A shortlisted artist for the Turner Prize in 1997, Christine Borland, explains why the requirement to fit the “lumbering Turner Prize machine” systematically stifles art and artists.
The latest exhibition for the biggest award in contemporary British art, the Turner Prize, is now open at Glasgow’s Tramway. It comes as no surprise that responses to the show of the four shortlisted artists have so far been lukewarm.
As a shortlisted artist participating at the Tate in 1997, the compromises required to make everything “fit” the lumbering Turner Prize machine overwhelmed both the work and possibilities for its interpretation. This year that homogenisation extends to turning Tramway, one of the UK’s most distinctive and cavernous exhibition spaces, into a claustrophobic warren of corridors and white cubes... Keep reading on The Conversation
The latest exhibition for the biggest award in contemporary British art, the Turner Prize, is now open at Glasgow’s Tramway. It comes as no surprise that responses to the show of the four shortlisted artists have so far been lukewarm.
As a shortlisted artist participating at the Tate in 1997, the compromises required to make everything “fit” the lumbering Turner Prize machine overwhelmed both the work and possibilities for its interpretation. This year that homogenisation extends to turning Tramway, one of the UK’s most distinctive and cavernous exhibition spaces, into a claustrophobic warren of corridors and white cubes... Keep reading on The Conversation