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Annual Report 2018/2019
Annual Report 2018/2019 Section name 1 Section name 2 Section name 1 Annual Report 2018/2019 Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Coordinated by Olivia Harrison Designed by Constanza Gaggero 1 September 2018 – Printed by Geoff Neal Group 31 August 2019 Contents 6 President’s Foreword 8 Secretary and Chief Executive’s Introduction 10 The year in figures 12 Public 28 Academic 42 Spaces 48 People 56 Finance and sustainability 66 Appendices 4 Section name President’s On 10 December 2019 I will step down as President of the Foreword Royal Academy after eight years. By the time you read this foreword there will be a new President elected by secret ballot in the General Assembly room of Burlington House. So, it seems appropriate now to reflect more widely beyond the normal hori- zon of the Annual Report. Our founders in 1768 comprised some of the greatest figures of the British Enlightenment, King George III, Reynolds, West and Chambers, supported and advised by a wider circle of thinkers and intellectuals such as Edmund Burke and Samuel Johnson. It is no exaggeration to suggest that their original inten- tions for what the Academy should be are closer to realisation than ever before. They proposed a school, an exhibition and a membership. -
Press Release Ryan Gander
Press Release Ryan Gander: I see straight through you 16 September – 15 October 2016 504 W 24th Street, New York For his first solo exhibition in New York in nearly ten years, British conceptual artist Ryan Gander presents a new body of work that considers the psychology of the body and questions the possibilities and limitations of figuration. A master storyteller, Gander’s complex yet playful practice is characterized by allusion, where focal points are teasingly hidden and meaning is subtly implied. Stimulated by existential queries and investigations into what-ifs, each one of his artworks acts as a vessel to tell a new story, all collectively fitting into an overarching narrative where fictions and realities collide. Mirrors with no reflection, bodiless eyes, faceless men and a self-portrait in constant motion combine to reflect Gander’s interest in the dialectics of self- awareness and the barriers to understanding. Flirtatious, cartoonish eyes follow visitors around the exhibition. Embedded not on a face but a blank wall, the eyes are animatronic, connected to motion sensors activated by movement in the room. With long, seductive lashes and coyly raised eyebrows, the work is the female counterpart to Gander’s Magnus Opus (2013), one of the artist’s most popular works to date. Dominae Illud Opus Populare (2016), on show at Lisson Gallery for the first time, has been programmed to generate every expression that can be registered through one’s eyes, from boredom and worry to curiosity and surprise. Expression is further explored through a new series of sculptures: life- size armatures of artist models in dramatic postures, arranged strategically within the gallery’s expansive exhibition space. -
Julian.Opie.Bio 2016 New.Pdf
2012 Sakshi Gallery, Mumbai, India Lisson Gallery, London, UK 2011 Lisson Gallery, Milan, Italy National Portrait Gallery, London, UK Krobath, Berlin, Germany Alan Cristea Gallery, London, UK (exh cat) Bob van Orsouw, Zurich, Switzerland 2010 Barbara Krakow Gallery, Boston, USA Mario Sequeira, Braga, Portugal IVAM, Valencia, Spain Galerist, Istanbul, Turkey 2009 Valentina Bonomo, Rome, Italy "Dancing in Kivik", Kivik Art Centre, Osterlen, Sweden Kukje Gallery, Seoul, South Korea (exh cat) Sakshi Gallery, Mumbai, India SCAI the Bathhouse, Tokyo, Japan Patrick de Brock, Knokke, Belgium 2008 MAK, Vienna, Austria (exh cat) Lisson Gallery, London, UK (exh cat) Alan Cristea Gallery, London, UK (exh cat) Krobath Wimmer, Vienna, Austria Art Tower Mito, Japan (exh cat) 2007 Barbara Thumm, Berlin, Germany Museum Kampa, Prague, Czech Republic (exh cat) Barbara Krakow Gallery, Boston, USA King's Lynn art centre, Norfolk, UK 2006 CAC, Malaga, Spain (exh cat) Bob van Orsouw, Zurich, Switzerland Alan Cristea Gallery, London, UK 2005 Mario Sequeira, Braga, Portugal La Chocolateria, Santiago de Compostela, Spain SCAI the Bathhouse, Tokyo, Japan MGM, Oslo, Norway Valentina Bonomo, Rome, Italy 2004 - 2005 Public Art Fund, City Hall Park, New York City, USA 2004 Lisson Gallery, London, UK (exh cat) Wetterling Gallery, Stockholm, Sweden (exh cat) Kunsthandlung H. Krobath & B. Wimmer, Vienna, Austria Patrick de Brock Gallery, Knokke, Belgium Barbara Thumm Galerie, Berlin Krobath Wimmer, Wien, Austria 2003 Neues Museum, Staatliches Museum fur Kunst und Design -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Anish Kapoor Biography Born in 1954, Mumbai, India. Lives and works in London, England. Education: 1973–1977 Hornsey College of Art, London, England. 1977–1978 Chelsea School of Art, London, England. Solo Exhibitions: 2016 Anish Kapoor. Gagosian Gallery, Hong Kong, China. Anish Kapoor: Today You Will Be In Paradise. Gladstone Gallery, New York, NY. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor. Lisson Gallery, Milan, Italy. Anish Kapoor. Museo Universitario Arte Contemporáneo, Mexico City, Mexico. 2015 Descension. Galleria Continua, San Gimignano, Italy. Anish Kapoor. Regen Projects, Los Angeles, CA. Kapoor Versailles. Gardens at the Palace of Versailles, Versailles, France. Anish Kapoor. Gladstone Gallery, Brussels, Belgium. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor: Prints from the Collection of Jordan D. Schnitzer. Portland Art Museum, Portland, OR. Anish Kapoor chez Le Corbusier. Couvent de La Tourette, Eveux, France. Anish Kapoor: My Red Homeland. Jewish Museum and Tolerance Centre, Moscow, Russia. 2013 Anish Kapoor in Instanbul. Sakıp Sabancı Museum, Istanbul, Turkey. Anish Kapoor Retrospective. Martin Gropius Bau, Berlin, Germany 2012 Anish Kapoor. Museum of Contemporary Art, Sydney, Australia. Anish Kapoor. Gladstone Gallery, New York, NY. Anish Kapoor. Leeum – Samsung Museum of Art, Seoul, Korea. Anish Kapoor, Solo Exhibition. PinchukArtCentre, Kiev, Ukraine. Anish Kapoor. Lisson Gallery, London, England. Flashback: Anish Kapoor. Longside Gallery, Yorkshire Sculpture Park, West Bretton, England. Anish Kapoor. De Pont Foundation for Contemporary Art, Tilburg, Netherlands. 2011 Anish Kapoor: Turning the Wold Upside Down. Kensington Gardens, London, England. Anish Kapoor: Flashback. Nottingham Castle Museum, Nottingham, England. -
Press Release Anish Kapoor
Press Release Anish Kapoor 15 May – 22 June 2019 27 Bell Street, London Opening: 14 May, 6 – 8pm Anish Kapoor returns for his seventeenth exhibition at Lisson Gallery with a new body of work that brings together two fundamental directions of his practice: his iconic and formal geometric languages as explored in stone, in symbiosis with the entropic drive of works enacted in silicone, oil on canvas and in welded steel. Though rarely exhibited until recently, painting has been an integral part of Kapoor’s pursuit for the last 40 years. Far from an anomaly, Kapoor’s works on canvas relate closely to his sculpture, both in their oscillation between two and three dimensions, as well as their shared existence at the threshold between form and formlessness. This formlessness is at its most visceral and abject here in a series of relief works. The thin gauze stretched across their surface, barely containing the interior that presses against it. Their surface, seeped in the blooming impressions of red and black paint, signals the turbulence and chaos of a state of immanent breach beneath. Alongside these are radical new gestural paintings; on the edge of figuration, they seem to depict swollen and fecund organs that ooze and leak from their dark interiors. Elsewhere an ovoid steel orifice, engulfed by a web of welded metallic shards, encapsulates the brutal eroticism of the works in the show. However, this is no easy seduction. Kapoor’s new works do not present us with a symbolised sensuality, rather it is in the ineffable dark voids of these generative forms that the artist creates a space we might intuit an as yet unknown known. -
Alison Wilding
!"#$%&n '(h)b&#% Alison Wilding Born 1948 in Blackburn, United Kingdom Currently lives and works in London Education 1970–73 Royal College of Art, London 1967–70 Ravensbourne College of Art and Design, Bromley, Kent 1966–67 Nottingham College of Art, Nottingham !" L#xin$%on &%'##% London ()* +,-, ./ %#l +!! (+).+0+ //0!112! 1++.3++0 f24x +!! (+).+0+ //0!112! 1+.)3+0) info342'5%#564'7%#n5678h79b#'%.68om www.42'5%#64'7%#n5678h79b#'%.68om !"#$%&n '(h)b&#% Selected solo exhibitions 2013 Alison Wilding, Tate Britain, London, UK Alison Wilding: Deep Water, Whitworth Art Gallery, Manchester, UK 2012 Alison Wilding: Drawing, ‘Drone 1–10’, Karsten Schubert, London, UK 2011 Alison Wilding: How the Land Lies, New Art Centre, Roche Court Sculpture Park, Salisbury, UK Alison Wilding: Art School Drawings from the 1960s and 1970s, Karsten Schubert, London, UK 2010 Alison Wilding: All Cats Are Grey…, Karsten Schubert, London, UK 2008 Alison Wilding: Tracking, Karsten Schubert, London, UK 2006 Alison Wilding, North House Gallery, Manningtree, UK Alison Wilding: Interruptions, Rupert Wace Ancient Art, London, UK 2005 Alison Wilding: New Drawings, The Drawing Gallery, London, UK Alison Wilding: Sculpture, Betty Cuningham Gallery, New York, NY, US Alison Wilding: Vanish and Detail, Fred, London, UK 2003 Alison Wilding: Migrant, Peter Pears Gallery and Snape Maltings, Aldeburgh, UK 2002 Alison Wilding: Template Drawings, Karsten Schubert, London, UK 2000 Alison Wilding: Contract, The Henry Moore Foundation Studio, Halifax, UK Alison Wilding: New Work, New -
Julian Opie 18 November 2011 – 20 January 2012 Lisson Gallery Milan, Via Zenale, 3
Julian Opie 18 November 2011 – 20 January 2012 Lisson Gallery Milan, Via Zenale, 3 Lisson Gallery Milan is delighted to announce an exhibition of recent work by renowned British artist, Julian Opie. Julian Opie is one of the most significant artists of his generation. Drawing from influences as diverse as billboard signs, contemporary dance, classical portraiture and sculpture, and working in a variety of media, he reconstructs his impressions of our contemporary surroundings in a concise, pictorial language. Images, memories and sensory experiences from our encounters with the world are distilled into signs that in turn encourage the spectator to reflect on the nature of reality. The human figure – walking, dancing, resting, alone or in crowds – is a dominant motif in Opie’s work and his exhibition in Milan takes this theme as its focus. In 2009, Opie collaborated with Royal Ballet choreographer, Wayne McGregor, on the production, Infra, designing a moving LED tableau that provided a backdrop and counterpoint for the dancers. This collaboration inspired Opie to continue working with trained ballet dancers. In Ed and Marianela. 9. and Eric and Sarah. 3., Opie presents two pairs of dancers, mid performance, frozen in time and yet, conversely, full of movement. The aluminium sculpture, Ed and Marianela. 9., is freestanding and readable from both sides. The spectator is invited to walk around it, viewing it from different angles; an interaction that in turn echoes its implied movement. Caterina dancing naked. 11. is comprised of solid cubes of granite composed like building blocks that allow just enough space for the drawn, naked form to stride across the surface. -
Julian Opie CV
Julian Opie Lives and works in London, UK 1983 Goldsmiths College, London, UK 1958 Born in London, UK Selected Solo Exhibitions 2020 Berardo Museum, Lisbon, Portugal Galeria Duarte Sequeira, Braga, Portugal Lisson Gallery, Shanghai 2019 Eden Project, Cornwall, UK Lisson Gallery, New York, NY, USA Gerhardsen Gerner, Oslo, Norway Lehmbruck Museum, Duisburg, Germany Galerie Krobath, Vienna, Austria 2018 National Gallery of Victoria, Melbourne, Australia Krakow Witkin Gallery, Boston, USA Alan Cristea Gallery, London, UK F1963, Busan, South Korea 2017 National Portrait Gallery, London, UK Suwon Ipark Museum of Art, Suwon, Korea Fosun Foundation, Shanghai, China Centro Cultural Bancaja, Valencia, Spain 2016 Galerie Krobath, Vienna, Austria Gerhardsen Gerner, Berlin Germany Maho Kubota Gallery, Tokyo, Japan Art Geneve, Geneva, Switzerland 2015 Gerhardsen Gerner, Oslo, Norway ‘Recent Works’, Taidehalli Helsinki, Helsinki, Finland Galeria Mário Sequeira, Braga, Portugal Alan Cristea Gallery, London, UK Gerhardsen Gerner, Oslo, Norway “Winter”, British Council, New Delhi Galerie Bob van Orsouw, Zürich, Switzerland 2014 ‘Ikon Icon 2000s’, Ikon Gallery, Birmingham, UK ‘Channing School for Girls’, ARK Gallery, London, UK SCAI The Bathhouse, Tokyo, Japan ‘Sculptures, Paintings and Film’, Mocak, Krakow, Poland ‘Julian Opie: Collected Works’, Bowes Museum, County Durham, UK; The Holburne Museum, Bath, UK Kukje Gallery, Seoul, South Korea Galerie Krobath, Berlin, Germany Gerhardsen Gerner Gallery, Berlin, Germany 2013 Valentina Bonomo Roma, Rome, Italy -
Press Release Julian Opie
Press Release Julian Opie 7 November 2020 – 27 February 2021 2/F, 27 Huqiu Road, Huangpu District, Shanghai Opening: Friday 6 November, 5 – 7pm Lisson Gallery is pleased to present an exhibition of all new work by renowned British artist Julian Opie, for his first solo exhibition with the gallery in Shanghai. The presentation features seven works depicting new subjects (all 2020) in a variety of media, with three large-scale group portraits, three stand-alone sculptures, and one moving computer animation. In this new body of work, Opie draws on the ubiquitous imagery of urban scenes and the cityscape, recalling the vocabulary of everyday life but instilling it with a new energy and vitality. The show coincides with Opie’s presentation as part of the Jing'an International Sculpture Project in Shanghai, as well as the unveiling of his commission for the Huarun Group Embankment Square Pudong. Opie, renowned globally for his contribution to contemporary art, draws on influences as diverse as billboard signs, contemporary dance, classical portraiture and sculpture. A central motif of Opie’s work is the human figure, whether depicted running, posing, walking or dancing, alone or in crowded cities. These portraits – found in public spaces in many major cities across the world – reflect the artist’s preoccupation with exploring the very nature of representation and the means by which it is perceived and understood. The artist’s bold colours and radically simplified forms can be seen here in the lightboxes, Old Street May 2. and Old Street June 1. where striking figures in white, yellow and black silhouette against vibrant orange and blue backdrops, alongside the quieter palette, Old Street August 12. -
Annual Report 2019/2020 Contents II President’S Foreword
Annual Report 2019/2020 Contents II President’s Foreword IV Secretary and Chief Executive’s Introduction VI Key figures IX pp. 1–63 Annual Report and Consolidated Financial Statements for the year ended 31 August 2020 XI Appendices Royal Academy of Arts Burlington House, Piccadilly, London, W1J 0BD Telephone 020 7300 8000 royalacademy.org.uk The Royal Academy of Arts is a registered charity under Registered Charity Number 1125383 Registered as a company limited by a guarantee in England and Wales under Company Number 6298947 Registered Office: Burlington House, Piccadilly, London, W1J 0BD © Royal Academy of Arts, 2020 Covering the period Portrait of Rebecca Salter PRA. Photo © Jooney Woodward. 1 September 2019 – Portrait of Axel Rüger. Photo © Cat Garcia. 31 August 2020 Contents I President’s I was so honoured to be elected as the Academy’s 27th President by my fellow Foreword Academicians in December 2019. It was a joyous occasion made even more special with the generous support of our wonderful staff, our loyal Friends, Patrons and sponsors. I wanted to take this moment to thank you all once again for your incredibly warm welcome. Of course, this has also been one of the most challenging years that the Royal Academy has ever faced, and none of us could have foreseen the events of the following months on that day in December when all of the Academicians came together for their Election Assembly. I never imagined that within months of being elected, I would be responsible for the temporary closure of the Academy on 17 March 2020 due to the coronavirus (COVID-19) pandemic. -
Weidenfeld, Sheila” of the Ron Nessen Papers at the Gerald R
The original documents are located in Box 134, folder “Weidenfeld, Sheila” of the Ron Nessen Papers at the Gerald R. Ford Presidential Library. Copyright Notice The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Ron Nessen donated to the United States of America his copyrights in all of his unpublished writings in National Archives collections. Works prepared by U.S. Government employees as part of their official duties are in the public domain. The copyrights to materials written by other individuals or organizations are presumed to remain with them. If you think any of the information displayed in the PDF is subject to a valid copyright claim, please contact the Gerald R. Ford Presidential Library. Digitized from Box 134 of the Ron Nessen Papers at the Gerald R. Ford Presidential Library 1 it•~ rii 11i Jtir ~Iii i I 1 1" ,. ·i~= :, I - = 1 ( 1 JJ! lt:i fll '=· ~f ~ a. I t f 11 t r ~ 11 "; IJ f' I•' '=' .. ~l1 s.~ ;:.al' l a a ii f 4 J 1 I l : .. 11. i f it I ~ • ra : •r• r B ,, f=r ·== 1:f J!f = n ~ ei l!i Jl! 1!1 t!r ! i ,~ .. r•l ··-- :-1!' S fi lj ll 1f[ JJr 1.'1 fl ' \....--' MEMORANDU~ THE WHITE HOUSE WASHINGTON November 1, 1974 FOR: RON NESSEN FROM: Sheila Weidenfeld SUBJECT: Briefing Box I love Jack Hushen's suggestion about a briefing box for my office. Can we get that implemented Monday? Thanks. -
British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000
British Art Studies July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth British Art Studies Issue 3, published 4 July 2016 British Sculpture Abroad, 1945 – 2000 Edited by Penelope Curtis and Martina Droth Cover image: Installation View, Simon Starling, Project for a Masquerade (Hiroshima), 2010–11, 16 mm film transferred to digital (25 minutes, 45 seconds), wooden masks, cast bronze masks, bowler hat, metals stands, suspended mirror, suspended screen, HD projector, media player, and speakers. Dimensions variable. Digital image courtesy of the artist PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents Expanding the Field: How the “New Sculpture” put British Art on the Map in the 1980s, Nick Baker Expanding the Field: How the “New Sculpture” put British Art on the Map in the 1980s Nick Baker Abstract This paper shows that sculptors attracted much of the attention that was paid to emerging British artists during the 1980s.