Editing Turner Prize (section)

===Opposed===
[[File:Kim Howells 2.jpg|thumb|[[Kim Howells]]: "cold mechanical, conceptual bullshit"]]
*The ''[[Evening Standard]]'' critic [[Brian Sewell]] wrote "The annual farce of the Turner Prize is now as inevitable in November as is the [[Pantomime|pantomime at Christmas]]".
*Critic [[Matthew Collings]] wrote: "Turner Prize art is based on a formula where something looks startling at first and then turns out to be expressing some kind of banal idea, which somebody will be sure to tell you about. The ideas are never important or even really ideas, more notions, like the notions in advertising. Nobody pursues them anyway, because there's nothing there to pursue."<ref>Collings, Matthew. [https://www.theguardian.com/books/2000/oct/22/classics.williamblake1 "Blake's Progress"], ''[[The Observer]]'', 22 October 2000. Retrieved 8 March 2011.</ref>
*The art critic [[David Lee (art critic)|David Lee]] has argued that since the re-organisation of the prize in 1991 the shortlist has been dominated by artists represented by a small number of London dealers, namely Nicholas Logsdail of the [[Lisson Gallery]], and others closely linked to the collector [[Charles Saatchi]]: [[Jay Jopling]], [[Maureen Paley]] and [[Victoria Miro]]. The [[Lisson Gallery]] has had the most success of any gallery with the Turner Prize from 1991 to 2004.
*[[Jilly Cooper]]'s 2002 novel [[Pandora (2002 novel)|Pandora]] parodied the prize with one of the book's protagonists being shortlisted with a work entitled 'Tampax Tower'.<ref name=":0">{{Cite news |last=MacFarlane |first=Robert |date=2002-05-05 |title=Laughing all the way to the bonk |url=https://www.theguardian.com/books/2002/may/05/fiction.features2 |access-date=2025-04-15 |work=The Observer |language=en-GB |issn=0029-7712}}</ref>
*In 2002, Culture Minister and former art student [[Kim Howells]] pinned the following statement to a board in a room specially-designated for visitors' comments: <blockquote>"If this is the best British artists can produce then British art is lost. It is cold mechanical, conceptual bullshit. <br>Kim Howells. <br>P.S. The attempts at conceptualisation are particularly pathetic and symptomatic of a lack of conviction."</blockquote>