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The Turner Prize: A Crucible of Contemporary British Art

An academic examination of Britain's most celebrated and contentious art award, exploring its evolution, impact, and cultural significance.

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Background & Context

The Prize's Genesis

Established in 1984, the Turner Prize is an annual award presented to a British visual artist. Named in honour of the English painter J. M. W. Turner, the prize was conceived to stimulate public debate around new developments in contemporary British art. Turner himself was a figure whose innovative approach to landscape painting was considered controversial during his active career, mirroring the often-contentious nature of the prize's recipients.

Venue and Evolution

The prize is awarded at Tate Britain, typically serving as the venue every other year, with alternate years hosted by galleries across the United Kingdom. Initially, eligibility was restricted to artists under the age of 50, a criterion that was removed for the 2017 award. This adjustment broadened the scope, allowing for greater recognition of established artists and reflecting the evolving landscape of contemporary practice.

Public Discourse

The Turner Prize has become a significant event in British culture, attracting substantial media attention. This attention frequently centres on the question of whether the nominated works constitute "art," highlighting the prize's role in fostering public engagement and debate about contemporary artistic expression. The selection process, while inviting public nominations, ultimately relies on a jury of critics and curators.

Awardees & Impact

Artistic Trajectories

The Turner Prize has been instrumental in bringing contemporary artists to public prominence. Early recipients and nominees, such as Malcolm Morley, Howard Hodgkin, and Gilbert & George, represented diverse practices. The prize's evolution saw increased recognition for conceptual art, photography, video, and installation, notably with the inclusion of Wolfgang Tillmans as the first photographer and non-British artist winner in 2000. The prize money, which stood at ยฃ40,000 as of 2004, often correlates with increased market value and exhibition opportunities for the artists.

Shifting Landscape

The prize has reflected and influenced trends in British art, including the rise of the Young British Artists (YBAs) in the 1990s. Artists like Damien Hirst, Rachel Whiteread, and Douglas Gordon gained significant visibility through their nominations and wins. The inclusion of artist collectives, such as Assemble in 2015, further demonstrates the prize's adaptability to contemporary modes of artistic production and collaboration.

Recognition and Influence

While often a catalyst for debate, the prize is widely regarded as a significant indicator of artistic merit and influence within the contemporary art world. Critics suggest it plays a valuable role in engaging the public with new art, acting as a barometer for the prevailing artistic climate and fostering critical dialogue.

Historical Milestones

Foundational Years

The prize's inception in 1984 aimed to acknowledge contemporary art and artists. The early years saw a focus on established figures, with Malcolm Morley winning the inaugural prize. Sponsorship has been a critical factor; the withdrawal of Drexel Burnham Lambert led to the cancellation of the prize in 1990. Channel 4's subsequent sponsorship in 1991 significantly boosted the prize's profile and monetary value, introducing documentaries and live broadcasts.

Sponsorship and Venues

Over the years, sponsors have included Gordon's Gin and, controversially, Stagecoach. The Stagecoach sponsorship was terminated shortly after its announcement due to public backlash regarding the chairman's political views. The prize has also expanded its geographical reach, moving outside London to cities like Liverpool, Gateshead, Derry, and Hull, thereby democratising access and engaging wider audiences.

Institutional Influence

Figures like Sir Nicholas Serota, former Director of Tate, played a significant role in shaping the prize's format and influence from the late 1980s onwards. The jury composition, including prominent critics and curators, reflects institutional perspectives on artistic value and emerging talent, contributing to the prize's perceived authority.

Public Perception

Arguments in Favour

Supporters argue that the Turner Prize plays a vital role in promoting contemporary art and engaging the public. Critics like Richard Cork suggest that approaching new art with an open mind is paramount, and the prize facilitates this engagement. Others, such as Janet Street-Porter, have defended the prize for attracting young people to galleries. Sarah Thornton posits that the prize's endorsement can galvanize artists' ambitions, while Frieze associate editor Dan Fox views it as a barometer for the national mood.

Critical Stances

Conversely, the prize has faced considerable criticism. The Evening Standard critic Brian Sewell famously described it as an "annual farce." Matthew Collings critiqued the formulaic nature of Turner Prize art, often based on "banal ideas." Concerns have also been raised regarding the influence of specific London galleries and collectors on the selection process. Kim Howells, a former Culture Minister, famously dismissed some exhibits as "cold mechanical, conceptual bullshit."

Notable Controversies

Iconic Works

The prize is renowned for generating significant public and critical debate, often sparked by specific artworks. Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living (a shark in formaldehyde) and Tracey Emin's My Bed (a dishevelled bed surrounded by personal detritus) are seminal examples that provoked widespread discussion and media attention.

Provocative Material

Chris Ofili's use of elephant dung in his works, including No Woman No Cry, drew significant attention and protest. Martin Creed's winning piece, Work No. 227: The lights going on and off, which involved an empty room with periodically switching lights, also generated controversy, including a protest involving eggs being thrown. Fiona Banner's detailed textual descriptions of pornographic films and the Chapman brothers' bronze sculptures resembling plastic sex dolls further exemplify the boundary-pushing nature of nominated works.

Incidents and Reactions

Beyond the artworks themselves, incidents surrounding the prize have fueled debate. Tracey Emin's drunken exit from a live televised discussion and Madonna's expletive-laden acceptance speech (leading to a broadcast rebuke) are notable examples. Protests, such as Banksy's "Mind the crap" stencil, and critical commentary from politicians like Kim Howells underscore the prize's contentious status within the cultural landscape.

Alternative & Spoof Prizes

The Turnip Prize

Instituted in 1999 by Trevor Prideaux, the Turnip Prize serves as a satirical counterpoint, awarded for "rubbish" art with criteria such as "Lack of effort" and "Is it shit?". It directly critiques the perceived excesses and conceptual focus of the Turner Prize.

The K Foundation & Stuckism

In 1993, the K Foundation presented an "Anti-Turner Prize" of ยฃ40,000 for the "worst artist in Britain," coincidentally awarding it to Rachel Whiteread, who also won the official prize. The Stuckist art movement established "The Real Turner Prize" for painters and an "Art Clown of the Year Award," directly challenging the Turner Prize's perceived lack of emphasis on traditional painting and its embrace of conceptualism.

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References

References

  1.  "Head to Head: Turner Prize รขย€ย” Is It Art?" BBC, 2 December 1999. Retrieved 22 March 2006.
  2.  "Turner Prize: Is It Art?" BBC, 4 November 2002. Retrieved 22 March 2006.
  3.  Barber, Lynn (2006)"How I suffered for art's sake" The Observer, 1 October 2006. Retrieved 15 January 2006.
  4.  Clare Longrigg, Sixty Minutes, Noise: by art's bad girl, The Guardian, 4 December 1997.
  5.  "Elephant dung artist scoops award", BBC, 3 December 1998. Retrieved 9 April 2008.
  6.  "Turner Winner Riles the Stuckists", The Guardian, 29 November 2000 Retrieved 26 March 2000.
  7.  Youngs, Ian (2002)"The art of Turner protests", BBC www.bbc.co.uk, 31 October 2002. Retrieved 8 January 2007
  8.  Brockes, Emma "It's art. But is it porn?", The Guardian, 5 November 2002. Retrieved 21 May 2007.
  9.  "Turner Prize demo 2003", stuckism.com. Retrieved 2 April 2008.
  10.  Barber, Lynn (2006)"My Turner's over. Phew!" The Observer, 10 December 2006. Retrieved 16 January 2007
  11.  "Turner Prize 07". tate.org. Retrieved 21 May 2007
  12.  "Turner Prize 2018: iPhone artist Charlotte Prodger wins", BBC, 4 December 2018
  13.  Turner Prize split four ways as nominees decide against a single winner BBC News
A full list of references for this article are available at the Turner Prize Wikipedia page

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