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This article is about the 2008 [[Turner Prize]] for art.
There are four nominees for the prize:
* [[Runa Islam]]
** Bangladesh born, aged 37 [1], trained both at the [[Rijksakademie]] in [[Amsterdam]] and the [[Royal College of Art]].
* [[Mark Leckey]]
** from London, age 44 [1] currently a [[film studies]] professor in [[Germany]] at the [[Städelschule]] in [[Frankfurt]] [4].
* [[Goshka Macuga]]
** Polish, age 41 [1], describes herself as a ‘cultural anthropologist’. Her work featured in the 5th [[Berlin Biennial for Contemporary Art]][3].
* [[Cathy Wilkes]]
** from Glasgow, aged 42 [1].
It is the first time in a decade that three of the four nominees for the £25,000 award have been women [3]. The winner of the prize will be announced on December 1 2008 and the announcement will be broadcast live on [[Channel 4]]
==Turner Prize Exhibition==
An exhibition of work by the nominees is shown at [[Tate Britain]] from September 30 2008 to January 18 2009. The curator is Carolyn Kerr [1].
===Works and press coverage===
Runa Islam’s works include:
*”First Day of Spring”[7]
**A film shot in [[Dhaka]], [[Bangladesh]] where Islam was born. It shows a group of [[rickshaw]] drivers taking a rest beside a deserted avenue on the first day of spring [3][4].
*”Cinematography”[7]
**A film shot using a mechanically controlled camera programmed, in its movement, to spell out the word ‘CINEMATOGRAPHY’. The footage is of a film apparatus workshop used by JC Harry Harrison (a motion-control pioneer) in [[New Zealand]] involved in the making of [[The Lord of the Rings (movie)]][7]. The camera moves around the location filming hardware and shelving to the sound of motor noises.
*”Be The First To see What You see As You see It”[3]
**A film showing a dreamlike sequence of a well dressed woman approaching items of crockery placed on plinths and then knocking or throwing the crockery to the floor [3][4][7].
—-
[Her film is] ‘torture’ [2]
This art is academic because it was made not to communicate but to be explained. It exists solely to give lecturers and gallery guides a reason to get up in the morning. [2]
Leckey
——
Bio
describes himself as ‘slightly obsessed with Felix the
Cat’ [‘graph gallery]
—-
Title: Industrial Light & Magic
Title: Felix gets Broadcasted
Title: Made in ‘Eaven
* work – ‘drew on his career-long fascination with
Felix the Cat and Jeff Koons’ rabbit to create videos
and sculptures of animals. A key part of his entry is
a lecture, entitled Cinema-in-the-Round, which
features a voiceover by Leckey and an episode of The
Simpsons in which Homer registers his horror as he
turns into a three-dimensional being.’ [1]
a filmed performance in the form of a lecture by the
artist about why he finds certain works of
contemporary art effective [2]
a film featuring Homer Simpson. A forty minute art
lecture by Leckey, has been recorded for ‘Cinema-in
the- Round.’ [3]
A 40-minute film of a lecture given at Tate Modern and
the Guggenheim museum in New York dominates Mark
Leckey’s show. Leckey, suave in evening dress,
delivers his peroration on images and objects, on
Philip Guston’s ‘thick-as-a-brick’ paintings, on
deformed feet in Georg Baselitz, on cats, on James
Cameron’s movie Titanic, on Marx’s ‘All that is solid
melts into air’, and a great deal more. [4]
—-
it was gratifying to see that even members of the live
audience were talking and getting up to leave. [2]
Macuga
——
—-
Piece title ‘Deutsches Volk-Deutsche Arbeit’ [‘graph
gallery]
‘House der Frau 2’ [5]
‘Haus Der Frau 1’
‘Different Sky (Rain)’
* work – ‘has remade two large glass and steel
sculptures originally created by German architects
Lilly Reich and Mies van der Rohe for one part of her
entry, and has made collages from works by the artists
Paul Nash and Eileen Agar.’ [1]
tubular steel backed with glass [2]
glass, steel and fabric sculptures exploring two
relationships where the woman is the lesser-known
partner [3]
Macuga’s installations invariably quote and even
include the works of earlier artists. She appropriates
them in order to tell her own stories, as well as
theirs. [4]
derived from exhibition display stands designed by
Reich [4]
—-
‘sterile work’ [2]
rather beautiful…oddly moving [4]
has turned the scrap of previous exhibits into, er,
different scrap [6]
Wilkes
——
Bio
* from Glasgow, aged 42 [1]
—-
Title: I Give You All My Money
* Work – ‘has created a sprawling installation
comprised of a supermarket checkout with remnants of
salad and dried porridge left in bowls by her young
son and daughter, as well as a baby buggy and a naked
mannequin on a toilet seat.’ [1]
Cathy Wilkes’s installation consists of two
supermarket check-out counters covered with used
cereal bowls, spoons and cups still encrusted with her
own child’s food and juice. A female mannequin
surrealistically festooned with various emblems of
Woman’s Sad Lot – a nurse’s cap, a teacup – sits on a
lavatory. Another mannequin, standing near a pram, has
a birdcage on her head to signify her status a trapped
and defenceless creature. [2]
a new sculpture made using items from her home […]
It depicts a supermarket checkout adorned with empty
breakfast bowls alongside a mannequin sitting on a
toilet. [3]
A shop mannequin sits on a lavatory, cross-legged,
elegant and naked, but for her nurse’s hat and lots of
things draped and dangling from her head – rusty
horseshoes, a cup, charred bits of wood, a seashell, a
deflated balloon […] A second mannequin leans
against one of two full-size supermarket checkout
counters. Ash is smeared on her face; her head is
enclosed in a birdcage. [4]
—-
‘Wilkes is using a surrealistic vocabulary that was
out of date in 1940, or that her take on feminism is
one that that Betty Friedan would have recognised 40
years ago.’ [2]
Wilkes’ art is a poke in the eye, a sort of curse. She
goes on and on doing the same thing, and her
insistence is telling and painful. [4]
—-
Wilkes tells us that it ‘apprehends an end point in
our understanding of things as they are – a point at
which words become insufficient, and the naming of
objects is disconnected from our experience of them.’
[2]
Other
—–
Outside the gallery, the Stuckists art group handed
out leaflets with the message ‘The Turner Prize is
Crap’, in their continuing protest at the Tate’s
sidelining of figurative painting. [1]
Quotes of whole short list
————————–
* The shortlist for this year’s Turner Prize is so
wilfully opaque it’s irrelevant. [2]
there’s a depth and complexity [in the Turner
exhibition] that, it would be nice to think, might
overtake the usual chat about winners and losers. [4]
External links
————–
Telegraph Gallery
http://www.telegraph.co.uk/news/picturegalleries/uknew
s/3103290/Turner-Prize-nominations-at-Tate-
Britain.html
Daily Mirror Gallery
http://www.mirror.co.uk/news/top-
stories/2008/09/29/pictures-this-year-s-turner-prize-
entries-115875-20760327/
Guardian Gallery
http://www.guardian.co.uk/artanddesign/gallery/2008/se
p/29/turner.prize.tate?picture=338081966
[1] http://www.independent.co.uk/arts-
entertainment/art-and-architecture/news/a-mannequin-
on-a-toilet-and-dry-porridge-ndash-its-the-turner-
prize-945945.html
[2] http://www.telegraph.co.uk/arts/main.jhtml?
xml=/arts/2008/09/29/baturnerrd129.xml
[3] http://www.telegraph.co.uk/arts/main.jhtml?
xml=/arts/2008/09/29/baturner129.xml
[4]
http://www.guardian.co.uk/artanddesign/2008/sep/30/tur
nerprize.art1
[5]
http://news.bbc.co.uk/1/hi/entertainment/arts_and_cult
ure/7641623.stm
[6]
http://www.thesun.co.uk/sol/homepage/news/article17480
39.ece
[7]
http://www.guardian.co.uk/artanddesign/2008/sep/30/tur
nerprize.art