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STUCKIST DEMONSTRATION
Turner Prize demos: NPG/Tate (2000) • 2000 • 2001 • 2002 • 2003 • 2004 • 2005 • 2006 • 2007 • 2008 • 2009 • 2010
Other demos: List of Stuckist demos • Trafalgar Square (2001) • White Cube (2002) • Saatchi Gallery (2005)
Also on this site: Tate • Serota petition • Stuckist donation • Trustee scandal
2008 Turner Prize: Main page • Demo at press launch • Demo on prize day • Badge and leaflet
On this page: 2008 Turner demo main page

TURNER PRIZE 2008
TATE BRITAIN
STUCKIST TURNER DEMO
Main page

 

Other 2008 Stuckist Turner Demo pages

     
For the demo at the press launch on Mon 29 Sept, click here.
       
For the demo at the prize day on Mon 1 Dec + videos, click here
     
For the leaflet and the button badge, click here
Download a high res Serota "not wanted" poster as word doc or jpeg (500KB).

On not demonstrating against the Turner Prize
Tom Jeffreys reports on Stuckists not demonstrating last year (2007): see spoonfed.
The Stuckists demonstrated this year (2008).


From Private Eye magazine (page 12), 17.10.08. Earlier cartoon here.

Turner Prize nonenties
The Turner Prize selects its shortlist of the country's most anodyne and forgettable young artists, one of whom they will pretend is a winner. Names briefly in the spotlight are: Mark Leckey, Cathy Wilkes, Goshka Macuga and Runa Islam.

"the mediocre standard has almost turned me
into a supporter of the Stuckists"
- Richard Brooks The Sunday Times (4th item) (5.9.08)

"Turner Prize: Stuckist reaction" by Charles Thomson on 3ammagazine.com

Turner Prize: the debate on the Tate site has a distinctly underwhelming response.
Make them feel loved and post your heartfelt opposition. Debates here.

Tate censors Stuckist demonstrations
The Tate Turner Prize FAQs page intrepidly has a section "What about the protest groups?" and omits all mention
of the Stuckist demonstrations, which are of course the best know ones. A back-handed compliment no doubt.

Art Clown of the Year Award 2008

Winner:

Stephen Deuchar, director of Tate Britain for thinking the human figure is "a depiction of the human physique" (same article in The Times below), for being Sir Nicholas Serota wearing a Groucho Marx moustache, and for chairing a Turner Prize jury which has made a selection which is more boring and pretentious than ever before (we didn't think it was possible - but Deuchar has done it!).

Nominees:

Martin "vomit" Creed for his stupid Work No 850 (people running in Tate Britain). Sample statement: "running is the opposite of being still." (Actually, being in motion is the "opposite" of being still.)

Rachel Campbell-Johnston, art critic of The Times, for her interpretation of Martin "vomit" Creed's stupid Work No 850 (people running). Read it in The Times (scroll down). Sample: "Work No 850 raises myriad possibilities. Is it a simple celebration of vitality? A paean of praise to the human anatomy? A live version of classical statuary? Does Creed want to question the way that we look at art? We presume we should solemnly linger; but here is a fast-mood alternative for our busy modern age. Or maybe the piece is about our Olympic bid?" Or maybe it's about fuck all.

Antony Gormley for saying: “Through elevation onto the plinth and removal from common ground, the body becomes a metaphor, a symbol and allows us to reflect on the diversity, vulnerability and particularity of the individual in contemporary society.” This is another way of saying he will place volunteers on a plinth in Trafalgar Square. What metaphor?, symbolic of what? The reality is that the same diversity, vulnerability and particularity can be found at a bus stop, train station or any other place occupied by the general public, which people are more likely to be aware of in every day life rather than the artificiality and contrivance of Gormley’s “art“ “work“. More info: www.antonygormley.com. Proposed by Andrew Galbraith.

Tim Marlow, director of exhibitions at White Cube, for saying about Damien Hirst's spot paintings: "They're incredibly original and counterbalance the decline of originality in the history of painting. It's taking something that looks machine produced but is actually painted by hand. What we see is not what we see." Independent on Sunday 14.9.08


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