Koons not only seeks super-profits for peddling kitsch commodities, he does so in a way analogous to hedge fund capitalism. Artists, including Salvador Dali and Damien Hirst, who have openly sought wealth through their artistic practice offend the lingering Romantic sentiment of great artists being above the lure of Mammon. Koons may be well-off for an artist, but his wealth is modest in comparison to the value of the deceased estates of artists, such as Pablo Picasso, Robert Rauschenberg or Jean-Michel Basquiat, whose reputations seem to be untainted by greed. Koons attends to details of the Evil One’s plan.’ Why does Koons attract such opprobrium, however tongue-in- cheek its expression? Holding the title of the world’s most expensive living artist is sure to attract envious detraction but, despite his paintings garnering similar prices, David Hockney, in his homeland at least, is considered a ‘national treasure’.
Peter Schjeldahl corrects the perception of Jeff Koons being the Devil – ‘he is really only a subaltern demon: Beelzebub, Satan’s minister without portfolio at large. To achieve both these aims, historical avant-garde film art or ‘film painting’ and sonic art will be explored, along with digital art theory.
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The practical component of the thesis, through practice-led experimentation will demonstrate how to transform the sound only practice of soundscaping into an audio-visual form. The conundrum of sound only art practices like soundscaping, and how to transform such practices into audio-visual ones for broader viewing and dissemination on multimedia mediums is the question to be investigated in the thesis. Furthermore, prominent academic and sound artist Barry Truax posits in his key sound art text Acoustic Communication ‘we live in a visually centred culture’.
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This is because The Internet is a multimedia medium, creating a need for sonic artists to explore the possibilities of audio-visual practices to utilize the full potential of the medium. Whilst artists past and present still use sound and vision in singular artistic practices, the emergence of The Internet is creating a conundrum for sonic artists. Over the course of the twentieth-century, both the ethereal material of sound and light (vision) converged through emerging technology and mediums – creating new audio-visual art practices and forms. As proven in the case of the Turner Prize, its impact on the history of British contemporary art is unquestionable, however, mostly in terms of contemporary art and artists' media recognition, rather than art market value and institutional appreciation.
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Same situation occurs with the process of awarding contemporary art prizes – jury's verdict is heavily based on the subjective interests and professional network of the judges, as well as on the agenda of the institution awarding the prize. The findings support the conclusion that the process of taste production in relation to contemporary art is shaped by the artworld network and its stakeholders, rather than contemplation of aesthetic values of art. Finally, the thesis analyse wide range of literature and media discourse devoted to the Turner Prize, to present its complex analysis and possible agenda.
Secondly, the dissertation consists of the set of interviews with former Turner Prize judges and a representative of the institution responsible for the Prize, in order to present primary research data which examined, aims to extend the prior state of knowledge about aforementioned issues. To frame an evaluation of the process of social taste construction the thesis uses key philosophical and sociological works: Pierre Bourdieu's Distinction: a social critique of the judgement of taste, and Immanuel Kant's Critique of judgement, as well as works of authors who devoted their research to this issue after them.
The thesis use to case study of the Turner Prize – analysing its history, surrounding media discourse and the general role in the history of British contemporary art – to examine the wider question of the role of art prizes in the process of shaping the society's approach to contemporary art. This work aims to examine the role of contemporary art prizes in the process of social taste construction, as well as the process behind the selection of winners and its further implications on their careers.
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