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Egg Turner, the Beck's Futures Shortlist, and Neo Rauch

Martin Creed may have won the Turner Prize, but not everyone is pleased with his work. Last week, a woman visitor threw eggs at his prizewinning installation The Lights Going On and Off, 2001. Tate officials quickly escorted the vandal out of the room and delivered her to the police. Jacqueline Crofton—a painter and a grandmother—now faces banishment for life, not only from Tate Britain, the scene of her crime, but also from Tate Modern, Tate Liverpool, and Tate St Ives. According to a report in the BBC, Crofton claimed that she had nothing against Creed but did not believe that his work could be considered art. Evidently, Crofton did not take time to read Jonathan Freeland's extensive essay on Minimalism, the last in The Guardian's series on “difficult art forms.”

After covering the Turner Prize, The Guardian's Fiachra Gibbons is back to report on the shortlist for the Beck’s Futures Prize—at £65,000, the richest prize in the UK. According to Gibbons, this year's jury, which counts Marianne Faithfull and Julian Opie among its illustrious members, has purposely favored “anti-conceptual” works, perhaps to avoid critics—and vandals—of the Turner Prize. The shortlist includes Nick Relph & Oliver Payne, David Cotterrell, Toby Paterson, Kirsten Glass, Dan Perfect, Paul Hosking, Neil Rumming, Rachel Lowe, Hideyuki Sawayanagi, and Tom Wood. Gibbons focuses on the unique career of the fifty-year-old Irish photographer Wood, whose Bus Odyssey, a collection of snapshots of passengers on Liverpool buses, has evidently caught the jury's attention.

Neo Rauch may have not yet won a prize, but he has garnered an extensive interview in Die Zeit. Thomas E. Schmidt speaks with the Leipzig painter, who completed his studies in the former GDR, about everything from success to inspiration, from real socialism to realism, from painterly discipline to the current war in Afghanistan. With a solo exhibition this past year at the Deutsche Guggenheim in Berlin and a painting hanging in the chancellery, Rauch has managed to capture the German aesthetic imagination. Perhaps unsurprisingly, the painter is being touted as the heir apparent to Anselm Kiefer in his determination to be a specifically German artist. “I don't sit here in front of the television and fetch in an artificial way the climate from San Francisco or Tokyo; rather I am here in Leipzig,” says Rauch.

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