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Martin Creed is, in fact, a brilliant winner, and since 1995 has
shown a remarkable flow of developing work, even a mastery of his
field. As Sir Nicholas Serota and the unanimous verdict of the judges
make clear, this decision was reached after prolonged consideration
of all of the finalists. Nor is it any kind of put-down about the
medium of painting. The parading, torch-flashing ‘Stuckists’
there – dressed in clown costumes – would have it otherwise.
Feeling accused of ‘being stuck in a period before modern art’
they invited all objectors to bring their own torches to make their
own art. But, given the general proliferation and acceptability
of painting and the painted word the world over, rooting for minimalist
art is actually pushing for a better balance and higher standards
in thought and technique, for all art regardless. The scrutiny of
all of the entrants’ work has been no less exhaustive than
that applied to the winner.
The installation that won, entitled ‘Work 227: the
lights going on and off’ was viewed in the context of Creed’s
broader oeuvre, including the two works deemed most representative
of his work. These were ‘Work 203: Everything is going to be
all right’ which humanised the entrance to a hospital, and
closer to home at the Tate, ‘Work 232: The whole world + the
work = the whole world’ exhibited over the old Tate Britain
entrance last year.
Martin Creed joins a hall of fame in the list of previous winners,
including Gilbert and George, Hodgkin, and Tony Cragg as well as
the sculptor Anish Kapoor, and Damien Hirst.
Creed’s intimations of mortality have something in common
with the much more gruesome work of Hirst, but this time it is minimalism
that wins out. Arguably too, contrary to the cultural death knell
for modernism sounded by art and architectural journalists such
as Kirsty Wark (in her current TV three-part wake for modernism),
the judges’ decision lends credence to the continuity of a
transformed modernist sensibility, within which minimalism will
always figure in the postmodern world.
If there are any reservations, they might be applied to the limitations
of the short list as a whole. Mike Nelson remains, however, the
critics’ choice from a consensus evident at the celebration.
Both Creed and Nelson have a substantial following among students
today.
The spirit of Joseph Beuys can still be perceived here, lingering
with a wry smile of approval over the works of both artists. If
Mike Nelson has anything over Martin Creed perhaps, too, it is in
the olfactory zone. There was a distinctly physical smell about
his installation (thanks Joseph, for reminding us). The winner might
reflect on that. Minimalism is still about perception, via all of
the senses. It’s just that the visual predominates, even in
its self-denial.
Turner Prize judges, and Madonna – keep keeping your cool
as in this Sunday night’s virtuoso display. ‘Stuckists’,
you’re not really stuck after all, just attention seeking.
Wait for 2002 and see what transpires. The Turner Prize looks like
continuing.
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