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| Turner prize 2016 shortlist features buttocks sculpture and choo-choo-train | |
| (about 1 hour later) | |
| It sparks excitement and joy in some, bemusement and fury in others and this year’s most coveted prize in British contemporary art – the 2016 Turner prize – is likely to do the same again. | It sparks excitement and joy in some, bemusement and fury in others and this year’s most coveted prize in British contemporary art – the 2016 Turner prize – is likely to do the same again. |
| This year’s artists include one who made an 18ft sculpture of a man’s bare buttocks, another obsessed by corrugated shop window shutters, another whose sculptures are described as “slippery and elusive” and a fourth who allowed thrilled visitors to ride around the gallery on a choo-choo train. | This year’s artists include one who made an 18ft sculpture of a man’s bare buttocks, another obsessed by corrugated shop window shutters, another whose sculptures are described as “slippery and elusive” and a fourth who allowed thrilled visitors to ride around the gallery on a choo-choo train. |
| Organisers named Anthea Hamilton, Michael Dean, Helen Marten and Josephine Pryde on this year’s shortlist and all four artists will exhibit their work at a Turner prize show running from September to January with the winner receiving £25,000. | Organisers named Anthea Hamilton, Michael Dean, Helen Marten and Josephine Pryde on this year’s shortlist and all four artists will exhibit their work at a Turner prize show running from September to January with the winner receiving £25,000. |
| Related: Beyond buttocks: this Turner shortlist is cheeky and smart | |
| The prize seeks to get out of London every other year – Glasgow last year, Hull in 2017 – but will be back in the capital at Tate Britain this year. | The prize seeks to get out of London every other year – Glasgow last year, Hull in 2017 – but will be back in the capital at Tate Britain this year. |
| The prize’s stated aim is to “promote public debate around new developments in contemporary British art” rewarding British artists under 50 deemed to have made outstanding work over the preceding year. | The prize’s stated aim is to “promote public debate around new developments in contemporary British art” rewarding British artists under 50 deemed to have made outstanding work over the preceding year. |
| Hamilton represents the weirder, more wonderful and whackier end of the artistic spectrum, often bringing surrealism and comedy to popular culture subjects. She is shortlisted for her exhibition at the SculptureCentre, New York, called Lichen! Libido! Chastity! | Hamilton represents the weirder, more wonderful and whackier end of the artistic spectrum, often bringing surrealism and comedy to popular culture subjects. She is shortlisted for her exhibition at the SculptureCentre, New York, called Lichen! Libido! Chastity! |
| The most eye-catching work was an enormous hyperreal sculpture of a man with his hands on his bare backside which, not surprisingly, became a popular selfie backdrop. | The most eye-catching work was an enormous hyperreal sculpture of a man with his hands on his bare backside which, not surprisingly, became a popular selfie backdrop. |
| Hamilton’s inspiration for the work was a plan in the early 1970s by designer Gaetano Pesce to make a bare male bottom the doorway for a Manhattan skyscraper. Sadly, it was unrealised. | Hamilton’s inspiration for the work was a plan in the early 1970s by designer Gaetano Pesce to make a bare male bottom the doorway for a Manhattan skyscraper. Sadly, it was unrealised. |
| Also in Hamilton’s New York show were chastity belts made from steel and rubber and PVC pipes in the courtyard made to look like giant cigarettes. | Also in Hamilton’s New York show were chastity belts made from steel and rubber and PVC pipes in the courtyard made to look like giant cigarettes. |
| At Frieze New York earlier this month, Hamilton installed what she called Kar-A-Sutra (After Mario Bellini) which was a recreation of a 1972 concept car by Bellini, to which Hamilton added a troupe of white-faced mime artists. | At Frieze New York earlier this month, Hamilton installed what she called Kar-A-Sutra (After Mario Bellini) which was a recreation of a 1972 concept car by Bellini, to which Hamilton added a troupe of white-faced mime artists. |
| Newcastle-born Dean is shortlisted for two solo exhibitions: Sic Glyphs at South London Gallery and Qualities of Violence at de Appel arts centre, Amsterdam. | Newcastle-born Dean is shortlisted for two solo exhibitions: Sic Glyphs at South London Gallery and Qualities of Violence at de Appel arts centre, Amsterdam. |
| Dean’s mainly sculptural work is all to do with the physical manifestation of language, turning text into a material thing. He designs his own typefaces for the texts he uses and will often use them on his sculptures created from building materials such as concrete, corrugated metal and industrial reinforcement bars. | Dean’s mainly sculptural work is all to do with the physical manifestation of language, turning text into a material thing. He designs his own typefaces for the texts he uses and will often use them on his sculptures created from building materials such as concrete, corrugated metal and industrial reinforcement bars. |
| Dean is generally called a sculptor although he told one interviewer he was “as much an installation artist as I am a writer as I am a typographer as I am a dramatist as I am a philosopher”. | Dean is generally called a sculptor although he told one interviewer he was “as much an installation artist as I am a writer as I am a typographer as I am a dramatist as I am a philosopher”. |
| He admitted an obsession with shop shutters and the masses of stickers they encourage. For the SLG show, he made and used his own stickers with his own personal text. | He admitted an obsession with shop shutters and the masses of stickers they encourage. For the SLG show, he made and used his own stickers with his own personal text. |
| As to what it all means, the Time Out critic admitted “you could happily spend hours trying to decode this show,” adding: “Dean’s art is dense with meaning, layered with allusion. It’s intensely clever and intensely visual. It makes you feel alive.” | As to what it all means, the Time Out critic admitted “you could happily spend hours trying to decode this show,” adding: “Dean’s art is dense with meaning, layered with allusion. It’s intensely clever and intensely visual. It makes you feel alive.” |
| Macclesfield-born Marten is shortlisted for a show called Eucalyptus Let Us In at Green Natfali, New York, and a project called Lunar Nibs at last year’s Venice Biennale. | Macclesfield-born Marten is shortlisted for a show called Eucalyptus Let Us In at Green Natfali, New York, and a project called Lunar Nibs at last year’s Venice Biennale. |
| She is also shortlisted for the UK’s first dedicated award for sculpture, the Hepworth prize, meaning her work for two major prizes will this year be on display in London and Wakefield. | She is also shortlisted for the UK’s first dedicated award for sculpture, the Hepworth prize, meaning her work for two major prizes will this year be on display in London and Wakefield. |
| Marten’s work is described by Tate as “slippery and elusive in both form and meaning: it attracts and intrigues while also resisting interpretation and categorisation”. | Marten’s work is described by Tate as “slippery and elusive in both form and meaning: it attracts and intrigues while also resisting interpretation and categorisation”. |
| One fan was the Guardian’s Adrian Searle who wrote of her 2012 show at the Chisenhale gallery: “Marten makes you want to look very closely at the things she makes and the traces she leaves. Her way of thinking, with its word salads and trap-door metaphors, is dangerously infectious ... Rarely have I been so struck.” | One fan was the Guardian’s Adrian Searle who wrote of her 2012 show at the Chisenhale gallery: “Marten makes you want to look very closely at the things she makes and the traces she leaves. Her way of thinking, with its word salads and trap-door metaphors, is dangerously infectious ... Rarely have I been so struck.” |
| Josephine Pryde is shortlisted for her show at CCA Wattis, San Francisco, called lapses in Thinking By the person i Am. | Josephine Pryde is shortlisted for her show at CCA Wattis, San Francisco, called lapses in Thinking By the person i Am. |
| Northumberland-born Pryde is fascinated by the relationship between art and photography and for her California show she installed a 1:10 scale model of a Union Pacific freight locomotive which pulled two boxcars which visitors could ride as they looked at Pryde’s photographs of a woman’s hands. | Northumberland-born Pryde is fascinated by the relationship between art and photography and for her California show she installed a 1:10 scale model of a Union Pacific freight locomotive which pulled two boxcars which visitors could ride as they looked at Pryde’s photographs of a woman’s hands. |
| Jury members were due to outline their reasons for the nominations later on Thursday. The panel this year is Michelle Cotton, director, Bonner Kunstverein, Bonn; Tamsin Dillon, curator; Beatrix Ruf, director, Stedelijk Museum, Amsterdam; and Simon Wallis, director, the Hepworth Wakefield. It is chaired by Alex Farquharson, director of Tate Britain. | Jury members were due to outline their reasons for the nominations later on Thursday. The panel this year is Michelle Cotton, director, Bonner Kunstverein, Bonn; Tamsin Dillon, curator; Beatrix Ruf, director, Stedelijk Museum, Amsterdam; and Simon Wallis, director, the Hepworth Wakefield. It is chaired by Alex Farquharson, director of Tate Britain. |
| The prize, established in 1984, has been won by artists including Gilbert & George, Rachel Whiteread, Damien Hirst and last year the design and architecture collective Assemble. | The prize, established in 1984, has been won by artists including Gilbert & George, Rachel Whiteread, Damien Hirst and last year the design and architecture collective Assemble. |