Sensation at 25: 1997-2022
Twenty-five years ago saw the opening of the exhibition Sensation, where Charles Saatchi showed his private collection of Young British Artists (YBAs), at London's Royal Academy of Arts. Here we delve into The Art Newspaper's archive to explore the importance—and sensationalism—of the show.
Sensation, 25 years on: the show thrust the YBAs and Charles Saatchi into the mainstream—but not everyone was happy
The 1997 exhibition at London’s Royal Academy of Arts was a masterclass in art PR, with many of the works by artists like Tracey Emin and Marcus Harvey hitting the headlines
Charles Saatchi: the man behind the Young British Art collection showcased in the 'Sensation' exhibition
As show opens at the Royal Academy, we ask what drives Saatchi to buy and risk so much, using access to his collection's archive to chart a 25-year transformation in his taste
'A climactic moment in the history of British art': curator Norman Rosenthal on his 'Sensation' show
Eight months after the opening of the major exhibition, the man who responsible for staging the controversial show says it mattered because it reflected an unprecedented scale of art-making in Britain
Still a 'Sensation': How much do the Young British Artists matter in 2010, as they enter middle age?
What is the critical and market sentiment around the artists who made headlines at the Royal Academy, in London, 13 years ago?
The landmark exhibition 'Sensation': who were the big buyers of Charles Saatchi's art collection?
An Art Newspaper investigation reveals that, nine years after the controversial Royal Academy show, US collectors and institutions had acquired many of the pieces shown at "Sensation" in 1997
Where is the art from the ‘Sensation’ show? A list of the collectors in 2006
An Art Newspaper investigation tracks the ownership history of art from Charles Saatchi's collection shown at the Royal Academy in 1997
Extract | How Mayor Rudy Giuliani went from ‘patting on the back’ to trying to pull the plug on Sensation show
Two decades after one of the most controversial exhibitions of recent times, Arnold Lehman, the former director of the Brooklyn Museum, reveals all in a new book