RA Schools Show 2023 @ Royal Academy of Arts, London

RA Schools Show 2023 

Royal Academy of Arts, London

8 June – 25 June 2023

Elinor Stanley 

Lurcher, 2022 

Oil on canvas, 180x220cm (diptych). 

Courtesy of the artist

Rachel Hobkirk 

Too Much Haha, Very Soon Boohoo, 2022 

Oil on linen, 120 x 160cm 

Courtesy of the artist

Mary Stephenson 

Deep Pool, 2022 

Oil on canvas, 90 x 200cm. 

Image courtesy of Tom Carter

The RA Schools Show 2023 presents the work of 14 contemporary artists graduating from the Royal Academy Schools this year: Motunrayo Akinola, Nancy Allen, Daria Blum, Max Boyla, Daniel Davies, Enej Gala, Anna Higgins, Rachel Hobkirk, Clark Keatley, Louis Morlæ, Thirza Smith, Elinor Stanley, Mary Stephenson and Oliver Tirré.

The exhibition marks the public culmination of an intensive period of study that encourages experimental and discursive approaches to artmaking. Through 14 individual presentations, the exhibition explores different perspectives of the world through its diverse forms, materials, stories, and politics. It includes a wide range of media from sculpture, painting and print to performance, installation and moving image.

Artwork on display include large-scale paintings where the figure in the foreground creates a sense of vertigo, a digital manipulation and animation that brings sculptures to life, a gigantic hanging mobile made from wood pulp, music-influenced performances that make and break multiple selves, and a purring sculpture that permeates the space. The exhibition is showing across the Royal Academy: in the North West Corner of Burlington Gardens, The Jillian and Arthur M. Sackler Wing of Galleries, the Weston Studio and the Ronald and Rita McAulay Gallery.

Clark Keatley 

Untitled, 2023 

Carbon pencil on paper. 66 x 44 cm. 

Courtesy of the artist

Daria Blum 

Circumbendibus Vol. 1, 2022 

Live performance, 25 min. 

Courtesy of the artist

Nancy Allen 

Stickpool, 2022 

Foil platters, sticks, 142 x 110 x 30 cm. 

Courtesy of the artist

The Royal Academy Schools is an independent school of contemporary art that offers up to 17 artists each year the opportunity to participate in a free, three-year, postgraduate programme. Founded in 1769, the RA Schools remains independent to this day. This independence enables the postgraduate programme to constantly adapt to the individual needs of each student. Discussion and debate is fuelled by a variety of lectures, artist talks, group critiques and tutorials given by leading contemporary artists, Royal Academicians, critics, writers and theorists. Graduates of the RA Schools include Rebecca Ackroyd, Michael Armitage RA, Lynette Yiadom-Boakye, Rachel Jones, Eddie Peake, Anthony Caro RA, JMW Turner and William Blake. The Keeper of the Royal Academy is Cathie Pilkington RA.

Work on the vital restoration and renewal project for the RA Schools is currently underway and is due for completion in spring 2024. Designed by David Chipperfield Architects, together with conservation specialists Julian Harrap Architects, the project will preserve the heritage of the RA Schools and create state-of-the-art facilities in order to ensure the RA School’s position as one of the leading art schools in the UK. Whilst the renewal project is taking place, the students’ studios have temporarily moved to other spaces across the Royal Academy’s buildings.

Thirza Smith 

Urine Deflector, 2022, 

Steel and emulsion. Pair of sculptures, each 90 x 110 x 60cm 

Courtesy of the artist

Oliver Tirré 

texture piece, 2022

Perspex and glue

Courtesy of the artist

Enej Gala 

Leashes, 2017-2023 

Oil on wood, wood flour, cellulosis, wire, thread, variable size. 

Installation view at TJ Boulting 2023. 

Photo credit: Tom Carter

Max Boyla 

Ain't No Sunshine, 2022 

Ink and Velvet on Satin, 190 x 130cm 

Courtesy of Sim Smith, London

Cathie Pilkington RA, Keeper of the Royal Academy, said: ‘It has been a huge privilege to share the journey with the class of 2023 - to witness their deepening critical awareness and material ambition.’

Brian Griffiths RA, Senior Lecturer at the RA Schools and artist, said: ‘This is an exceptional group of artists making significant art for now and the future.’

ROYAL ACADEMY OF ARTS, LONDON

www.royalacademy.org.uk

Abstract Expressionism @ Royal Academy of Arts, London & Guggenheim Museum Bilbao

Abstract Expressionism
Royal Academy of Arts, London
24 September 2016 – 2 January 2017
Guggenheim Museum Bilbao
3 February – 4 June 2017

In September 2016, the Royal Academy of Arts will present the first major exhibition of Abstract Expressionism to be held in the UK in almost six decades. With over 150 paintings, sculptures and photographs from public and private collections across the world, this ambitious exhibition encompasses masterpieces by the most acclaimed American artists associated with the movement – among them, Willem de Kooning, Arshile Gorky, Phillip Guston, Franz Kline, Joan Mitchell, Robert Motherwell, Barnett Newman, Jackson Pollock, Mark Rothko, Aaron Siskind, David Smith and Clyfford Still, as well as lesser-known but no less vital artists.

The selection aims to re-evaluate Abstract Expressionism, recognising that though the subject is often perceived to be unified, in reality it was a highly complex, fluid and many-sided phenomenon. Likewise, it will revise the notion of Abstract Expressionism as based solely in New York City by addressing such figures on the West Coast as Sam Francis, Mark Tobey and Minor White.

To ensure an exhibition for the 21st century, informed by new thinking, Abstract Expressionism will re-examine the two main strands into which these artists have often been grouped in the past. Namely, the so-called ‘colour-field’ painters, such as Rothko and Newman, versus the ‘gesture’ or ‘action painters’, epitomised by de Kooning and Pollock. The art of the former has been held to focus on the contemplative or sublime use of colour, whereas the latter supposedly demonstrated spontaneity and improvisation in their work through bold gestural mark-making. Yet these categories are simplistic, belying the deeper concerns that linked many of the artists.

For example, various Abstract Expressionists developed the ‘all-over composition’ by rejecting the formal concept of an image with a single or central focus. Instead, they thought in terms of energised fields, whether of vibrant colour or linear dynamism. Concerns such as myth-making, the sublime, monochrome and an urge to stress the human presence even in abstraction also connected the artists. Similarly, their creations challenged conventional notions of scale with dimensions that ranged from minute intimacy to epic grandeur – dramatic innovations that the exhibition will highlight.

For the first time, the Clyfford Still Museum in Denver, which holds 95% of the artist’s work, will loan nine major paintings to the exhibition, establishing the artist at the very forefront of Abstract Expressionism. The paintings by Clyfford Still will be presented in a dedicated gallery within the exhibition.

Jackson Pollock’s monumental Mural, 1943 (University of Iowa Museum of Art, Iowa) and Blue Poles, 1952 (National Gallery of Australia, Canberra) will be displayed in the same gallery for the first time, a juxtaposition unlikely to ever be repeated. Further highlights will include Arshile Gorky’s Water of the Flowery Mill, 1944 (The Metropolitan Museum of Art, New York); Willem de Kooning’s Woman II, 1952 (The Museum of Modern Art, New York); Franz Kline’s Vawdavitch, 1955 (Museum of Contemporary Art Chicago); Mark Rothko’s No. 15, 1957 (Private Collection); Lee Krasner’s The Eye is the First Circle, 1960 (Courtesy Robert Miller Gallery, New York); and David Smith’s Hudson River Landscape, 1951 (Whitney Museum of American Art, New York). Works by artists such as Helen Frankenthaler, Adolph Gottlieb, Hans Hofmann, Lee Krasner and Ad Reinhardt will also feature amongst others. In addition to Aaron Siskind and Minor White, the photographers will include Harry Callahan, Herbert Matter and Barbara Morgan.

Dr David Anfam, co-curator of Abstract Expressionism said: “Abstract Expressionism will explore this vast phenomenon in depth and across different media, revealing both its diversity and continuities as it constantly pushed towards extremes. It will bring together some of the most iconic works from around the world in a display that is unlikely to be repeated in our lifetime.”

Abstract Expressionism has been organised by the Royal Academy of Arts, London with the collaboration of the Guggenheim Museum Bilbao. The exhibition is curated by the independent art historian, David Anfam, alongside Edith Devaney, Contemporary Curator at the Royal Academy of Arts. Dr Anfam is the preeminent authority on Abstract Expressionism, the author of the catalogue raisonné of Mark Rothko’s paintings and Senior Consulting Curator at the Clyfford Still Museum, Denver.

Abstract Expressionism: Catalogue

Abstract Expressionism will be accompanied by a fully illustrated catalogue. Authors include David Anfam, author of the now-standard textbook Abstract Expressionism (1990); Susan Davidson, Senior Curator, Collections and Exhibitions, at the Solomon R. Guggenheim Museum, New York; Edith Devaney, Curator of Contemporary Projects, Royal Academy of Arts; Jeremy Lewison, former Director of Collections at Tate; Carter Ratcliff author of Fate of a Gesture: Jackson Pollock and Postwar American Art (1996) and Christian Wurst, researcher on The Catalogue Raisonné of the Drawings of Jasper Johns (forthcoming).

ROYAL ACADEMY OF ARTS, LONDON

www.royalacademy.org.uk

Giovanni Battista Moroni, Royal Academy of Arts, London

Giovanni Battista Moroni

Royal Academy of Arts, London

25 October 2014 – 25 January 2015

This exhibition of outstanding works by Giovanni Battista Moroni (c.1520-1579), widely regarded as one of the greatest painters of the sixteenth century, will be the first comprehensive survey of his oeuvre to be held in the UK. In the autumn of 2014, the Royal Academy of Arts will gather a selection of over 40 works to present Moroni not only as a distinctive portraitist but also as a fine religious painter, a role for which he is lesser known. For the first time, a number of altarpieces from the churches of the Diocese of Bergamo, northern Italy, will be displayed alongside examples of Giovanni Battista Moroni’s portraiture, chronologically charting his rise to the summit of Italian sixteenth-century painting. From works influenced by Lotto and Moroni’s master Moretto, to later commissions earned as the leading painter of Bergamo, Giovanni Battista Moroni will offer viewers the chance to discover Moroni as an unsung genius of the Renaissance.

Moroni captured the exact likeness, character and inner life of his sitters with rare penetrating insight. His portraiture, singular not only for its unprecedented realism but also its psychological depth and immediacy, was in many ways ahead of his time. Preempting the work of Caravaggio, Moroni came to be widely collected in the nineteenth century, including Portrait of a Lady (c.1556-60) and A Knight with a Jousting Helmet (c.1556), purchased by the National Gallery, London, in 1876. Moroni’s portraits depict members of the society in which he lived, a cast of compelling Renaissance characters whose lives played out the feuds and family dramas of a pro-Spanish aristocracy living under the Republic of Venice in the mid-sixteenth century. With a selection to establish Moroni as one of the major specialists in the genre, his portraits reveal an enamel-like brightness, a clarity of design and a touch of realism which is in contrast to the adorned portraiture of his contemporary Titian.

Although Moroni’s name was linked to Bergamo, he also lived and worked in the nearby towns of Brescia, Trent and Albino. Working in a city without a leading court, Moroni’s sitters span a surprisingly wide social spectrum; his clientèle, unique at the time, comprised intellectuals, professionals, state officers and artisans. His famous portrait of The Tailor (1565-1570), one of the highlights of this exhibition, is the first known portrait of a man depicted whilst undertaking manual labour. In capturing the world around him, Moroni’s works also offer a vivid record of the fashions and fortunes of Bergamo, revealing changes in costume as the colourful silks of the portraits of Isotta Brembati (c.1555) and Gian Gerolamo Grumelli (c.1560), yield to the more sombre styles of the Spanish fashion, seen in the portrait of Pietro Secco Suardo (1563).

Moroni’s religious paintings were completed in accordance with the principles of the Counter-Reformation and the Council of Trent (1545-1563). In these, a worshipper is often depicted as a witness to the sacred scene, as demonstrated by The Last Supper (c.1566-1569). The pastoral visit of the religious reformer Cardinal Charles Borromeo to the Diocese of Bergamo in 1575 prompted the churches of the region to commission many new religious paintings, and Moroni as the leading painter produced several art works for public devotion, including the altarpiece painting Saint Gotthard Enthroned with Saint Lawrence and Saint Catherine of Alexandria (c.1575). The selection of Moroni’s religious works will also include examples of paintings intended for private devotion, such as A Gentleman in Adoration before the Baptism of Christ (c.1555-1560).

The exhibition will be a definitive survey of Moroni’s output and includes many of his greatest masterpieces. It will reveal an artist who has perhaps gone unrecognised as an exceptional painter and a master of the Renaissance.

Giovanni Battista Moroni has been organised by the Royal Academy of Arts, London. The exhibition has been curated by Simone Facchinetti, Curator of the Museo Adriano Bernareggi in Bergamo, and Arturo Galansino, Curator at the Royal Academy of Arts.

Giovanni Battista Moroni 

(c) Royal Academy of Arts, London

The exhibition is accompanied by a fully illustrated and scholarly catalogue with contributions from Simone Facchinetti and Arturo Galansino.

ROYAL ACADEMY OF ARTS 

Burlington House, Piccadilly, London W1J 0BD

www.royalacademy.org.uk

Georg Baselitz, Royal Academy of Arts, London

Georg Baselitz 

Royal Academy of Arts, London 

22 September – 9 December 2007 

The distinguished German artist, Georg Baselitz, is celebrated in a major retrospective at the Royal Academy of Arts. Featuring over 60 paintings together with a significant number of drawings, prints and sculptures, the exhibition offers a comprehensive survey of Georg Baselitz’s most important work. These works come from over 30 lenders, mainly in Europe, and therefore provide a unique opportunity to consider his achievement over five decades. Georg Baselitz, who featured in a major way in the seminal 1981 exhibition A New Spirit in Painting at the Royal Academy, which introduced his work to a British audience, is an Honorary RA. This is his first retrospective in England since the exhibition at the Whitechapel Gallery in 1983.

Born 1938 in Deutschbaselitz, Saxony, Georg Baselitz has been acclaimed as one of Germany’s most prolific and well-known artists. Georg Baselitz is perhaps best known for painting his motifs upside down as a strategy to free the subject matter from its content. However, his early figurative work deals with existential problems of being in Germany at a period where abstraction largely holds sway. Aggressive and frequently disturbing, Georg Baselitz’s work incorporates semi abstract figures, animals and landscape within a canvas of colour and liberated brushwork. His works project a sense of hostility and isolation in a style that remains distinctive.

Painter, draftsman, printmaker and sculptor, Georg Baselitz began studying painting at the Hochschule für Bildende Künste in East Berlin in 1956 but was expelled after only one term because of ‘social-political immaturity’. After moving to West Berlin in 1956 Georg Baselitz resumed his artistic studies in 1957 completing them in 1962.

Influenced in his early years by the artistic works and writings of influential artists and theorists such as Kandinsky, Malevich, Nietzsche, Baudelaire, Samuel Beckett and the French writer and artist Antonin Artaud, Georg Baselitz later became deeply involved and inspired by art produced by the mentally ill and others at odds with society. His work has been equally informed by traditional African art, French and Italian Mannerist painting, printmaking of the sixteenth century as well as a profound sense of ornament and decoration.

The exhibition commences with some of Georg Baselitz’s earliest works, made around 1962, such as Die Große Nacht im Eimer (The Big Night Down the Drain) and the Hero paintings Der neue Typ (The New Type). This is followed by outstanding examples of his ‘Fracture’ paintings made at the end of the 1960s, leading up to the first so-called ‘upside down’ paintings such as Der Mann am Baum, 1969 (The Man at the Tree). With this work, Georg Baselitz found a new language that enabled him to combine principles of abstraction with those of realism as well as philosophically ‘standing the world on its head’ which was to serve as a metaphor and ‘Leitmotiv’ for much of his subsequent art. The exhibition also demonstrates his return recently to motifs explored in his early career. These are done in a more transparent linear manner, which he calls Remixes. There are also important sculptures in the exhibition, particularly Model for a Sculpture that was shown at the Venice Biennale in 1980 where it caused a considered sensation.

Georg Baselitz is curated by Sir Norman Rosenthal, Exhibitions Secretary at the Royal Academy of Arts.

CATALOGUE

Georg Baselitz

Exhibition Catalogue

Royal Academy of Arts, 2007

The exhibition is accompanied by an extensively illustrated catalogue which explores Georg Baselitz’s development, revealing an artist whose concerns are derived from his experiences of post-war German society. The catalogue includes essays by Sir Norman Rosenthal, Exhibitions Secretary at the Royal Academy of Arts, Richard Shiff, Effie Marie Cain Regents Chair in Art and Director of the Center for the Study of Modernism at The University of Texas at Austin, Carla Schulz-Hoffmann, Deputy Director General of the Bavarian State Collections and Chief Curator of the Pinakothek der Moderne, Munich and Shulamith Behr, Senior Lecturer in German twentieth-century art at the Courtauld Institute of Art.

ROYAL ACADEMY OF ARTS

Burlington House, Piccadilly, London W1J 0BD

www.royalacademy.org.uk

Last update: 21.12.2021

John Hoyland, Royal Academy of Arts, London

John Hoyland

Royal Academy of Arts, London

30 September - 31 October 1999

John Hoyland is one of Britain’s most distinctive artists. During the early 1960s he was associated with Situation, a group of British artists who sought to take abstraction to a greater extreme, banishing reference to landscape and the figure and concentrating instead on the fundamental elements of painting abstract shape and formal relation, colour and scale. This retrospective of John Hoyland’s work is the first in this country for twenty years. It will comprise of some 25 paintings from 1960 to the present day - including early works never seen in this country since they were first exhibited to recent paintings never exhibited before. The exhibition will provide a concise survey of the growth of John Hoyland’s vision.

Born in 1934, John Hoyland studied at the Royal Academy Schools. His large abstract paintings which drew together an engagement with optical effects, formal strategies and strong subjective expressiveness drew critical attention in the 1960s. As the decade progressed, he established his reputation with paintings which became increasingly ambitious: combining expansive scale with bold fields of colour - occupied and traversed by a few subtly orchestrated shapes.

The 1970s saw a growing painterliness in which richness of surface, an emphasis on the application of paint, and an even more sensuous use of colour became hallmarks. A retrospective was held at the Serpentine Gallery in 1979. These characteristics laid the foundations for John Hoyland’s work in the 1980s and 1990s, a period which has seen the maturing and synthesis of all these elements. In John Hoyland’s recent paintings, reference to the visual world has been reasserted in imagery. Driving visual inspiration from his immediate surroundings in London as well as from his travels to the Caribbean - a long standing passion - his paintings are vibrant celebrations of life which continue to investigate the limits and possibilities of painting.

The exhibition is curated by Paul Moorhouse, Curator at the Tate Gallery.

ROYAL ACADEMY OF ARTS

Burlington House, Piccadilly, London W1V 0DS

www.royalacademy.org.uk

Van Dyck 1599 - 1641, Royal Academy of Arts, London

VAN DYCK 1599 - 1641

Royal Academy of Arts, London

11 September - 10 December 1999

Anthony van Dyck was born in Antwerp in 1599. To mark the four hundredth anniversary of his birth, The Koninklijk Museum voor Schone Kunsten, Antwerp, and the Royal Academy of Arts, London, are organising a major retrospective of the artist’s work. This collaboration brings together two of the cities in which Van Dyck built his international career as a painter. Her Majesty The Queen and Their Majesties King Albert II and Queen Paola of Belgium have graciously agreed to act as patrons of the exhibition. With over one hundred works this exhibition will offer a rare chance to see Van Dyck’s mythological and religious paintings as well as a great assembly of his portraits - of Antwerp burghers, Genoese nobles, the Stuart royal family, poets, statesmen, courtiers, friends and children.

Anthony Van Dyck was a child prodigy, whose exceptional talent was recognised by Rubens. By 1618, aged only 19, he had established his own workshop. His paintings from this early period were religious works for the churches of Antwerp as well as mythological paintings and portraits. His fame was such that he was invited to visit the Court of England where he worked for King James I, the Earl of Arundel and the Duke of Buckingham. From 1621 to 1627 he lived and worked in Genoa, visiting Venice, Rome, Palermo and Naples. Genoa was the most important international centre of banking and mercantile shipping, and Van Dyck painted the Genoese aristocracy and their children to brilliant effect. He returned to Antwerp in 1628 painting portraits at the court and altarpieces for the great churches of the city.

In 1632 Anthony Van Dyck was finally persuaded to accept the position of Court Painter to Charles I. The painter was knighted, presented with a gold chain and medallion, and given a studio on the river at Blackfriars where he painted the royal family and members of their court. In the space of seven and a half years he produced perhaps as many as four hundred portraits, ranging from grandiose portrayals of the King on horseback to more informal paintings of the less exalted courtiers, the diplomats, poets and musicians who were his friends. He completely eclipsed the rather wooden portraiture of his contemporaries in England, and set a style and standard that influenced artists from Sir Peter Lely to Reynolds, Gainsborough and Lawrence. Although many of his subject paintings made in England have been lost, a haunting Cupid and Psyche from the Royal Collection illustrates his genius for romantic and poetic works.

During this time he still visited Flanders and painted many fine pictures there. By 1640, he was anxious to leave England, but dogged by ill health, and unable to obtain a secure position in France, he returned to die in London in December 1641. He was buried in old St Paul’s Cathedral, his grave bearing a Latin inscription which in translation reads: `....while he lived he gave immortality to many. Charles I, King of Great Britain, France and Ireland, provided this monument for Sir Anthony van Dyck’. By July 1642 the country was on the brink of Civil War.

The exhibition has been organised by the Koninklijk Museum voor Schone Kunsten, Antwerp and the Royal Academy of Arts, London. The exhibition has been curated by Dr Christopher Brown, Director of the Ashmolean Museum, Oxford and an expert on Van Dyck.

Significant loans have been promised by Her Majesty The Queen; the Koninklijk Museum voor Schone Kunsten, Antwerp; the National Gallery, London; the National Gallery of Art, Washington; The Metropolitan Museum of Art, New York; The State Hermitage Museum, St Petersburg; The Museo del Prado, Madrid; Palazzo Rosso, Genova; Museo Capitolino, Rome and the Musée du Louvre, Paris, as well as the galleries at Brussels, Dresden, Amsterdam, Vicenza, Melbourne, Budapest, and elsewhere. In addition some works in private collections, rarely seen by the public, will be shown.

ROYAL ACADEMY OF ARTS

Burlington House, Piccadilly, London, W1J 0BD

www.royalacademy.org.uk

Sensation - Young British Artists from the Saatchi Collection, Royal Academy of Arts, London

Sensation - Young British Artists from the Saatchi Collection

Royal Academy of Arts, London

18 September - 28 December 1997

The achievements of a generation of young British artists whose original and challenging work has received international acclaim are the focus of this major exhibition. Entitled Sensation, the show presents work by artists selected from The Saatchi Collection. As well as highlighting the vitality and inventiveness of current British art, the exhibition also demonstrates the commitment that Charles Saatchi has shown in collecting the work of these young artists.

This recent explosion of creativity and excitement in the visual arts has not been seen since the emergence of Pop Art in the early 1960s. This current phenomenon was originally identified in the late 1980s through exhibitions in the east end of London, most notably Freeze and Modern Medicine. These exhibitions were organised by a group of young artists who, having just graduated from art school, sought venues that lay outside the traditional institutions of the art world in order to show their work. Since then the energy and ingenuity that many artists have shown in promoting their own work has been one of the factors of their success.

The individuality of their work makes it impossible to brand this generation of young artists as a movement, even though many of the artists know and support each other. By showing their work together, which ranges in media from paintings and sculpture to video, photography and ready-made objects, it is possible to appreciate the interaction and shared concerns of their work which can, in turn, be exuberantly humorous or brutally forthright.

The artists represented in Sensation are: Darren Almond, Richard Billingham, Glenn Brown, Simon Callery, Jake & Dinos Chapman, Adam Chodzko, Mat Collishaw, Keith Coventry, Peter Davies, Tracey Emin, Paul Finnegan, Mark Francis, Alex Hartley, Marcus Harvey, Mona Hatoum, Damien Hirst, Gary Hume, Michael Landy, Abigail Lane, Langlands & Bell, Sarah Lucas, Martin Maloney, Jason Martin, Alain Miller, Ron Mueck, Chris Ofili, Jonathan Parsons, Richard Patterson, Simon Patterson, Hadrian Pigott, Marc Quinn, Fiona Rae, James Rielly, Jenny Saville, Yinka Shonibare, Jane Simpson, Sam Taylor-Wood, Gavin Turk, Mark Wallinger, Gillian Wearing, Rachel Whiteread and Cerith Wyn Evans.

CATALOGUE

The catalogue accompanying the exhibition examines the rise of these young British artists and places their work in a historical and critical context. Norman Rosenthal, Exhibitions Secretary at the Royal Academy, writes an introduction to the exhibition, Richard Shone charts the story over the past 10 years from the Freeze exhibition to Rachel Whiteread's 'House' and Lisa Jardine looks at the role of the collector in the twentieth century. Martin Maloney focuses on the works in the exhibition and Brooks Adams examines the work of the young British artists from an international perspective. The catalogue has over 180 illustrations including photographs of the artists by Johnnie Shand Kydd. Published by Thames & Hudson, the catalogue will be available both in softback (£21.95 and £19.95 for Friends) from the Royal Academy during the exhibition and in hardback from shops nationwide.

ROYAL ACADEMY OF ARTS

Burlington House, Piccadilly, London W1V 0DS

www.royalacademy.org.uk