Halfway through the Royal Academy’s Summer Exhibition, I was woken up by Jesus (but more on this shortly). Suddenly, as I came to, the whole place appeared alive and more and more good stuff leapt out from the 1,600 works on view. What’s that upsidedown stag? It’s by the 87-year-old German master Georg Baselitz. As for those convex mirrors above your head, reflecting you and the floor in radical foreshortening, that’s an installation by Cornelia Parker. In the same room hang eviscerated animal carcasses hooked up on chains, made of textiles by Tamara Kostianovsky.
But it’s Jesus who lifts this exhibition out of the ordinary. He moves towards you like a shark in the illusion created by Tracey Emin’s painting The Crucifixion. And like a shark, he is frightening. I thought art had lost its capacity to shock. But what can be more shocking than a celebrated 21st-century artist sincerely painting the passion? Emin shows another work before this startling, upsetting show-stopper – an outsized, melancholy portrait print. It makes you wonder and worry: is the artist OK? And even, is the artist any good? This female face is so broadly sketched it’s a bit clumsy, and yet you can’t forget it.
