{"id":52823,"date":"2024-11-08T13:08:16","date_gmt":"2024-11-08T13:08:16","guid":{"rendered":"https:\/\/artmag.co.uk\/?p=52823"},"modified":"2024-12-04T16:42:28","modified_gmt":"2024-12-04T16:42:28","slug":"all-about-the-art","status":"publish","type":"post","link":"https:\/\/artmag.co.uk\/all-about-the-art\/","title":{"rendered":"All about the art?"},"content":{"rendered":"\n<p>Announced on 3rd December, the winner of the 2024 Turner Prize is Jasleen Kaur, whose work appeared on the cover of Artmag&#8217;s 10th May issue. Jasleen and Pio Abad are two of this year\u2019s nominees who trained at Glasgow School of Art. The Turner Prize exhibition is showing at Tate Britain in London until 16th February next year, and the 2025 Turner Prize nominees will be displayed at Bradford\u2019s Cartwright Hall Art Gallery from next September, as part of its UK City of Culture programme.<\/p>\n\n\n\n<p>THE fortieth Turner Prize exhibition was unveiled in late September, back at its home in Tate Britain for the first time in six years. However, it has divided critics. Depending on who you read, it\u2019s a death knell for a prize which has been petering out ever since its glory days in the 1990s, or an interesting (if not particularly exciting) snapshot of British contemporary art now.<\/p>\n\n\n\n<p>The biggest and best-known art prize in the UK (the winner gets \u00a325,000, the other nominated artists \u00a310,000 each) has thrived on controversy, but this year there is very little. Media attention and visitor numbers are lower than they were 20 years ago, and the prize has had some trouble attracting high profile sponsors. One writer visiting this year\u2019s show reflected that the prize \u201cseems to have run out of originality and fire\u201d.<\/p>\n\n\n\n<p>In 1984, the prize was set up \u201cto recognise the greatest contribution to British art in the previous 12 months\u201d. The earliest winners tended to be well-established artists, but things changed in 1991 when Channel 4 came on board as media sponsor, the prize money doubled and the age limit of 50 was introduced (it was removed in 2017).&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Claudette-Johnson-1024x683.jpg\" alt=\"Viewing Claudette Johnston\u2019s presentation at the current Tate Britain exhibition \u00a9 Tate. Photo Josh Troll\" class=\"wp-image-52829 lazyload\"\/><noscript><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Claudette-Johnson-1024x683.jpg\" alt=\"Viewing Claudette Johnston\u2019s presentation at the current Tate Britain exhibition \u00a9 Tate. Photo Josh Troll\" class=\"wp-image-52829 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Claudette-Johnson-1024x683.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Claudette-Johnson-480x320.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Claudette-Johnson-150x100.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Claudette-Johnson-768x512.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Claudette-Johnson.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Viewing Claudette Johnston\u2019s presentation at the current Tate Britain exhibition \u00a9 Tate. Photo Oli Cowling.<\/em><\/figcaption><\/figure>\n\n\n\n<p>The Young British Artists (YBAs) dominated the prize for the next ten years, with works such as Damien Hirst\u2019s shark in formaldehyde and Tracey Emin\u2019s unmade bed generating seemingly endless newspaper headlines. With controversy came celebrity: winners were announced live on TV by the likes of Madonna and Jude Law.<\/p>\n\n\n\n<p>Those days live long in the memory, making more recent prizes appear dull and dutiful by comparison. In 2019, when the four nominated artists petitioned the judges to share the prize, there were shock waves: was this just another Turner Prize controversy, or a signal that prizes themselves had run their course?<\/p>\n\n\n\n<p>Since the difficult pandemic years, organisers have tried to re-establish the prize as a benchmark for the best of British contemporary art, with or without added glitz and glamour. \u201cIt\u2019s really just about the art,\u201d one told me at the launch of the 2022 prize in Tate Liverpool. And, while there will always be disagreements about the make-up of a shortlist, or choice of a winner, perhaps it\u2019s no bad thing that the art itself is the priority.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Pio-Abads-presentation-1024x1537.jpg\" alt=\"View of Pio Abad\u2019s presentation at Tate Britain\u2019s Turner Prize 2024 exhibition, which is open until 16th February 2025\" class=\"wp-image-52828 lazyload\"\/><noscript><img decoding=\"async\" width=\"1024\" height=\"1537\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Pio-Abads-presentation-1024x1537.jpg\" alt=\"View of Pio Abad\u2019s presentation at Tate Britain\u2019s Turner Prize 2024 exhibition, which is open until 16th February 2025\" class=\"wp-image-52828 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Pio-Abads-presentation-1024x1537.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Pio-Abads-presentation-480x720.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Pio-Abads-presentation-100x150.jpg 100w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Pio-Abads-presentation-768x1153.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Pio-Abads-presentation-1023x1536.jpg 1023w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Pio-Abads-presentation.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>View of Pio Abad\u2019s presentation at Tate Britain\u2019s Turner Prize 2024 exhibition, which is open until 16th<br \/>February 2025 \u00a9 Tate. Photo Josh Troll<\/em><\/figcaption><\/figure>\n\n\n\n<p>What, then, of the art? First-up this year, in Tate Britain\u2019s well-curated show, is Pio Abad, Manila-born and trained at Glasgow School of Art (Scotland punches above its weight in the Turner Prize, having racked up seven winners and a much longer list of nominees.) Abad\u2019s formative years were spent under the shadow of the Marcos dictatorship, and he is nominated for an exhibition at Oxford\u2019s Ashmolean Museum which take his Filipino history as a starting point for exploring the troubled stories of objects in museum collections.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view--1024x683.jpg\" alt=\"More of Pio Abad\u2019s work at the exhibition\" class=\"wp-image-52827 lazyload\"\/><noscript><img decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view--1024x683.jpg\" alt=\"More of Pio Abad\u2019s work at the exhibition\" class=\"wp-image-52827 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view--1024x683.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view--480x320.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view--150x100.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view--768x512.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>More of Pio Abad\u2019s work at the exhibition. \u00a9 Tate. Photo Oli Cowling<\/em><\/figcaption><\/figure>\n\n\n\n<p>His show looks and feels like a museum: silence, dim lighting, detailed labels. He excavates stories from the past, like that of Prince Giolo, a heavily-tattooed young Filipino taken to England as a slave in 1691 and exhibited as a curiosity, and has remade, with his wife, jewellery designer Frances Wadsworth Jones, objects from Imelda Marcos\u2019 infamous horde of confiscated jewels. It\u2019s thoughtful and thought-provoking work, based on a great deal of research \u2013 however, careful reading of the labels is required to get the full impact.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Jasleen-Kaur-\u00a9-Tate.-Photo-Oli-Cowling-1024x736.jpg\" alt=\"Jasleen Kaur \u00a9 Tate. Photo Oli Cowling\" class=\"wp-image-52831 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"736\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Jasleen-Kaur-\u00a9-Tate.-Photo-Oli-Cowling-1024x736.jpg\" alt=\"Jasleen Kaur \u00a9 Tate. Photo Oli Cowling\" class=\"wp-image-52831 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Jasleen-Kaur-\u00a9-Tate.-Photo-Oli-Cowling-1024x736.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Jasleen-Kaur-\u00a9-Tate.-Photo-Oli-Cowling-480x345.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Jasleen-Kaur-\u00a9-Tate.-Photo-Oli-Cowling-150x108.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Jasleen-Kaur-\u00a9-Tate.-Photo-Oli-Cowling-768x552.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Jasleen-Kaur-\u00a9-Tate.-Photo-Oli-Cowling.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em><\/em><em>Jasleen Kaur and her piece &#8216;Alter Altar\u2019, which appeared on the cover of Artmag&#8217;s 10th May issue. \u00a9 Tate. Photo Oli Cowling.<\/em><\/figcaption><\/figure>\n\n\n\n<p>Next comes Glasgow-born Jasleen Kaur (her first degree is also from GSA, in jewellery design). Her show is a densely-layered reflection on multicultural Britain through the lens of her upbringing in Glasgow\u2019s Sikh community. The stand-out object &#8211; if not the poster image for the entire show &#8211; is the life-size replica of her father\u2019s Red Ford Escort Mk 3, covered in a giant doily, and pumping out a soundtrack of pop, hip-hop and qawwali music.<\/p>\n\n\n\n<p>The installation &#8211; a re-staging of the show she made for Tramway in spring &#8211; has a lot of disparate elements: a large carpet, big mechanical hands with prayer bells attached to the fingers, photographs, and a plastic canopy on which various objects from Kaur\u2019s upbringing seem to float. For me, they didn\u2019t pull together enough to tell a coherent story.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Delaine-le-Bas-presentation-in-Turner-Prize-2024-at-Tate-Britain-25-September-2024-\u2013-16-February-2025-3-1024x683.jpg\" alt=\"Up close with work by Delaine le Bas at the Tate Britain show.  \u00a9 Tate. Photo Oli Cowling\" class=\"wp-image-52826 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Delaine-le-Bas-presentation-in-Turner-Prize-2024-at-Tate-Britain-25-September-2024-\u2013-16-February-2025-3-1024x683.jpg\" alt=\"Up close with work by Delaine le Bas at the Tate Britain show.  \u00a9 Tate. Photo Oli Cowling\" class=\"wp-image-52826 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Delaine-le-Bas-presentation-in-Turner-Prize-2024-at-Tate-Britain-25-September-2024-\u2013-16-February-2025-3-1024x683.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Delaine-le-Bas-presentation-in-Turner-Prize-2024-at-Tate-Britain-25-September-2024-\u2013-16-February-2025-3-480x320.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Delaine-le-Bas-presentation-in-Turner-Prize-2024-at-Tate-Britain-25-September-2024-\u2013-16-February-2025-3-150x100.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Delaine-le-Bas-presentation-in-Turner-Prize-2024-at-Tate-Britain-25-September-2024-\u2013-16-February-2025-3-768x512.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Installation-view-Delaine-le-Bas-presentation-in-Turner-Prize-2024-at-Tate-Britain-25-September-2024-\u2013-16-February-2025-3.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Up close with work by Delaine le Bas at the Tate Britain show.  \u00a9 Tate. Photo Oli Cowling<\/em><\/figcaption><\/figure>\n\n\n\n<p>Delaine Le Bas covers every inch of her space with painting, fabrics, stitched objects, sound, film and shiny foil. Another subject of a recent Tramway show, she draws on her Roma background, along with an unbridled imagination, politics, mythology and what she describes as a \u201cgypsy-hippy-punk\u201d aesthetic. There\u2019s no shortage of energy in this show, which is, I think, about grief, but it comes at the viewer helter-skelter, ending up (for no reason I could fathom) at the Oracle at Delphi.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img decoding=\"async\" class=\"lazyload\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Claudette-Johnson-1024x678.jpg\" alt=\"\"\/><noscript><img decoding=\"async\" class=\"lazyload\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2024\/11\/Claudette-Johnson-1024x678.jpg\" alt=\"\"\/><\/noscript><figcaption class=\"wp-element-caption\"><em>Claudette Johnson. \u00a9 Tate. Photo Oli Cowling<\/em><\/figcaption><\/figure>\n\n\n\n<p>It\u2019s something of a relief to emerge into Claudette Johnson\u2019s show, a traditional exhibition of figurative paintings. Johnson, a member of the Black Art movement in the 1980s, paints (or draws &#8211; her works are mixed media) large-scale works of black people, often women, claiming for them a place in museums and galleries where they are under-represented. They are beautifully made and evocative, and many critics have tipped her as the favourite to win when the announcement is made on 3rd December.<\/p>\n\n\n\n<p>However, 40 years of Turner Prize history shows us that raw skill is not the only criterion on which the prize is awarded, and nor is majority public opinion. In reality, the field is wide open.<\/p>\n\n\n\n<p>:: Turner Prize 2024 is at Tate Britain until 16 February. www.tate.org.uk<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>As the Turner Prize turns 40, some critics are suggesting it has run its course. Susan Mansfield visits this year\u2019s show to gauge the health of the UK\u2019s biggest art prize.<\/p>\n","protected":false},"author":105308,"featured_media":52831,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":"","_links_to":"","_links_to_target":""},"categories":[2056],"tags":[735],"topic":[250],"class_list":["post-52823","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-subject-matter","tag-turner-prize","topic-exhibition-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts\/52823","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/users\/105308"}],"replies":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/comments?post=52823"}],"version-history":[{"count":0,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts\/52823\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/media\/52831"}],"wp:attachment":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/media?parent=52823"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/categories?post=52823"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/tags?post=52823"},{"taxonomy":"topic","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/topic?post=52823"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}