A unique account of what it’s like to sit on the UK’s most influential art jury And the winner is: Simon Starling’s Shedboatshed (mobile architecture No.2), 2005 When, in April 2004, I got the letter from Tate Britain director Stephen Deuchar asking me to be on the jury of the the 2005 Turner Prize, “poisoned chalice” was the first phrase that sprang to mind. While of course it was flattering to be asked to judge the UK’s most high-profile art prize, I have always been ambivalent about art awards in general and the Turner in particular. It often seems that...