Browse content similar to What Has the Turner Prize Ever Done for Us?. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
This programme contains very strong language | 0:00:02 | 0:00:09 | |
Hmm, that looks familiar. | 0:00:10 | 0:00:12 | |
So does that. | 0:00:16 | 0:00:17 | |
I've definitely seen that before. | 0:00:19 | 0:00:22 | |
And that. | 0:00:22 | 0:00:24 | |
It's all coming back - every controversial, | 0:00:24 | 0:00:27 | |
irritating and contentious moment of it. | 0:00:27 | 0:00:31 | |
It's all coming back. | 0:00:31 | 0:00:34 | |
The Turner Prize. | 0:00:34 | 0:00:36 | |
The bloody Turner Prize. | 0:00:36 | 0:00:39 | |
Every year, the great and the good of the art world | 0:00:39 | 0:00:42 | |
get together and award a gong to the best display of British art | 0:00:42 | 0:00:48 | |
of the preceding 12 months. | 0:00:48 | 0:00:51 | |
And every year they find something that annoys us. | 0:00:51 | 0:00:56 | |
Something about which the whole nation can howl. | 0:00:56 | 0:01:00 | |
Because say what you want about the Turner Prize - | 0:01:00 | 0:01:03 | |
and believe me, I have done - | 0:01:03 | 0:01:06 | |
you have to admit, it's had a hell of an impact. | 0:01:06 | 0:01:09 | |
In the 30 years it's been with us, the Turner has delighted | 0:01:14 | 0:01:18 | |
and infuriated us punters in equal measure. | 0:01:18 | 0:01:22 | |
It's turned unknowns into pillars of the establishment | 0:01:23 | 0:01:27 | |
and even generated its own cranky opposition movement. | 0:01:27 | 0:01:32 | |
I'm still a little unclear about what you got out of it, then, Jake? | 0:01:32 | 0:01:34 | |
I didn't get anything out of it. | 0:01:34 | 0:01:36 | |
It gives you a bit of confidence. | 0:01:38 | 0:01:39 | |
You're basically recognised by the museums or curators | 0:01:39 | 0:01:42 | |
rather than the market. | 0:01:42 | 0:01:45 | |
Britain has turned from an nation that roundly ignored modern art | 0:01:45 | 0:01:50 | |
into one that roundly can't get enough of it. | 0:01:50 | 0:01:54 | |
And much of the credit for that - or is it the blame? - | 0:01:54 | 0:01:58 | |
is due to the Turner. | 0:01:58 | 0:01:59 | |
How did it happen? | 0:02:01 | 0:02:02 | |
What went on? | 0:02:02 | 0:02:04 | |
You're about to find out. | 0:02:04 | 0:02:07 | |
Because this is the story of the Turner Prize. | 0:02:07 | 0:02:10 | |
As we all know, the prize was named after Turner, | 0:02:18 | 0:02:22 | |
Britain's greatest landscape painter, | 0:02:22 | 0:02:25 | |
and every year, one thing that's guaranteed | 0:02:25 | 0:02:28 | |
is that someone somewhere will write that Turner | 0:02:28 | 0:02:32 | |
must be turning in his grave at the sight of the Turner Prize. | 0:02:32 | 0:02:36 | |
I've written it myself, several times. | 0:02:39 | 0:02:41 | |
So I wonder if it might have been more appropriate | 0:02:44 | 0:02:48 | |
to have named it after another of the giants of British art, | 0:02:48 | 0:02:53 | |
that cheeky, outrageous, | 0:02:53 | 0:02:55 | |
sneering naysayer, Hogarth - | 0:02:55 | 0:02:59 | |
whose contribution prepared the ground so well | 0:02:59 | 0:03:03 | |
for all the enfants terribles that followed. | 0:03:03 | 0:03:06 | |
As an homage to Hogarth | 0:03:09 | 0:03:11 | |
and the long shadow he's cast over the Turner Prize, | 0:03:11 | 0:03:17 | |
I'm dividing this film into four chapters in the style of | 0:03:17 | 0:03:22 | |
Hogarth's great lament upon the descent of man, | 0:03:22 | 0:03:27 | |
A Rake's Progress. | 0:03:27 | 0:03:29 | |
This is The Prize's Progress, | 0:03:29 | 0:03:33 | |
and to begin at the beginning, here's part one, | 0:03:33 | 0:03:37 | |
in which the prize is born, before being born again. | 0:03:37 | 0:03:41 | |
# Jitterbug | 0:03:48 | 0:03:49 | |
# Jitterbug... # | 0:03:51 | 0:03:52 | |
1984 saw the first Turner Prize, | 0:03:54 | 0:03:57 | |
with a shortlist featuring Gilbert & George, | 0:03:57 | 0:04:01 | |
Howard Hodgkin | 0:04:01 | 0:04:03 | |
and Richard Long. | 0:04:03 | 0:04:05 | |
At the time, starting the Turner was in itself an outrageous thing to do. | 0:04:05 | 0:04:12 | |
These were still the austere, early days of the Thatcher era, | 0:04:12 | 0:04:17 | |
and art was way down the list of national priorities. | 0:04:17 | 0:04:22 | |
Britain was a nation of hardened modern art haters, | 0:04:22 | 0:04:26 | |
still fuming at the Tate Gallery's acquisition | 0:04:26 | 0:04:30 | |
of Carl Andre's Equivalent VIII, | 0:04:30 | 0:04:32 | |
or, as they were called at the time, | 0:04:32 | 0:04:35 | |
those damn Tate bricks. | 0:04:35 | 0:04:37 | |
Britain needed a hero, | 0:04:41 | 0:04:43 | |
and a hero duly stepped up - | 0:04:43 | 0:04:46 | |
the then director of the Tate, Sir Alan Bowness. | 0:04:46 | 0:04:50 | |
Sir Alan, when you started the Turner Prize, | 0:04:51 | 0:04:53 | |
what were your thoughts, what were your hopes for this award? | 0:04:53 | 0:04:57 | |
Well, I think primarily I was always very keen on modern art, | 0:04:57 | 0:05:01 | |
particularly contemporary art. | 0:05:01 | 0:05:03 | |
I just wanted to share that enthusiasm with other people. | 0:05:03 | 0:05:07 | |
And I thought the idea of a prize | 0:05:07 | 0:05:10 | |
appeals to a certain gambling instinct | 0:05:10 | 0:05:13 | |
which I think is strong in the British people. | 0:05:13 | 0:05:16 | |
The winner of the 1984 Turner Prize is Malcolm Morley. | 0:05:16 | 0:05:20 | |
That was a bit of a blow, in a way, | 0:05:23 | 0:05:25 | |
when the first prize went to a rather obscure name, Malcolm Morley. | 0:05:25 | 0:05:31 | |
A good painter, British-born, | 0:05:31 | 0:05:33 | |
but he'd been living in New York for many years. | 0:05:33 | 0:05:36 | |
I then thought, well, maybe the very fact it's controversial | 0:05:36 | 0:05:40 | |
is actually a very good thing. | 0:05:40 | 0:05:42 | |
So what you're telling me is that, right from the beginning, | 0:05:42 | 0:05:45 | |
this idea of a potential controversy was something | 0:05:45 | 0:05:48 | |
-that was welcomed in the Turner Prize? -Yes. | 0:05:48 | 0:05:50 | |
Perhaps I shouldn't say that too publicly. | 0:05:50 | 0:05:53 | |
You've just said it. | 0:05:53 | 0:05:54 | |
Has it exceeded your expectations, or does it dismay you? | 0:05:54 | 0:05:58 | |
I'm not sure that I'm entirely happy with the way art has developed | 0:05:58 | 0:06:06 | |
in the last 40 years. | 0:06:06 | 0:06:08 | |
And a lot of conceptual art doesn't really excite me. | 0:06:08 | 0:06:12 | |
All the young people in the art schools want to do | 0:06:12 | 0:06:15 | |
conceptual art or performances or film or video. | 0:06:15 | 0:06:19 | |
Anything but paint a picture or make a sculpture. | 0:06:19 | 0:06:22 | |
MUSIC: Ghost Town by The Specials | 0:06:22 | 0:06:26 | |
As the decade rumbled on | 0:06:26 | 0:06:27 | |
and all the artists on that first shortlist went on to win the prize, | 0:06:27 | 0:06:34 | |
questions began to be asked about its purpose and its merit. | 0:06:34 | 0:06:39 | |
It is intriguing that there were, | 0:06:39 | 0:06:41 | |
I think, five artists shortlisted, | 0:06:41 | 0:06:43 | |
from four in 1984, | 0:06:43 | 0:06:46 | |
and they all won the prize in the following years. | 0:06:46 | 0:06:50 | |
So, I think early on it was just ticking off | 0:06:50 | 0:06:53 | |
all the people who they felt should have had it in the first few years. | 0:06:53 | 0:06:57 | |
So it didn't get momentum. | 0:06:57 | 0:06:59 | |
Was this just a distinguished service medal? | 0:07:00 | 0:07:04 | |
Something you got for being around long enough? | 0:07:04 | 0:07:07 | |
A fish, | 0:07:07 | 0:07:09 | |
thrown to a sea lion. | 0:07:09 | 0:07:11 | |
# This town | 0:07:11 | 0:07:14 | |
# Is coming like a ghost town... # | 0:07:14 | 0:07:17 | |
There was also the tricky question of money. | 0:07:17 | 0:07:20 | |
How to pay for the prize. | 0:07:20 | 0:07:23 | |
Thatcher's government wasn't going to help. | 0:07:23 | 0:07:25 | |
They were taking money away from the arts, not adding to it. | 0:07:25 | 0:07:30 | |
So the cash needed to come from private sources. | 0:07:30 | 0:07:35 | |
Initially, from a group of wealthy art lovers | 0:07:35 | 0:07:38 | |
called the Patrons of New Art. | 0:07:38 | 0:07:40 | |
But then, at the end of the decade, | 0:07:40 | 0:07:43 | |
an American investment bank called Drexel Burnham Lambert | 0:07:43 | 0:07:48 | |
took over the sponsorship. | 0:07:48 | 0:07:50 | |
And that was a disaster. | 0:07:50 | 0:07:53 | |
Tonight, the collapse of Drexel Burnham Lambert, America's top... | 0:07:54 | 0:07:59 | |
When the sponsorship fell out of the window in 1990, | 0:07:59 | 0:08:03 | |
the Turner was immediately cancelled for that year, | 0:08:03 | 0:08:07 | |
and its future was uncertain. | 0:08:07 | 0:08:09 | |
So this is where we come to the next stage of the | 0:08:10 | 0:08:13 | |
Turner Prize's scandalous progress, | 0:08:13 | 0:08:16 | |
in which I, Waldemar, write a letter. | 0:08:16 | 0:08:19 | |
You may not believe this, but in 1989 they made me head of arts | 0:08:24 | 0:08:29 | |
at an upstart, young broadcaster called Channel 4. | 0:08:29 | 0:08:34 | |
And when the Turner failed to materialise in that winter of 1990, | 0:08:34 | 0:08:41 | |
I was surprised to find that I missed it. | 0:08:41 | 0:08:44 | |
So I wrote to the newly appointed Tate director, Nicholas Serota... | 0:08:44 | 0:08:49 | |
'Dear Nick...' | 0:08:50 | 0:08:51 | |
..with an offer he couldn't refuse - | 0:08:51 | 0:08:54 | |
to relaunch the Turner Prize with Channel 4's help. | 0:08:54 | 0:08:58 | |
'Yours sincerely, Waldemar.' | 0:08:58 | 0:09:01 | |
When Channel 4 took over the sponsorship, | 0:09:02 | 0:09:05 | |
a number of things were changed. | 0:09:05 | 0:09:07 | |
The prize money was increased to a mighty £20,000, | 0:09:07 | 0:09:12 | |
and the shortlist was limited to four artists. | 0:09:12 | 0:09:16 | |
The exhibition, which had been a rather piddly affair in the past, | 0:09:16 | 0:09:21 | |
or not there at all, | 0:09:21 | 0:09:22 | |
was expanded into an ambitious event, | 0:09:22 | 0:09:25 | |
with each artist getting their own room. | 0:09:25 | 0:09:29 | |
And to fit in with the ethos of Channel 4, | 0:09:29 | 0:09:32 | |
we introduced an age limit of 50. | 0:09:32 | 0:09:36 | |
Old enough to have achieved something, | 0:09:36 | 0:09:39 | |
young enough for it to matter. | 0:09:39 | 0:09:41 | |
I think that the concentration on it being on hot young things | 0:09:41 | 0:09:45 | |
is perhaps what it should be, | 0:09:45 | 0:09:47 | |
but I do think they miss out on some of the more interesting artists. | 0:09:47 | 0:09:50 | |
There are some artists who are in their 60s or 70s | 0:09:50 | 0:09:55 | |
who are up-and-coming artists, | 0:09:55 | 0:09:57 | |
because maybe they started late, | 0:09:57 | 0:09:59 | |
or just their work didn't develop until fairly later on in life. | 0:09:59 | 0:10:04 | |
Phyllida Barlow is a good example, | 0:10:04 | 0:10:06 | |
or Rose Wylie, 70s and 80s, | 0:10:06 | 0:10:09 | |
who took time out to have kids, you know... | 0:10:09 | 0:10:13 | |
Their careers took off in later life. | 0:10:13 | 0:10:16 | |
But in 1991, a brave, new mood entered the Turner. | 0:10:18 | 0:10:24 | |
The shortlist included a group of young Turks in their 20s, | 0:10:24 | 0:10:28 | |
barely out of college. | 0:10:28 | 0:10:30 | |
But the alpha male of the pack | 0:10:30 | 0:10:33 | |
was the exciting sculptor Anish Kapoor, | 0:10:33 | 0:10:36 | |
whose pigment masterpieces | 0:10:36 | 0:10:38 | |
were so joyful to look at. | 0:10:38 | 0:10:40 | |
Doesn't the idea of a prize, | 0:10:42 | 0:10:44 | |
of being given something for your work like that, | 0:10:44 | 0:10:47 | |
doesn't that unsettle you in any way? | 0:10:47 | 0:10:49 | |
Yeah, terribly. | 0:10:49 | 0:10:51 | |
When I received it, my first reaction was, | 0:10:51 | 0:10:55 | |
"Ugh, it has nothing to do with me, I don't want to be part of this." | 0:10:55 | 0:11:00 | |
And I think it is a natural thing for an artist to feel. | 0:11:00 | 0:11:03 | |
You know, we plough our little field or big field or whatever it is, | 0:11:03 | 0:11:10 | |
but we're not in competition with each other. | 0:11:10 | 0:11:12 | |
Afterwards, what did you make of the growth of the Turner? | 0:11:14 | 0:11:17 | |
The Turner, I think, for the next ten years or so, | 0:11:17 | 0:11:21 | |
felt very relevant. | 0:11:21 | 0:11:23 | |
It really had its hand on something | 0:11:23 | 0:11:27 | |
that mattered culturally, yeah. | 0:11:27 | 0:11:31 | |
And now, hmm, who knows? Who knows? | 0:11:31 | 0:11:34 | |
So what you're saying is, those were the great years? | 0:11:34 | 0:11:36 | |
Oh, yes, my dear Waldemar, of course they were. | 0:11:36 | 0:11:39 | |
MUSIC: Parklife by Blur | 0:11:39 | 0:11:43 | |
With his historic win, | 0:11:43 | 0:11:45 | |
Anish opened the door to a new generation that was coming of age. | 0:11:45 | 0:11:49 | |
The first of the group - known later as the YBAs - | 0:11:52 | 0:11:55 | |
and, coincidentally, the first woman to win the prize in 1993, | 0:11:55 | 0:12:01 | |
was Rachel Whiteread, | 0:12:01 | 0:12:03 | |
whose remarkable outdoor sculpture... | 0:12:03 | 0:12:06 | |
..House, had gripped the nation. | 0:12:07 | 0:12:10 | |
My personal opinion is it is a monstrosity, absolutely grotesque. | 0:12:10 | 0:12:14 | |
It might fit well into Welwyn Garden City or somewhere like that, | 0:12:14 | 0:12:18 | |
but it doesn't fit well into our environment. | 0:12:18 | 0:12:21 | |
-Yeah. -It was about here, wasn't it? -Yeah, it was around about here, | 0:12:21 | 0:12:23 | |
the lamppost was actually centre to the piece, | 0:12:23 | 0:12:27 | |
maybe a little bit over to the right, but, yeah, it was here. | 0:12:27 | 0:12:31 | |
You were the beginnings of the YBAs, weren't you? | 0:12:32 | 0:12:35 | |
Yeah, exactly, the YBAs, yeah. | 0:12:35 | 0:12:38 | |
We were the first few fresh-faced YBAs | 0:12:38 | 0:12:41 | |
to be put out for slaughter, yeah. | 0:12:41 | 0:12:44 | |
So, Rachel, let's talk about the Turner Prize. | 0:12:44 | 0:12:46 | |
You were actually nominated twice for it - | 0:12:46 | 0:12:48 | |
the first time in 1991, when you didn't win. | 0:12:48 | 0:12:50 | |
In 1993, when you did win it, it was really intense, | 0:12:50 | 0:12:54 | |
the pressure, wasn't it, in that year? | 0:12:54 | 0:12:56 | |
It was, because I was also nominated for something called | 0:12:56 | 0:12:59 | |
the K Foundation Award, which was for the worst artist. | 0:12:59 | 0:13:03 | |
-Which you also won. -Which I also won, yes. | 0:13:03 | 0:13:05 | |
It was £40,000, it was twice as much as the Turner Prize. | 0:13:05 | 0:13:09 | |
-NEWSREADER: -The £40,000 prize money was nailed to a picture frame, | 0:13:09 | 0:13:13 | |
which was then transported back to London | 0:13:13 | 0:13:16 | |
and chained to the Tate Gallery. | 0:13:16 | 0:13:18 | |
They were going to burn the money and it would be my fault. | 0:13:18 | 0:13:20 | |
This is Rachel's award, can we hear it for Rachel? | 0:13:20 | 0:13:22 | |
APPLAUSE | 0:13:22 | 0:13:24 | |
You know, I just said, | 0:13:24 | 0:13:25 | |
"Well, OK, give me the money and I'll give it away," | 0:13:25 | 0:13:27 | |
which is what I did. | 0:13:27 | 0:13:29 | |
So the actual day that you won also was the time when | 0:13:29 | 0:13:31 | |
the announcement was finally made that House | 0:13:31 | 0:13:33 | |
was going to be knocked down. | 0:13:33 | 0:13:34 | |
If the purpose of modern art is to provoke us to think twice | 0:13:34 | 0:13:36 | |
about the world we live in, | 0:13:36 | 0:13:38 | |
then Rachel Whiteread's House has been a triumphant success. | 0:13:38 | 0:13:40 | |
In the past three months, up to 100,000 people have visited this | 0:13:40 | 0:13:45 | |
now-vanished monument to London's housing. | 0:13:45 | 0:13:47 | |
There was a lot of pressure, a lot of stress, | 0:13:47 | 0:13:49 | |
and actually, really made me quite ill, I'd say. | 0:13:49 | 0:13:52 | |
It's a lot to deal with. | 0:13:52 | 0:13:55 | |
For me, 1993 was the year when the Turner Prize really changed. | 0:13:55 | 0:13:59 | |
It was the year in which it went from | 0:13:59 | 0:14:01 | |
the back pages of the newspapers to the front page. | 0:14:01 | 0:14:03 | |
-Because of House, because of its notoriety. -Yeah. | 0:14:03 | 0:14:07 | |
Yeah, I mean, I would say it was very divided, | 0:14:07 | 0:14:10 | |
which is great, a good argument is a great thing. | 0:14:10 | 0:14:13 | |
It questioned a lot about what art is. | 0:14:13 | 0:14:17 | |
This was nearly 25 years ago, | 0:14:17 | 0:14:20 | |
and, you know, there's a big difference to the arts scene now | 0:14:20 | 0:14:26 | |
and how popular art has become. | 0:14:26 | 0:14:28 | |
House changed everything. | 0:14:30 | 0:14:32 | |
Suddenly the Turner Prize was on everyone's lips, | 0:14:32 | 0:14:36 | |
and the shock tactics of the YBAs | 0:14:36 | 0:14:39 | |
soon became synonymous with it. | 0:14:39 | 0:14:41 | |
Nobody epitomised this new ethos more clearly, | 0:14:42 | 0:14:46 | |
or more noisily, than Damien Hirst with his pickled beasties. | 0:14:46 | 0:14:52 | |
-NEWSREADER: -Infamous for his trademark | 0:14:52 | 0:14:55 | |
pickled animals in formaldehyde, | 0:14:55 | 0:14:57 | |
Damien Hirst disappointed no-one with his spliced cow and calf. | 0:14:57 | 0:15:01 | |
This era of scandal and outrage | 0:15:03 | 0:15:06 | |
heralds a new Hogarthian chapter in our story... | 0:15:06 | 0:15:10 | |
..in which Waldemar is upstaged by a rascal. | 0:15:12 | 0:15:16 | |
MUSIC: No Surprises by Radiohead | 0:15:19 | 0:15:21 | |
In 1997, I put on my best yellow bow tie | 0:15:21 | 0:15:25 | |
and went live on the telly to debate the question, | 0:15:25 | 0:15:28 | |
is painting dead?, with a bunch of art world worthies. | 0:15:28 | 0:15:33 | |
Unfortunately, it wasn't the serious discussion we had that night | 0:15:33 | 0:15:37 | |
that'll be remembered. | 0:15:37 | 0:15:38 | |
The night I was nominated for the Turner Prize, | 0:15:38 | 0:15:42 | |
and at the dinner, there was a TV debate going on. | 0:15:42 | 0:15:46 | |
I think Tim Marlow was chairing it and Tracey had left the dinner, | 0:15:46 | 0:15:50 | |
Tracey Emin, and gone to be part of the panel, | 0:15:50 | 0:15:53 | |
and was very drunk because there was a lot of drinks flowing that night. | 0:15:53 | 0:15:58 | |
I'm the artist here from that show. | 0:15:58 | 0:16:01 | |
From the sensation. I'm here, I'm drunk. | 0:16:01 | 0:16:04 | |
I had a good night out with my friends and I'm leaving now. | 0:16:04 | 0:16:07 | |
Tracey stole the show. | 0:16:07 | 0:16:09 | |
Going nowhere with this fucking mic on me. | 0:16:09 | 0:16:11 | |
But she wasn't even on that year's shortlist. | 0:16:11 | 0:16:14 | |
A few hours earlier, the 1997 Turner Prize had been won | 0:16:15 | 0:16:20 | |
by the acclaimed video artist Gillian Wearing, | 0:16:20 | 0:16:24 | |
well-known for her arresting work. | 0:16:24 | 0:16:27 | |
I wanted to make a still, moving image. | 0:16:27 | 0:16:30 | |
Something that looked like a photograph, | 0:16:30 | 0:16:32 | |
but, actually, is a film. | 0:16:32 | 0:16:34 | |
And then, obviously, with Police Uniform, | 0:16:34 | 0:16:36 | |
it's all about power and control. | 0:16:36 | 0:16:38 | |
In the first couple of minutes, it really is a very static image. | 0:16:38 | 0:16:41 | |
And then, obviously, people's individual personalities | 0:16:41 | 0:16:44 | |
start to come through, | 0:16:44 | 0:16:45 | |
and so it's actually a very, very mobile film by the end. | 0:16:45 | 0:16:49 | |
One man actually screams and throws his helmet in the air. | 0:16:49 | 0:16:53 | |
He said his wife said it was only going to be a couple of minutes, | 0:16:55 | 0:16:58 | |
but he kind of did stand there for a whole hour. | 0:16:58 | 0:17:00 | |
OK. So, this fantastic piece goes out and then, hey, | 0:17:00 | 0:17:03 | |
you get to actually win the prize. | 0:17:03 | 0:17:06 | |
Tell us about that. Obviously, it was a surprise? | 0:17:06 | 0:17:08 | |
Yeah, it was a surprise. | 0:17:08 | 0:17:09 | |
So when they mentioned my name, I remember, yeah, | 0:17:09 | 0:17:12 | |
it was kind of quite surreal. | 0:17:12 | 0:17:13 | |
I hadn't prepared a speech, I can't remember what I said. | 0:17:13 | 0:17:16 | |
David Hockney said I shouldn't have won it because it was a video work. | 0:17:16 | 0:17:20 | |
I'm not sure he'd say that now, | 0:17:20 | 0:17:21 | |
because I actually saw a piece of his in LA recently. | 0:17:21 | 0:17:24 | |
-That was a video work. -He makes videos himself now, yes. | 0:17:24 | 0:17:26 | |
Two years after Gillian Wearing won the Turner, | 0:17:29 | 0:17:34 | |
Tracey Emin herself was nominated for an infamous work called My Bed. | 0:17:34 | 0:17:39 | |
And the by-now customary tabloid outrage went into overdrive | 0:17:39 | 0:17:44 | |
while visitor numbers went through the roof. | 0:17:44 | 0:17:48 | |
As controversy followed controversy, | 0:17:51 | 0:17:54 | |
the 2001 Turner was won by Martin Creed, | 0:17:54 | 0:17:58 | |
whose blank installation The Lights Going On And Off | 0:17:58 | 0:18:04 | |
gets my vote for the worst of all Turner Prize winners. | 0:18:04 | 0:18:09 | |
I can't explain it. | 0:18:09 | 0:18:10 | |
Except to say that the lights are definitely going on and off. | 0:18:12 | 0:18:17 | |
Even more outrageous was that year's announcement ceremony... | 0:18:20 | 0:18:24 | |
I'd like to thank you all for coming to my house. | 0:18:24 | 0:18:26 | |
I hope you like my art collection. | 0:18:26 | 0:18:28 | |
..where Madonna, presenting the prize, | 0:18:28 | 0:18:31 | |
insisted on swearing before the watershed. | 0:18:31 | 0:18:35 | |
I would also like to say, right on, motherfuckers. | 0:18:35 | 0:18:38 | |
The Turner, it seemed, had gone too far again. | 0:18:38 | 0:18:42 | |
So every year, regular as clockwork, | 0:18:44 | 0:18:47 | |
the prize was now expected to serve up some juicy controversies. | 0:18:47 | 0:18:52 | |
It had become a circus act, | 0:18:52 | 0:18:55 | |
and the tabloids loved it, | 0:18:55 | 0:18:57 | |
but somehow, despite all these distractions, | 0:18:57 | 0:19:01 | |
it managed also to serve art properly | 0:19:01 | 0:19:04 | |
and to reward some worthwhile talents. | 0:19:04 | 0:19:08 | |
Jeremy Deller, | 0:19:08 | 0:19:10 | |
Cornelia Parker, | 0:19:10 | 0:19:11 | |
Wolfgang Tillmans - | 0:19:11 | 0:19:13 | |
they all had cause to thank the Turner Prize. | 0:19:13 | 0:19:18 | |
And so, too, did that lot over there. | 0:19:19 | 0:19:22 | |
The so-called Stuckists. | 0:19:22 | 0:19:24 | |
If you've heard of them at all, it's because of the Turner Prize. | 0:19:24 | 0:19:28 | |
Every year, they turn up and protest about it. | 0:19:28 | 0:19:32 | |
Why? | 0:19:32 | 0:19:33 | |
Because they're stuck, stuck, stuck. | 0:19:33 | 0:19:36 | |
That's why. | 0:19:36 | 0:19:37 | |
Charles, good to see you again. | 0:19:39 | 0:19:41 | |
Don't you feel particularly pointless by now? | 0:19:42 | 0:19:45 | |
No, because we get a lot of publicity. | 0:19:45 | 0:19:47 | |
-Is that all you're here for? -Erm, no. We're here to make a point. | 0:19:47 | 0:19:50 | |
We're here to represent a lot of artists | 0:19:50 | 0:19:52 | |
who are completely unrepresented in the Turner Prize. | 0:19:52 | 0:19:54 | |
But you started making this point what, 15, 20 years ago? | 0:19:54 | 0:19:57 | |
-How long ago was it now? -The first demonstration was in 2000. | 0:19:57 | 0:20:00 | |
So, you're here more often than most of the Turner Prize winners? | 0:20:00 | 0:20:03 | |
Yeah. I think we should actually be the Turner Prize winners. | 0:20:03 | 0:20:07 | |
In fact, I'm looking forward to the demonstration | 0:20:07 | 0:20:09 | |
being nominated inside, and then we can demonstrate outside | 0:20:09 | 0:20:13 | |
against us being inside. | 0:20:13 | 0:20:14 | |
-I want an honest answer here, right? Honest answer. -OK... | 0:20:14 | 0:20:17 | |
Actually, Charles, you love the Turner Prize, don't you? | 0:20:17 | 0:20:21 | |
Well, if it ended, we wouldn't be here talking to you, | 0:20:21 | 0:20:26 | |
so it fulfils a very useful function. | 0:20:26 | 0:20:29 | |
TV exclusive - the Stuckists love the Turner Prize. | 0:20:29 | 0:20:32 | |
The first thing about them is they're very bad painters. | 0:20:33 | 0:20:36 | |
And they go on about how great painting is and all that stuff, | 0:20:36 | 0:20:38 | |
but actually, technically, not many of them are that good. | 0:20:38 | 0:20:41 | |
And I'm sure most conceptual artists can paint just as well as or better | 0:20:41 | 0:20:45 | |
than a lot of those Stuckists, weirdly. | 0:20:45 | 0:20:48 | |
They're kind of the Ukip of art, aren't they, really? | 0:20:48 | 0:20:51 | |
The Stuckists were yesterday's story. | 0:20:53 | 0:20:56 | |
Most people in Britain today know a lot more about modern art | 0:20:56 | 0:21:00 | |
than they used to. | 0:21:00 | 0:21:02 | |
And all this talk about going back | 0:21:02 | 0:21:04 | |
to proper painting and sculpture is old hat. | 0:21:04 | 0:21:08 | |
These days, art's extraordinary power to change things | 0:21:10 | 0:21:15 | |
is recognised as a valuable national resource. | 0:21:15 | 0:21:19 | |
Which brings us to our final Hogarthian chapter, | 0:21:19 | 0:21:23 | |
where the Turner Prize goes north, | 0:21:23 | 0:21:26 | |
and west, and all over the place. | 0:21:26 | 0:21:29 | |
MUSIC: There There by Radiohead | 0:21:31 | 0:21:33 | |
While, for some, the 1990s were the heyday of the Turner, | 0:21:33 | 0:21:38 | |
I have a particularly soft spot for 2003, | 0:21:38 | 0:21:42 | |
when two of my favourite British artists squared up to each other | 0:21:42 | 0:21:47 | |
in a battle of the titans. | 0:21:47 | 0:21:49 | |
In the red corner was the ceramic cross-dresser Grayson Perry. | 0:21:50 | 0:21:55 | |
And in the blue corner | 0:21:55 | 0:21:57 | |
were those naughty Brothers Grimm, the Chapmans. | 0:21:57 | 0:22:00 | |
The year that Jake and Dinos and Grayson Perry were nominated, | 0:22:03 | 0:22:06 | |
that was a pretty exciting year, | 0:22:06 | 0:22:08 | |
and I think it was a big shock that Grayson won. | 0:22:08 | 0:22:10 | |
That's when he really came out with Claire, his alter ego. | 0:22:10 | 0:22:14 | |
Grayson's acceptance speech tickled viewers at home | 0:22:14 | 0:22:17 | |
who hadn't seen Claire before. | 0:22:17 | 0:22:19 | |
It's about time a transvestite potter won the Turner Prize. | 0:22:19 | 0:22:23 | |
And he's become a national treasure since. | 0:22:23 | 0:22:26 | |
It's a very difficult one to judge, that year, I think. | 0:22:32 | 0:22:35 | |
I think the Chapmans probably didn't play their strongest hand, | 0:22:35 | 0:22:39 | |
and there was a kind of quite puerile joke in it, | 0:22:39 | 0:22:41 | |
which probably didn't go down very well with anyone. | 0:22:41 | 0:22:43 | |
I met up with Jake Chapman and asked him what happened. | 0:22:43 | 0:22:48 | |
So, Jake, obviously, it put you face-to-face with Grayson Perry. | 0:22:48 | 0:22:52 | |
Everybody was always saying, one of these two's going to win. | 0:22:52 | 0:22:57 | |
You know, I did tell Nick Serota on the night | 0:22:57 | 0:23:00 | |
that he wasn't actually a little girl. | 0:23:00 | 0:23:02 | |
Grayson Perry wasn't actually... I think they were | 0:23:02 | 0:23:04 | |
under the impression he was actually a little girl and maybe they had | 0:23:04 | 0:23:07 | |
given him - her - the prize because they felt sorry for her. | 0:23:07 | 0:23:09 | |
-Didn't want him to cry? -Yeah, exactly. | 0:23:09 | 0:23:12 | |
I'm still a little unclear about what you got out of it, | 0:23:12 | 0:23:15 | |
-then, Jake, because... -I didn't get anything out of it. | 0:23:15 | 0:23:18 | |
-So why did you do it? -Because it was another exhibition. | 0:23:18 | 0:23:21 | |
I mean, I think it's, you know... | 0:23:21 | 0:23:23 | |
I'd like to say it was an act of charity on our part, | 0:23:23 | 0:23:26 | |
but it was some... You know, it was just another exhibition. | 0:23:26 | 0:23:28 | |
I think, as artists, | 0:23:28 | 0:23:31 | |
our interest is in making art and showing it, | 0:23:31 | 0:23:33 | |
and having it operate in the world, | 0:23:33 | 0:23:36 | |
and I don't think we're that fastidious about where we show it. | 0:23:36 | 0:23:39 | |
In a sense, it was another place to just kind of off-load | 0:23:39 | 0:23:42 | |
a load of stuff that might cause some kind of minor irritation, | 0:23:42 | 0:23:47 | |
and then, you know, a glass of wine and then home. | 0:23:47 | 0:23:49 | |
The most significant development | 0:23:51 | 0:23:53 | |
in the Turner's story in the past decade | 0:23:53 | 0:23:56 | |
has been the biennial departure from London. | 0:23:56 | 0:23:59 | |
Since 2008, Liverpool, Londonderry and Gateshead have all hosted it. | 0:24:00 | 0:24:07 | |
Taking it out of London has been a very exciting move. | 0:24:07 | 0:24:10 | |
The response in Gateshead, the response in Glasgow, | 0:24:10 | 0:24:15 | |
the response in Derry/Londonderry, | 0:24:15 | 0:24:17 | |
and now Hull, has been really strong. | 0:24:17 | 0:24:20 | |
The show in Derry in 2013 was a tremendously moving event. | 0:24:21 | 0:24:27 | |
For once, the shortlist was excellent. | 0:24:27 | 0:24:31 | |
And the same barracks in which the British Army had been encamped | 0:24:31 | 0:24:35 | |
for all those dark years of the Troubles | 0:24:35 | 0:24:38 | |
were now the site of the Turner Prize. | 0:24:38 | 0:24:42 | |
Who says art cannot change things? | 0:24:42 | 0:24:45 | |
Last year, the prize went to Glasgow, | 0:24:47 | 0:24:49 | |
and amidst the usual grumbling, | 0:24:49 | 0:24:52 | |
much of it from me, it was given to a bunch called Assemble, | 0:24:52 | 0:24:58 | |
an architectural collective who'd regenerated a bit of Toxteth. | 0:24:58 | 0:25:02 | |
And who'd never thought of themselves as artists. | 0:25:03 | 0:25:06 | |
It gives us a few stars in Toxteth, where there has... | 0:25:16 | 0:25:20 | |
You know, if you say Toxteth to people, | 0:25:20 | 0:25:22 | |
the next word becomes "riots". | 0:25:22 | 0:25:25 | |
Whereas now, it becomes... | 0:25:25 | 0:25:26 | |
..resplendence. | 0:25:28 | 0:25:29 | |
When it came to crossing boundaries, | 0:25:32 | 0:25:35 | |
the Turner had lost none of its pioneering waywardness. | 0:25:35 | 0:25:40 | |
This call comes out of the middle of nowhere that you've been nominated. | 0:25:40 | 0:25:44 | |
I mean, it was a huge surprise for us. | 0:25:44 | 0:25:48 | |
So, through that, we were able to launch Granby Workshop. | 0:25:48 | 0:25:51 | |
It's a social enterprise based in this neighbourhood | 0:25:51 | 0:25:54 | |
which makes and sells products. | 0:25:54 | 0:25:57 | |
They're products which were originally designed | 0:25:57 | 0:25:59 | |
for the houses here, but then, through the Turner Prize, | 0:25:59 | 0:26:02 | |
we're able to open them up to kind of a global audience. | 0:26:02 | 0:26:06 | |
It makes people more interested in | 0:26:06 | 0:26:08 | |
the critical conversation around the work. | 0:26:08 | 0:26:10 | |
It's given a credibility to people working in these quite divergent, | 0:26:10 | 0:26:13 | |
quite diverse scenarios. | 0:26:13 | 0:26:15 | |
It's amazing now that, kind of one year on, out of kind of, | 0:26:15 | 0:26:19 | |
out of nothing, then we're building, hopefully, | 0:26:19 | 0:26:22 | |
a really sustainable project in the area, which will continue to bring | 0:26:22 | 0:26:26 | |
employment into this neighbourhood. | 0:26:26 | 0:26:28 | |
And that's kind of, you know, an amazing achievement, I think. | 0:26:28 | 0:26:32 | |
They may have trained as architects, but they were making art. | 0:26:32 | 0:26:36 | |
I think the Turner Prize is always rejuvenated | 0:26:36 | 0:26:40 | |
by expanding into new areas. | 0:26:40 | 0:26:45 | |
It's quite interesting, really, to have it broader in terms of how... | 0:26:45 | 0:26:49 | |
who can win. | 0:26:49 | 0:26:50 | |
In its 30 years and counting, | 0:26:52 | 0:26:54 | |
the Turner Prize has come a long, long way. | 0:26:54 | 0:26:58 | |
When it started, no-one liked modern art. | 0:26:58 | 0:27:01 | |
These days, we can't get enough of it. | 0:27:04 | 0:27:06 | |
And having hated the last two shows | 0:27:07 | 0:27:10 | |
and called, as always, for its scrapping, | 0:27:10 | 0:27:13 | |
I find myself enjoying this year's Turner rather a lot. | 0:27:13 | 0:27:17 | |
It's commendably tangible, commendably Hogarthian. | 0:27:21 | 0:27:26 | |
No dreary film and video, no architectural collectives, | 0:27:26 | 0:27:32 | |
no pointless lights going on and off, | 0:27:32 | 0:27:35 | |
just stuff you can look at and feel. | 0:27:35 | 0:27:39 | |
Anthea Hamilton's giant arse is quintessential Turner fodder. | 0:27:40 | 0:27:45 | |
Hogarth would have loved it. | 0:27:45 | 0:27:47 | |
Helen Martin's funny scatter art makes you peer and probe. | 0:27:48 | 0:27:54 | |
Josephine Pryde and her little choo-choo train | 0:27:59 | 0:28:03 | |
connects with the child within. | 0:28:03 | 0:28:05 | |
And Michael Dean's grim-up-North word sculptures | 0:28:08 | 0:28:12 | |
are sad and accusatory. | 0:28:12 | 0:28:15 | |
It's a good mix in a good show. | 0:28:18 | 0:28:21 | |
So, as sure as eggs is eggs, | 0:28:21 | 0:28:23 | |
next year is bound to be awful. | 0:28:23 | 0:28:27 | |
Turner Prize, I salute you. | 0:28:27 | 0:28:31 | |
And thanks for the memories. | 0:28:31 | 0:28:33 |