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Richard Rogers Partnership, Lloyd’s of London, 1978-86. © Richard Bryant / arcaidimages.com & Piano + Rogers, Centre Pompidou, Paris, 1971-77. © Francois Le Diascorn / Gamma-Rapho via Getty Images
Sidney Nolan, 'Ned Kelly' (detail), 1946. Enamel paint on composition board. 90.8 x 121.5 cm. National Gallery of Australia, Canberra. Gift of Sunday Reed, 1977.
© TRACEY EMIN. All rights reserved, DACS 2013. Photo: KERRY RYAN.
José Chávez Morado, 'Carnaval en Huejotzingo (Carnival in Huejotzingo)' (detail), 1939. Oil on canvas, 71.1 x 96.5 cm. Collection of Phoenix Art Museum, Gift of Dr. & Mrs. Loyal Davis © DACS 2013.
25 September 2012
In the Reynolds Room, a John Madejski Fine Room
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Piccadilly, August 2012 Photo: Nigel Green/Royal Academy of Arts Piccadilly has always been a meeting place of different social worlds, commemorated in popular songs and human stories – and reflected in its architecture. Inspired by a 1933 lecture on Piccadilly by the celebrated inter-war architect and wit, H. S. Goodhart-Rendel, Professor Alan Powers, curator of Eros to the Ritz,
uses the street and its diverse architecture to explore questions of architectural criticism and judgement in the twenty-first century.
