“"Seven Days in the Art World by Sarah Thornton: … Sarah Thornton is a decorative Canadian with a BA in art history and a PhD in sociology and a seemingly limitless capacity to write pompous nonsense. She describes her book as a piece of "ethnographic research", which she defines as "a genre of writing with roots in anthropology that aims to generate holistic descriptions of social and cultural worlds". She also claims that she practices [sic] "reflexive ethnography", which means that her interviewees have the right to read what she says about them and alter it. In journalism we call this "copy approval" and disapprove. Thornton claims her book is based on hour-long interviews with more than 250 people. I would have taken this on trust, except that my eye flicked down the list of her 250 interviewees and practically fell out of its socket when it hit the name Lynn Barber. I gave her an interview? Surely I would have noticed? I remember that she asked to talk to me, but I said I had already published an account of my experiences as a Turner Prize juror which she was welcome to quote, but I didn't want to add to…”
“This year, the judges, whose combined personal preferences will create an objective winner, include a journalist and three curators. Lynn Barber, a columnist with the Observer is the only art world outsider. In October, two days before the exhibition opened, she published an account of her experience as a judge in an article entitled “How I Suffered for Art’s Sake”. “I hate to say it”, she wrote, “but my year as a Turner juror has seriously dampened, though I hope not extinguished, my enthusiasm for contemporary art”
“With a week to go before the ceremony Phil Collins hosted a press conference at a shabby guilt-and-mirrors hall in Piccadilly. As part of his piece return of the real, he invited a panel of nine people who had appeared on reality television programs to tell their stories to an audience of journalists, including Lynn Barber. One young man spoke about how humiliated he had been when he went to Ibiza as part of a reality TV competition to see who could date Miriam, only to learn that Miriam was a pre-op transsexual. Barber heckled from the audience “what did you think you were doing?”
“I am writing 6000 words on the Turner Prize for the New Yorker. The piece concentrates on the experience of the artists and the judges. I have either already interviewed or have appointments to see Nick Serota and the other three judges of this year’s prize. I read your funny engaging piece published in the Observer on 1 October and look forward to the next installment. I would very much like to meet you and in what I assume to be a challenge to my relatively dowdy research skills, interview you. ….”
“Yes – though I can’t tell you much more than appeared in my article. But anyway ring me any morning next week – [she gave her phone number] … ”
“I’m so disappointed. Talking to me does not pre-empt spilling more beans in the Observer as my deadline is not until the first week of January and I assume that you’d want to publish a piece shortly after a winner is chosen in December. Perhaps you’d be willing to talk to me after 4 December or after you’ve published your next piece?”
“I’m sorry you don’t remember giving me an interview on the phone in early December 2006, shortly after the announcement that Tomma Abts had won the prize. Do you take notes when you are the interviewee? As your interviewer, I did. I was writing up my research for The New Yorker (where it was first published) as well as for my book. Yours sincerely”
“Would you please do me a favour? I am in New York and just read Lynn Barber’s accusation in the Telegraph that I didn’t interview her. She obviously has memory problems. I interviewed her for over half an hour in early December 2006. (If I were at home near my notes, I could tell you the exact date and time). Would you please forward this e-mail and the one below (that I just sent to Lynn)… to the editor who might have commissioned the book review? This is an appalling accusation…”
“Dear Ms Thornton Re: “ Seven Days in the Art World” - Lynn Barber review: The Daily Telegraph –1 November 2008 We are now in a position to respond to your e-mail of 11 December. In the Acknowledgements section of your book you list a number of people who are singled out as “interviewees” to whom you are “particularly indebted” “for being so generous with their thoughts”
“Sarah Thornton – an apology In her review of Seven Days in the Art World by Sarah Thornton (Nov 1, 2008) Lynn Barber took issue with Dr Thornton’s assertion that she (Ms Barber) was among the 250 people who had been interviewed for the book, either face to face or by telephone. In fact, Ms Barber did have a pre-arranged telephone interview with Dr Thornton two years earlier which lasted over thirty minutes. We and Ms Barber therefore now accept that it would be wrong to suggest that Dr Thornton made a false or dishonest claim to have interviewed Ms Barber and apologise to Dr Thornton for any distress caused by any contrary impression the review may have given. In addition, the review commented on Dr Thornton’s use of a practice known as “reflexive ethnography” which Ms Barber equated to “copy approval”
“Apart from those exceptional cases, what is required on the part of thedefamer to entitle him to the protection of the privilege is positive belief in the truth of what he published or, as it is generally though tautologously termed, "honest belief". If he publishes untrue defamatory material recklessly, without considering or caring whether it be true or not, he is in this, as in other branches of the law, treated as if he knew it to be false. But indifference to the truth of what he publishes is not to be equated with carelessness, impulsiveness or irrationality in arriving at a positive belief that it is true. The freedom of speech protected by the law of qualified privilege may be availed by all sorts and conditions of men. In affording them immunity from suit if they have acted in good faith in compliance with a legal or moral duty or in protection of a legitimate interest, the law must take them as it finds them.”
"The balance of probability standard means that a court is satisfied an event occurred if the court considers that, on the evidence, the occurrence of the event was more likely than not. When assessing the probabilities the court will have in mind as a factor, to whatever extent is appropriate in the particular case, that the more serious the allegation the less likely it is that the event occurred and, hence, the stronger should be the evidence before the court concludes that the allegation is established on the balance of probability. Fraud is usually less likely than negligence. Deliberate physical injury is usually less likely than accidental physical injury. ... Built into the preponderance of probability standard is a generous degree of flexibility in respect of the seriousness of the allegation. Although the result is much the same, this does not mean that where a serious allegation is in issue the standard of proof required is higher. It means only that the inherent probability or improbability of an event is itself a matter to be taken into account when weighing the probabilities and deciding whether, on balance, the event occurred. The more improbable the event, the stronger must be the evidence that it did occur before, on the balance of probability, its occurrence will be established."
“As to the seriousness of the allegation, there is no logical or necessary connection between seriousness and probability. Some seriously harmful behaviour, such as murder, is sufficiently rare to be inherently improbable in most circumstances. Even then there are circumstances, such as a body with its throat cut and no weapon to hand, where it is not at all improbable. Other seriously harmful behaviour, such as alcohol or drug abuse, is regrettably all too common and not at all improbable. Nor are serious allegations made in a vacuum. Consider the famous example of the animal seen in Regent's Park. If it is seen outside the zoo on a stretch of greensward regularly used for walking dogs, then of course it is more likely to be a dog than a lion. If it is seen in the zoo next to the lions' enclosure when the door is open, then it may well be more likely to be a lion than a dog.”
“In choosing between witnesses on the basis of probability, a judge must of course bear in mind that the improbable account may nonetheless be the true one. The improbable is, by definition, as I think Lord Devlin once observed, that which may happen, and obvious injustice could result if a story told in evidence were too readily rejected simply because it was bizarre, surprising or unprecedented.… … so long as there is any realistic chance of a witness being honestly mistaken rather than deliberately dishonest a judge will no doubt hold him to be so, not so much out of charity as out of a cautious reluctance to brand anyone a liar (and perjurer) unless he is plainly shown to be such.”
“If you can’t be bothered with the fuss he is bound to make, just delete it. It is true though”
“When I read the book I dimly remembered that Thornton had asked for an interview about the Turner Prize, but I thought I had given her the brush off”
“I remember she asked to talk to me”
“Eheu fugaces, I can’t translate a line of Horace now”
“I didn’t believe she’d interviewed me. I was pretty sure about that”
“I was confused anyway, because the person I think I exchanged e-mails with was a New Yorker journalist; is that right? And here it was for a book. I wasn’t quite sure that she [Dr Thornton] was the same person”
“This is all by way of warning that you are in the hands of a deeply unreliable memoirist whose memory is not to be trusted. Where possible I have checked facts either against my diaries or articles, but I’m never exactly a slave to facts at the best of times. But does it matter?”
“I still do not think that it called for a reply”
“Why would I feel resentment towards her? I have never met her”
“I conduct all my interviews off the record and would obtain your express permission to attribute a quote”