Editorial: A Turner Prize to confound the sceptics
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.What a shame it is that the Turner Prize was not, in the end, awarded to the man who paints with excrement or the woman who lives in a nudist colony and changed her name to Spartacus so as to "remind people they have a choice in life". Instead, the winner of the prestigious modern art prize was Elizabeth Price, whose trilogy of video installations draws from film and photographic archives and historic artefacts to generate fantasy episodes.
To many people, the Turner Prize is beyond parody – an incomprehensible homage to pickled sharks and unmade beds. There was, however, more obvious skill and depth to this year's offerings.
Ms Price's 20-minute piece, centred on a fatal fire in a branch of Woolworths in 1979, is widely held to be both poetic and profound. At least the Turner is continuing to confound stereotypes.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments