From Sue Hubbard 3 Quarks Daily
Editor’s Note: Today we welcome a new writer to 3QD. Sue Hubbard is a freelance art writer based in London writing for a variety of publications from The Independent to the New Statesman. An award-winning poet, she has published two collections of poetry, Everything Begins with the Skin (Enitharmon) and Ghost Station (Salt), as well as a novel, Depth of Field (Dewi Lewis) and a recent collection of short stories, Rothko’s Red (Salt).
Many factors have lead to London’s pre-eminence in the contemporary art world: the importance of Goldsmith’s College to the Hirst generation of YBAs, Saatchi’s ubiquitous influence as a collector, Jay Joplin’s White Cube gallery, the founding of the annual Frieze art fair, and of course, the Turner Prize, that annual award set up in 1984 to celebrate new developments in contemporary art presented each year to a British artist under fifty for an outstanding exhibition in the preceding twelve months. It has always been a controversial affair. There was, of course, that bed (it didn’t win) and Martin Creed’s minimal light bulbs that simply went on and off. Last year, the shortlist was universally derided as opaque and pretentious. But looking back over its history, love it or hate it, The Turner Prize has become a barometer of the British art scene. Those nominated, often previously unknown outside the art world, usually end up as household names.
