Anthea Hamilton

The English artist discusses sampling, collaborating, choreographing and deadpanning her way through three quintessentially British shows with Helen Sumpter

By Helen Sumpter

Anthea Hamilton, Guimard Chastity Belt, 2016. Turner Prize Exhibition 2016, 2016 installation view. Photo: Joe Humphrys. Courtesy © Tate Photography Anthea Hamilton, Aquarius, 2010, digital banner with support, 750 × 750 cm. Photo: Joseph Balfour. Courtesy the artist Anthea Hamilton, Project for Door (After Gaetano Pesce), 2016. Turner Prize Exhibition 2016, 2016 installation view. Photo: Joe Humphrys. Courtesy © Tate Photography Anthea Hamilton and Nicholas Byrne, Love Pillow, 2016, ash, cedar, cherry wood, iroko, meranti, purple heart, sapele, walnut, wenge, zebrano, silk, cord, rope, 74×23×18 cm. Courtesy the artists Anthea Hamilton, British Grasses Kimono, 2015, digitally printed silk, cotton, 160 × 160 × 30 cm. Courtesy the artist

Perhaps it’s a sign of the times that visitors to this year’s Turner Prize at Tate Britain were queuing to take photographs of each other in front of a 5m-high sculpture of a man’s bare bottom and thighs, hands gently pulling his cheeks apart. Anthea Hamilton’s Project for Door (After Gaetano Pesce) (2016) is part of the reworking of the London-born artist’s 2015 show Lichen! Libido! Chastity! at Sculpture Center in New York, for which she received her Turner nomination.…

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