THE TURNER PRIZE IN DERRY. DEC/ 20I3.
We, The Bogside Artists Hold these things to be True…..
The Turner Prize is cleverly promoted as a respectable institution, but then so are banks and financial groups, all dedicated to fleecing their fellow man. We hold that The Turner competition should be accorded no more respect than a Christmas cracker. Our mural that we unveiled yesterday (1st December) one day before the
announcement of the ‘winner’ of the prize is our response to an intolerable situation. We stand with the Stuckists when it comes to protecting art from financial marauders claiming to act “in the public’s interests”. Who isn’t these days? Even mass murderers like Blair, Cheney, Bush and Obama are all acting in the public’s interests and keep demanding more and more secrecy in order to do so.
People everywhere should know that there is a hidden oligarchy at large in our culture dictating what is art and what isn’t and enforcing their will in that regard without license or moral accountability. It has reached the stage now where if these curators and critics do not mention you then your work is deemed to be without merit. Thus, many thousands of artists are intimidated and often confused about the innate qualities of their own creations and work isolated in the hope that one of these sods may one day deliver them from anonymity. The Turner Prize and its committee are the manifest of this type of unconscionable tyranny.”
THE TURNER DISMANTLED
“Art Clown of the Year Award 2012 goes to critic Richard Dorment of The Daily Telegraph for his asinine comment on the Turner Prize winner’s pretentious film which trivialised a fire in a Woolworth store that killed 10 people.” (www.stuckism.com).
“Sir Nicholas Serota chaired the prize until 2007, yet still retains his grip. It is he who has made figures such as Damien Hirst and Tracey Emin so famous and rich.” (Ruth Dudley Edwards/Spectator).
The Evening Standard critic Brian Sewell wrote “The annual farce of the Turner Prize is now as inevitable in November as is the pantomime at Christmas”. (Wikipedia)
The art critic David Lee has argued that since the re-organisation of the prize in 1991 the shortlist has been dominated by artists represented by a small number of London dealers, namely Nicholas Logsdail of the Lisson Gallery, and others closely linked to the collector Charles Saatchi: Jay Jopling, Maureen Paley and Victoria Miro. The Lisson Gallery has had the most success of any gallery with the Turner Prize from 1991 to 200 (Wikipedia)
A happy little family…eh?
In 2002, Culture Minister (and former art student) Kim Howells pinned the following statement to a board in a room specially-designated for visitors’ comments: “If this is the best British artists can produce then British art is lost. It is cold mechanical, conceptual bullshit. P.S: The attempts at conceptualisation are particularly pathetic and symptomatic of a lack of conviction.” (Wikipedia)
The media success of the Turner Prize contributed to the success of (and was in turn helped by) the late 1990s phenomena of Young British Artists (several of whom were nominees and winners), Cool Britannia, and exhibitions such as the Charles Saatchi-sponsored Sensation exhibition. (Wikipedia)
Why does the word “racket” keep popping into our heads when we read this sort of thing…?
“Yet till now public figures mostly toed the Serota line. Only a few — Robert Hughes, Brian Sewell — never ceased to mock and deride where deserved. The Jackdaw, a magazine offering a forum for independent views on the visual arts, has been brave and resolute in its defiance. But on the whole, the young and ambitious recognised that such heresy was no way to get a good degree, or become an artist, art critic, curator, gallerist or academic. The message was clear: conform, or die the professional death.” http://www.spectator.co.uk/features/8773941/the-turner-prize-is-boring/
SIR MICHAEL SEROTA (source wikipedia)
Sir Michael Serota who more than anyone is associated with The Turner was educated at Haberdashers’ Aske’s School and then read Economics at the University of Cambridge (Christ’s), before switching to History of Art. He has been the chairman of the Turner Prize jury and is alleged to still have great influence over it.
In 1976, Serota was appointed Director of the Whitechapel Gallery in London’s East End. The Whitechapel was well regarded but had suffered from lack of resources. Serota assembled at the Whitechapel a staff including Jenni Lomax (later Director of the Camden Arts Centre), Mark Francis (later of Gagosian Gallery) and Sheena Wagstaff (later Chief Curator of Tate Modern), and organised influential exhibitions of Carl Andre, Eva Hesse and Gerhard Richter as well as early exhibitions of then emerging artists such as Antony Gormley. In 1980, assisted by Alexander “Sandy” Nairne, he organised a two-part exhibition of 20th-century British sculpture, on a scale which had not been seen in the United Kingdom before. In 1981, he curated “The New Spirit in Painting”, with Norman Rosenthal and Christos Joachimides for the Royal Academy….. Serota’s success of at Whitechapel was instrumental in Serota’s appointment in 1988 as Director of the Tate Gallery.
Still a happy little family, e’en then, very reminiscent of the Northern Ireland Arts Council and its fairy Godmother DCAL.
Antony Gormley was also promoted by Declan McGonagle of Derry when he ran the Orchard Gallery in Derry subsequently closed down under the curatorship of his successor Brendan McMenamin. Small world, isn’t it?
Serota was knighted in the 1999 New Year Honours and appointed Member of the Order of the Companions of Honour (CH) in the 2013 Birthday Honours for services to art.
Well… you lay the golden eggs….
In 2001, Stuart Pearson Wright, winner of that year’s BP Portrait Award, said that Serota should be sacked, because of his advocacy of conceptual art and neglect of figurative painting.
Derry sure can pick’em!
And now for something completely similar….