Перевод текста, eng-ru, 43 тзбп, тематика – искусствоведение, публицистика

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Срок – до субботы включительно.
Текст нужен для публикации, так что он должен быть приятным и читаемым. Проверять буду лично я, не перевожу сам, так как не успеваю со сроками.


Образец текста
In 2004, Tate Britain organized a poll in advance of the announcement of the winner of that year's Turner Prize, the UK's most prestigious annual award, awarded to the British artist determined to have the most important or impactful exhibition of that year. The poll, coorganized by Turner Prize sponsor Gordon's Gin (cheers!), had two intentions: first, to encourage excitement for the upcoming award presentation, and second, to establish the single most influential work of art of the twentieth century, as confirmed by the art establishment at the dawn of the  twenty first. Gordon's and the Tate organized a panel of five hundred  experts-  critics, curators, museum and gallery directors, lauded contemporary artists, and other art world  insiders-  and provided them with a predesignated list of twenty artists and artworks. From the outset, many  speculators-  and I'd probably include myself in this  category-  had a clear winner already in mind. It's going to be Picasso, everyone declared. And it's going to be Les Demoiselles d'Avignon. There was great reason for this assumption. Picasso is undoubtedly the most famous artist of the century, a name even my young son knows (apparently Picasso's name is synonymous with artmaking in toddler books about mischievous dinosaurs) and his Demoiselles (1907, Museum of Modern Art, New York) is a stunner: a breakdown of space, form, and tradition like none other. So it came as somewhat of a shock, perhaps, when the Tate announced that Picasso's seminal painting had garnered second place. Instead, the title of the most important and most influential artwork of the twentieth century was given to a urinal.