Turner Prize creates media jamboree

In its second year the Prize built upon the success of its launch, yet opinions were divided over whether or not the format created a demeaning media spectacle. For the first time an arts professional was nominated alongside artists, which in later years attracted criticism. A wide range of contemporary practice was represented, from concept-based art to new forms of painting and sculpture. Awarding the prize to Howard Hodgkin earned approval from all quarters. In the same year the prolific art buyer Charles Saatchi opened a gallery for his collection in a former paint factory, revolutionising the way contemporary art was shown in London.

Quotes

‘The only way to make the Turner Prize work was to make it a media event. The Booker Prize was a model as it was so effective. However, with the Booker Prize everyone gets to read the books. With the Turner Prize the public is continually under the impression that what’s in the exhibition is what’s being judged.’

– Richard Deacon, interview 2007

‘Whether the publicity attendant on such jamborees as the Turner Prize confirms most of us in the view of art as a freak show, or whether it stimulates more of us to go and have a look for ourselves is a moot point.’

– Marina Vaizey, The Sunday Times, November 1985

‘We plan to continue as before, and were very pleased at the public attention that had been attracted to new art. Of course doing anything of this kind invites criticism and controversy, but we think the operation is nevertheless a most worthwhile one.’

– Alan Bowness, Director, Tate Gallery, December 1984

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