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The 36th edition of the Turner Prize, the annual contemporary art award bestowed by the Tate museums in London, will not take place this year, according to a statement released today. In light of the COVID-19 pandemic, the Turner Prize’s organizers will forego the traditional competition and instead provide grants of £10,000 (~$12,340) to 10 British artists. The difficulty of mounting a physical exhibition, which always accompanies the award, was cited as a principal reason for the cancelation of the 2020 prize.
The new course of action will also allow Tate to support a larger number of artists, responding to the urgent economic needs that have emerged in the cultural community during the pandemic. The Turner Prize usually provides cash prizes to four British visual artists: a £25,000 (~$30,850) award to the winner and £5,000 each (~$6,170) to three shortlisted candidates. For 2020, the total awarded amount will be more than doubled and split among 10 artists thanks to funds donated by a group of Tate’s supporters, including the UK-based Ampersand Foundation.
“The tight timetable for preparing the annual exhibition would not have been achievable under the present restrictions, so the decision was made to help support a larger selection of artists through this period of profound disruption and uncertainty,” reads the museums’ statement.
But this is not the first time the Turner Prize awards will be unconventionally distributed. Last year, the four nominees decided to share the £40,000 prize money prize equally amongst themselves, penning a letter to the judges that emphasized the political content of each artist’s oeuvre and argued that “it would feel problematic if they were pitted against each other.” Months prior, the 2019 prize had been mired in controversy when it was revealed that the award’s lead sponsor, the Scottish transportation company Stagecoach, was involved in decades-long campaign against the LGBTQ community; the organizers of the Turner Prize decided to drop the sponsorship a day after it was announced.
The recipients of the “Turner Bursaries,” as the 2020 one-time grants will be known, will be selected by the Turner Prize jury and announced by the end of June. This year’s jurors include Richard Birkett, curator at large at London’s Institute of Contemporary Arts; Sarah Munro, director of the BALTIC Centre for Contemporary Art; Fatoş Üstek, director of the Liverpool Biennial; and designer and curator Duro Olowu.
The Tate museums’ recent statement confirms that the award and exhibition will return in 2021.
“Gallery closures and social distancing measures are vitally important, but they are also causing huge disruption to the lives and livelihoods of artists,” said Alex Farquharson, director of Tate Britain and chair of the Turner Prize jury, in the press release. “The practicalities of organising a Turner Prize exhibition are impossible in the current circumstances, so we have decided to help support even more artists during this exceptionally difficult time.”
“Black infants in America are now more than twice as likely to die as white infants—11.3 per 1,000 black babies, compared with 4.9 per 1,000 white babies, according to the most recent government data—a racial disparity that is actually wider than in 1850, 15 years before the end of slavery, when most black women were…
In 1850, when Dr. Robert W. Gibbes commissioned J. T. Zealy to make daguerreotypes of persons held in slavery in and around Columbia, South Carolina, for Harvard Professor Louis Agassiz to use in support of his theory that African people were a separate species, daguerreotypes were at the height of fashion.
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.