Comments on: Turner: New Leaf? http://blog.art21.org/2008/05/20/turner-new-leaf/ The Official Blog of Art21, Inc. and the Art in the Twenty-First Century PBS series Thu, 04 Dec 2008 19:08:07 +0000 http://wordpress.org/?v=2.2 By: Ben Street http://blog.art21.org/2008/05/20/turner-new-leaf/#comment-5507 Ben Street Wed, 21 May 2008 12:31:19 +0000 http://blog.art21.org/2008/05/20/turner-new-leaf/#comment-5507 Just to follow up on that comment (thank you both), the 'Angel of the South' to which this writer refers is a competition to create a huge piece of public sculpture near the entrance to the Channel Tunnel in Ebbsfleet. The title of the competition, which is funded in part by Eurostar, the company operating the London to Paris rail link, is an explicit reference to Antony Gormley's Angel of the North. Mark Wallinger looks like the favourite so far. Just to follow up on that comment (thank you both), the ‘Angel of the South’ to which this writer refers is a competition to create a huge piece of public sculpture near the entrance to the Channel Tunnel in Ebbsfleet. The title of the competition, which is funded in part by Eurostar, the company operating the London to Paris rail link, is an explicit reference to Antony Gormley’s Angel of the North. Mark Wallinger looks like the favourite so far.

]]> By: Tom Juneau http://blog.art21.org/2008/05/20/turner-new-leaf/#comment-5456 Tom Juneau Tue, 20 May 2008 16:49:50 +0000 http://blog.art21.org/2008/05/20/turner-new-leaf/#comment-5456 <p>It's worth noting that this year is only the second time that Tate's megatron, Sir Nicholas Serota, has not chaired the jury - which would backup your notion that the Turner Prize has been taken off the Tate's tool-belt for the time being. And this year's press coverage of the prize was overwhelmed by the unveiling of 'Angel of the South' competition which appropriately headlined Turner Prize winners Whiteread and Wallinger. </p> <p>The new, quieter, agenda of the Tate with regard to the Turner Prize already seems less obsessively intent on working up an appetite for public art whilst simultaneously rearing a brood of public art makers to satisfy this - and more interested in intimacy and an idea of the personal (as opposed to the 'personality' drive of the YBAs who adopted the tabloids' approach to privacy, re-presenting it as egocentric display (Tracey Emin, Sarah Lucas etc). </p> <p>Maybe the ultimate long-term success of the Turner Prize (with its accompanying PR) has been to enable Tate Britain to punch above its weight: to remain an international destination, and a venue for dynamic uncertainties in spite of the creation of Tate Modern. In fact, in my experience, Tate Britain's 'Art Now' programme and its Duveen commissions, along with the Turner Prize and the triennial, has made it a more exciting place for contemporary work than Tate Modern. I still can't come round to Tate Modern's turbine hall - isolated from the galleries and so big it can only ever be a hallucinatory wonderland or gloomy void. A salivating Gormley lurks in the wings - yawn.</p> It’s worth noting that this year is only the second time that Tate’s megatron, Sir Nicholas Serota, has not chaired the jury - which would backup your notion that the Turner Prize has been taken off the Tate’s tool-belt for the time being. And this year’s press coverage of the prize was overwhelmed by the unveiling of ‘Angel of the South’ competition which appropriately headlined Turner Prize winners Whiteread and Wallinger.

The new, quieter, agenda of the Tate with regard to the Turner Prize already seems less obsessively intent on working up an appetite for public art whilst simultaneously rearing a brood of public art makers to satisfy this - and more interested in intimacy and an idea of the personal (as opposed to the ‘personality’ drive of the YBAs who adopted the tabloids’ approach to privacy, re-presenting it as egocentric display (Tracey Emin, Sarah Lucas etc).

Maybe the ultimate long-term success of the Turner Prize (with its accompanying PR) has been to enable Tate Britain to punch above its weight: to remain an international destination, and a venue for dynamic uncertainties in spite of the creation of Tate Modern. In fact, in my experience, Tate Britain’s ‘Art Now’ programme and its Duveen commissions, along with the Turner Prize and the triennial, has made it a more exciting place for contemporary work than Tate Modern. I still can’t come round to Tate Modern’s turbine hall - isolated from the galleries and so big it can only ever be a hallucinatory wonderland or gloomy void. A salivating Gormley lurks in the wings - yawn.

]]> By: JC http://blog.art21.org/2008/05/20/turner-new-leaf/#comment-5451 JC Tue, 20 May 2008 14:42:24 +0000 http://blog.art21.org/2008/05/20/turner-new-leaf/#comment-5451 <p>The real issue is that Britain is running out of artists to honor. This list is all newbies, second-stringers, palookaville punters. Finding four nominees a year will soon have them raiding the ranks of those still studying for A-levels. They should consider honoring the two Chapman brothers separately.</p> The real issue is that Britain is running out of artists to honor. This list is all newbies, second-stringers, palookaville punters. Finding four nominees a year will soon have them raiding the ranks of those still studying for A-levels. They should consider honoring the two Chapman brothers separately.

]]>