I don't love Tomma. I enjoy the idea that maybe, instead of working painstakingly on a painting in her studio for 10 years, she's simply unexpectedly private in order to hide the mundanity of her process. Her work, despite her acquiring the prize, was the only one I thought did not photograph well. In contrast, I would be very excited to find a fully functioning studio in the display floor of a well to do museum. The whole thing seemed overly posh. I'd like to be in the running just to see my family bet on me. I think that would be great fun and possibly worth the pomp.
I am ambivalent about prizes, unless I'm getting one, then I think it's pretty great. I don't think I will win many if the picture this chapter paints (Tomma's a painter, get it?) is true, things that don't fit well are relegated to peripheries, and things that fit well in an edgy way will be relegated to being runner ups for prizes. But I don't necessarily want to get any big prize nominations now considering that they can actually ruin an artists career. Like a creativity vacuum I guess. You get your chest puffed up all big with the attention Artforum or whatever directs at you and then punches the air out of you by taking away the eye of God that they shine upon you. Sounds like inspiration for an Art Movement. Defeated Art. I'm being a little ironic, I think the way she described the effects of the Turner Prize on artists not really matching the reality that the artists themselves expressed. That's one thing she has really neglected, in my opinion throughout her book: The complete views of artsits rather than their bits and pieces. Like forgetting to understand the seeds in the analysis of a forest. Fairly 2 dimensional 'art world'.