The guardian | Laura Cumming:
The Instagram moment is the bare bum, of course: a gigantic backside clutched by a pair of muckle hands. It comes straight from the carnivalesque. Or not quite straight, because the artist, Anthea Hamilton, has enlarged it from a design by Gaetano Pesce for a New York apartment block, to which it would have been a doorway (a back entrance, so to speak) for social housing tenants. But now here it is, minus its mordant political context, hugely enlarged in the sterile purlieus of the Turner prize 2016 show.
Hamilton (born 1978) has produced this year’s equivalent of the dung, the bed and the cow, offering a talking point that it is also a sight to be seen. A notice at the show’s entrance actively encourages viewers to take selfies, neatly increasing publicity. But despite the scale and blatancy of her work – chastity belts in silver, leather and fibreglass, and in art nouveau devoré; a suit printed with bricks that might wall in the wearer – Hamilton’s work seems to me curiously inactive… Read more
Image: ‘A talking point that is also a sight to be seen’: Project for Door (After Gaetano Pesce), 2015 by Anthea Hamilton: Guy Bell/Rex/Shutterstock