The 2012 Turner Prize was won by Elizabeth Price for a 20 minute video which transforms tragedy to art and back again. It even defies the conventions of Artspeak
Elizabeth Price, the winner of the Turner Prize [December 3rd, 2012] was considered an outsider. As is often the case, her creative work of art is now ‘obviously’ great . It has been discovered in a kind of Emperor’s new clothes moment of cultural insight.
The Woolworth’s Choir of 1979 refers to a fire that resulted in ten fatalities in a Woolworth’s Store in central Manchester. [The site is by coincidence close to that of the IRA bomb explosion which wrecked Manchester’s sity centre many years later]. The work was part of a solo exhibition by Price at the Baltic in Gateshead.
The artist’s style was described by the Telegraph:
The Woolworth’s Choir of 1979 [is] a 20-minute film that begins with drawings of Gothic architecture and ends with footage of a Manchester department store fire in which 10 people died. The judges praised “the seductive and immersive qualities of Price’s video installations, which reflected the ambition that has characterised her work in recent years”.
The subject matter was of personal interest. It helped me recall the fire and the dreadful lack of fire-proofing of the furnishings. So I started reading reviews of this year’s Turner prize before the result was announced.
Price was seen as an outsider, and the nature of her work mostly damned with faint praise. But the more favoured works attracted a lot of what might unkindly be called Artspeak, the peculiar dialect through which critics attempt to capture the essential message within works of art. The other short-listed works were each given the Artspeak treatment, not intentionally intended to belittle the works, but risking accusations of pseudery.
The Woolworth’s Choir was described in terms which were almost absent of Artspeak. That set me thinking. For some reason, great art defies attempts to reduce it. Maybe it deals with life first and art second. In comparison, novelty and the shock of the new are at best of transient worth.
The image is from archival materials of the Manchester fire in 1979, and is not part of the Turner prize-winning entry.