibition (a lovely little pencil drawing of a dog); a lovely abstract oil painting on board by Vicky Finding; a signature piece card by recent graduate of the RCA Debbie Lawson and, most exctingly, an abstract of a house that both me and Lisa had fallen in love with. It was only when the card was turned over that I saw it was by Donald Hamilton Fraser RA- a real piece of luck.
In fact our luck continued to be in as Lisa and I went back to the exhibition the following day and bought two cards by Lawrence Weiner and one by the Sculptor David Nash.
A great year.
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