0:00:02 > 0:00:03Hi, I'm Brenda Emmanus
0:00:03 > 0:00:06and you are watching a Front Row Turner Prize special.
0:00:06 > 0:00:09The Turner Prize is one of the highlights of the arts calendar
0:00:09 > 0:00:11and ahead of the awards ceremony next Tuesday,
0:00:11 > 0:00:15I've come to Hull, where four of the nominees of this coveted prize
0:00:15 > 0:00:17are exhibiting their work.
0:00:19 > 0:00:22Coming up, I meet with Hull-born Maureen Lipman
0:00:22 > 0:00:26in the Ferens Art Gallery, for a personal tour around the exhibition.
0:00:26 > 0:00:30Hurvin Anderson just puts his hand in paint.
0:00:31 > 0:00:35Works inspired by satirical crockery, barbershops,
0:00:35 > 0:00:39jaunty potatoes and the uncertainty of life in Gaza.
0:00:40 > 0:00:44We showcase the four artists nominated for this year's prize.
0:00:45 > 0:00:47In the studio, we will be discussing what the Turner Prize
0:00:47 > 0:00:51reveals about the current state of British contemporary art.
0:00:53 > 0:00:56And playing live, Turner Prize-winning artist Martin Creed.
0:01:01 > 0:01:05The Turner Prize is probably Britain's most notorious arts prize.
0:01:05 > 0:01:09Think unmade beds, pickled cows and bare bums.
0:01:09 > 0:01:11Each year, four contemporary artists
0:01:11 > 0:01:13who, in the opinion of an illustrious art world jury,
0:01:13 > 0:01:16have made an outstanding contribution to art
0:01:16 > 0:01:21in the last 12 months are chosen to compete for the prize of £25,000.
0:01:21 > 0:01:24With me in the studio to discuss nominations
0:01:24 > 0:01:26and all things Turner
0:01:26 > 0:01:28are photographer David Bailey,
0:01:28 > 0:01:29artist Polly Morgan
0:01:29 > 0:01:32and critic and broadcaster Waldemar Januszczak.
0:01:32 > 0:01:35- Welcome to you all.- Hello. - Thank you, hello.
0:01:35 > 0:01:38The Turner Prize has been going since 1984
0:01:38 > 0:01:42and it's in the fifth year that it's been exhibited outside of London.
0:01:42 > 0:01:46This year, it's in Hull, 2017 City of Culture.
0:01:46 > 0:01:50I met up with Hull-born Maureen Lipman at the Ferens Art Gallery
0:01:50 > 0:01:52to find out what it means to the city
0:01:52 > 0:01:54to host this famously divisive award.
0:02:02 > 0:02:07What I really love is the difference in styles.
0:02:10 > 0:02:15This is a year when Hull is welcoming everybody to the city.
0:02:15 > 0:02:18Do you think this is an accessible exhibition?
0:02:18 > 0:02:21I do think it's accessible.
0:02:21 > 0:02:24I think it's not as shocking as we expect from the Turner Prize.
0:02:24 > 0:02:26I don't think there's anything here that you would stand here
0:02:26 > 0:02:29and say, as they would in Hull, "My dog could do that!"
0:02:32 > 0:02:35Andrea, she does these woodcuts.
0:02:35 > 0:02:39The process is absolutely breathtaking.
0:02:43 > 0:02:45I would like to take this whole room home with me.
0:02:45 > 0:02:50- Beautiful, that, and it's just... - His use of colour is amazing.
0:02:50 > 0:02:52I mean, this, you could sit and meditate forever,
0:02:52 > 0:02:55- couldn't you, some of these images? - Yeah.- Do you have a favourite?
0:02:55 > 0:02:57Oh, in here? Yes, this is my baby.
0:02:58 > 0:03:02I could look at that for ever.
0:03:02 > 0:03:03And I've got a feeling that
0:03:03 > 0:03:05Hurvin Anderson
0:03:05 > 0:03:09- just puts his hand in paint. - And plays.
0:03:09 > 0:03:10And plays.
0:03:10 > 0:03:13What do you feel about having an exhibition here,
0:03:13 > 0:03:15bringing the Turner to Hull?
0:03:15 > 0:03:18To have the Turner Prize here,
0:03:18 > 0:03:22as well as in the Year of Culture, it's a big thing for Hull.
0:03:22 > 0:03:25This city has responded very positively
0:03:25 > 0:03:29to being singled out for its good qualities.
0:03:29 > 0:03:32If we look at the Ferens alone,
0:03:32 > 0:03:36people of Hull have been seduced slightly by the art, by culture.
0:03:36 > 0:03:39I think, in their own inimitable way,
0:03:39 > 0:03:42they have decided this is good for Hull.
0:03:43 > 0:03:45And I hope to God it is!
0:03:51 > 0:03:53So, Waldemar, what does it mean
0:03:53 > 0:03:55to have the Turner Prize outside London?
0:03:55 > 0:03:57Do you think it important?
0:03:57 > 0:04:00Well, it's a good thing. The Turner Prize is always impactful.
0:04:00 > 0:04:02It has done its bit in London, hasn't it?
0:04:02 > 0:04:05It has played a part in changing the way British people
0:04:05 > 0:04:07think about contemporary art, cos I think it has done that,
0:04:07 > 0:04:09so perhaps sending it out there
0:04:09 > 0:04:11to see how great contemporary art can be -
0:04:11 > 0:04:13when it is a good Turner Prize, that is, of course.
0:04:13 > 0:04:16Polly, do you like the idea of it travelling?
0:04:16 > 0:04:18Yes, absolutely, it's a British art prize, isn't it?
0:04:18 > 0:04:21So, I think to expect everyone to come down to London to see it
0:04:21 > 0:04:23is a bit much, it's nice to take it to them.
0:04:23 > 0:04:26David, do you think that artists should be judged by competition?
0:04:26 > 0:04:28Do you think it's a good way to judge art?
0:04:28 > 0:04:31Not really.
0:04:31 > 0:04:34I don't understand, because who chooses the judges?
0:04:34 > 0:04:40It's so... It's so abstract, in a way, so who do you get to...
0:04:40 > 0:04:42Who chooses the people that are going to choose?
0:04:42 > 0:04:43I couldn't choose,
0:04:43 > 0:04:46because I wouldn't put myself in that position,
0:04:46 > 0:04:48because I wouldn't say someone is good
0:04:48 > 0:04:51or someone is bad, because it's not my job.
0:04:51 > 0:04:52Maybe it's his job.
0:04:52 > 0:04:54I'm not sure if David cares much about the Turner Prize,
0:04:54 > 0:04:56but do the public like it, do they enjoy the Turner prize?
0:04:56 > 0:04:59Well, they turn up in large numbers, don't they?
0:04:59 > 0:05:00I was at Channel 4 when Channel 4
0:05:00 > 0:05:02put it on television for the first time,
0:05:02 > 0:05:05and I remember the first show had 50,000 people coming to see it.
0:05:05 > 0:05:08By the time you got to the second, there was 150,000.
0:05:08 > 0:05:11I mean, for reasons that are often to do with notoriety,
0:05:11 > 0:05:14the fact that it's on page one of the Sun or whatever it is,
0:05:14 > 0:05:16those reasons got people through the door,
0:05:16 > 0:05:19and if that hadn't happened back in the 1990s,
0:05:19 > 0:05:23we wouldn't have had a Tate Modern today, so it's had an impact,
0:05:23 > 0:05:26it's definitely brought a lot of people to contemporary art.
0:05:26 > 0:05:28Now, this year, the rules have changed
0:05:28 > 0:05:30and the upper age limit restriction has been lifted
0:05:30 > 0:05:34so that artists of any age can now be in contention with each other.
0:05:34 > 0:05:37Now, in the first of our short films about this year's nominees,
0:05:37 > 0:05:40we meet Lubaina Himid and Hurvin Anderson,
0:05:40 > 0:05:43the two artists whose place on the shortlist
0:05:43 > 0:05:45was guaranteed because of this.
0:05:45 > 0:05:48Whilst 63-year-old Himid makes use of
0:05:48 > 0:05:51a wide array of media and material to explore her themes,
0:05:51 > 0:05:5552-year-old Anderson is that rare thing on the Turner shortlist -
0:05:55 > 0:05:57a true figurative painter.
0:05:57 > 0:06:00Will either go on to take the prize this week?
0:06:04 > 0:06:07My name is Lubaina Himid, I am a painter.
0:06:08 > 0:06:09I trained as a theatre designer
0:06:09 > 0:06:12and I have a sense of the drama of things.
0:06:14 > 0:06:17Really, at the heart of my practice
0:06:17 > 0:06:21is the desire for a relationship with audience.
0:06:22 > 0:06:25I'm incredibly aware of the Turner Prize, I always have been,
0:06:25 > 0:06:29but once I passed the age of 50, I certainly never thought about
0:06:29 > 0:06:32being in contention for it, so it was completely shocking.
0:06:35 > 0:06:37The Fashionable Marriage
0:06:37 > 0:06:40is a reworking of Hogarth's Marriage A-La-Mode.
0:06:40 > 0:06:43Instead of being the countess and her lover,
0:06:43 > 0:06:46we have Margaret Thatcher and Ronald Reagan.
0:06:48 > 0:06:52I'm really interested in caricature, in cartoonists,
0:06:52 > 0:06:57in that ability to mock everybody.
0:06:57 > 0:07:00What I've learned from looking at the work of Gillray,
0:07:00 > 0:07:05Hogarth, Cruickshank, was that, although the work is cruel
0:07:05 > 0:07:09and everybody kind of gets rubbished,
0:07:09 > 0:07:10you get a history of people,
0:07:10 > 0:07:13you get a history of the presence of black people
0:07:13 > 0:07:15that you wouldn't necessarily have got
0:07:15 > 0:07:17in the kind of more dainty paintings of the day.
0:07:20 > 0:07:23The painting that I'm working on at the moment is part of a series,
0:07:23 > 0:07:24Le Rodeur.
0:07:24 > 0:07:28And in the whole series, I'm trying to capture
0:07:28 > 0:07:32the history of a story, of a reality,
0:07:32 > 0:07:36about a ship that sailed from the West Coast of Africa to Guadeloupe
0:07:36 > 0:07:38and, on the way,
0:07:38 > 0:07:43all the enslaved people that were captured on board went blind.
0:07:43 > 0:07:46And I want to build up a kind of relationship between them
0:07:46 > 0:07:51that talks about who they are, who they want to be,
0:07:51 > 0:07:54what's missing, what might be taken away from them
0:07:54 > 0:07:56or what has already been taken away from them.
0:07:59 > 0:08:02I certainly am trying to get inside the experience of things.
0:08:03 > 0:08:07It is about stretching your intellect,
0:08:07 > 0:08:11but it's also about remembering what you didn't know you knew.
0:08:20 > 0:08:22My name is Hurvin Anderson and I'm a painter.
0:08:26 > 0:08:29This is the drawing, the basis of some of the new paintings -
0:08:29 > 0:08:32Scrumping and Grafting.
0:08:34 > 0:08:36When I was younger, my brother, during the summer holidays,
0:08:36 > 0:08:38he would go for the day and he would come back
0:08:38 > 0:08:41and he'd have all these apples and pears and, you know,
0:08:41 > 0:08:45you'd ask you where had he been and, you know, "Just been scrumping."
0:08:47 > 0:08:51The interesting thing was, I think, for me, then when I went to Jamaica
0:08:51 > 0:08:55and I saw these kids just, you know, climbing trees.
0:08:55 > 0:09:00I just had this kind of tiny insight into how his life was
0:09:00 > 0:09:04when he was in Jamaica, so it was this kind of odd moment
0:09:04 > 0:09:10where these two worlds, for me, kind of came together.
0:09:10 > 0:09:12Essentially, there are two images,
0:09:12 > 0:09:15two photographs which have come together.
0:09:15 > 0:09:17There is something when I paint from photographs,
0:09:17 > 0:09:20where you feel like you get the point.
0:09:20 > 0:09:23Half the time, I feel like you are too busy measuring,
0:09:23 > 0:09:26there's too much things to consider, whereas when you have a photograph,
0:09:26 > 0:09:29half the job is done and you push things to one side.
0:09:29 > 0:09:31You are interested in something already
0:09:31 > 0:09:33and you just want to get on with it.
0:09:34 > 0:09:37What I find when you're making, especially a painting like this,
0:09:37 > 0:09:40in a way you are actually destroying things all the time,
0:09:40 > 0:09:43you are creating and making something new.
0:09:49 > 0:09:52I'm trying not to make it too personal,
0:09:52 > 0:09:55although there is that kind of first moment
0:09:55 > 0:09:58where it does come from maybe a personal moment,
0:09:58 > 0:10:00but it's about that...
0:10:00 > 0:10:03broader sentiment becomes more open and...
0:10:04 > 0:10:06Yeah, when lines blur.
0:10:13 > 0:10:16So, there we have a multimedia artist and a painter.
0:10:16 > 0:10:18What was your immediate response to the work?
0:10:18 > 0:10:20Hurvin Anderson's paintings, I liked.
0:10:20 > 0:10:23My only criticism would be that I didn't feel
0:10:23 > 0:10:26they were necessarily that new,
0:10:26 > 0:10:29in that they reminded me a bit of Peter Doig
0:10:29 > 0:10:32and a few other painters, but I...
0:10:33 > 0:10:38They were very direct, they were easy, they had a nice palette.
0:10:38 > 0:10:42I thought the barbershop ones worked particularly well.
0:10:42 > 0:10:45I liked it more when he sort of goes into abstraction.
0:10:45 > 0:10:50Lubaina's work, I...
0:10:50 > 0:10:53I thought probably the longest about her work.
0:10:53 > 0:10:55I didn't instantly love it,
0:10:55 > 0:10:59just aesthetically, it's not the kind of work that I love,
0:10:59 > 0:11:04but I thought the most successful work was the installation piece,
0:11:04 > 0:11:08The Fashionable Marriage, and I just... I thought it was a shame
0:11:08 > 0:11:10that the most successful work was made in 1986.
0:11:10 > 0:11:12I kind of struggled with that a little.
0:11:12 > 0:11:14Was that your feeling, Waldemar?
0:11:14 > 0:11:16Do you think that it should have been
0:11:16 > 0:11:19just the show for that particular year or...?
0:11:19 > 0:11:21Well, there has been a change of rules, hasn't there?
0:11:21 > 0:11:24They are now allowed... They've scrapped the age limit,
0:11:24 > 0:11:25so you don't have to be under 50 any more,
0:11:25 > 0:11:28you can be any age, and that has an impact, doesn't it?
0:11:28 > 0:11:30Because it means that... In this instance, you are sort of
0:11:30 > 0:11:33rewarding people for their whole career, aren't you, really,
0:11:33 > 0:11:35rather than what they've done this year?
0:11:35 > 0:11:40So there's old pictures and both Hurvin Anderson and Lubaina Himid
0:11:40 > 0:11:43have got things from way back in their show,
0:11:43 > 0:11:45so it's a sort of mini retrospective,
0:11:45 > 0:11:47a kind of cultural MBE, you know.
0:11:47 > 0:11:50And, quite honestly, I think if you want to reward artists
0:11:50 > 0:11:52for being around a long time, give them an MBE,
0:11:52 > 0:11:54but don't necessarily give them the Turner Prize,
0:11:54 > 0:11:56which has always been there and successful
0:11:56 > 0:11:59because it's about new things that are happening now.
0:11:59 > 0:12:01You know, that is what has made it so pertinent.
0:12:01 > 0:12:03So I have issues with that, but having said that,
0:12:03 > 0:12:06I don't think that it's a particular problem this year because, actually,
0:12:06 > 0:12:08I think these are the two strongest artists in the show
0:12:08 > 0:12:10and Lubaina Himid's thing is really interesting
0:12:10 > 0:12:13all the way through and I actually like the smaller pieces.
0:12:13 > 0:12:16I love the Guardian front pages and the sports pages, where she has this
0:12:16 > 0:12:18rather sort of comic interplay
0:12:18 > 0:12:20between photographs of black sportsmen
0:12:20 > 0:12:22and she does a kind of predella to it
0:12:22 > 0:12:25where she makes little jokes about them, which she has painted on.
0:12:25 > 0:12:26And they are sort of funny.
0:12:26 > 0:12:30They are meant to be all about black identity, but are also very cheeky.
0:12:30 > 0:12:33I thought it was really good and I think Anderson's paintings
0:12:33 > 0:12:36are actually rather beautiful, but they are also understated,
0:12:36 > 0:12:37they are not noisy.
0:12:37 > 0:12:39The storyline of the barbershop is brilliant, isn't it?
0:12:39 > 0:12:41It's such a big cultural issue at the moment.
0:12:41 > 0:12:44There was that actress recently who appeared on Grazia,
0:12:44 > 0:12:47- complaining about her hair having been chopped off.- Lupita...
0:12:47 > 0:12:50And this is all about black people and hair, so that...
0:12:50 > 0:12:53that juxtaposition of the hair art
0:12:53 > 0:12:56and these sort of blooming, brilliant, tropical forests
0:12:56 > 0:12:59seems, to me, to be saying something about...
0:12:59 > 0:13:03about freedom and having stuff chopped off
0:13:03 > 0:13:06and something like that, but I think there is a problem ahead.
0:13:06 > 0:13:08You know, if you are going to give anybody
0:13:08 > 0:13:10a chance to appear in the Turner Prize,
0:13:10 > 0:13:14you are going to create a situation where Buggins' turn will turn up,
0:13:14 > 0:13:16as it used to be at the beginning when there wasn't an age limit.
0:13:16 > 0:13:18Anybody who has been around long enough can be in it.
0:13:18 > 0:13:21But it doesn't have to be like that, I don't think.
0:13:21 > 0:13:23I do think there are artists who are working...
0:13:23 > 0:13:27I mean, I can think of an artist right now who started...
0:13:27 > 0:13:29He went to college in his 50s and he is now making work
0:13:29 > 0:13:33and he just had his first exhibition in his 60s.
0:13:33 > 0:13:37So, I think there is new work being made by people in their over-50s,
0:13:37 > 0:13:39but I don't see why we have to...
0:13:39 > 0:13:42I mean, the Turner Prize states that it wants to provoke debate
0:13:42 > 0:13:44about what is new in contemporary art
0:13:44 > 0:13:47and then they can't show something from 1986 and say that,
0:13:47 > 0:13:50I think they would just have to update that maxim.
0:13:50 > 0:13:52And, in fact, the rule book says
0:13:52 > 0:13:55for outstanding exhibitions or projects of the past year.
0:13:55 > 0:13:57- In the last year.- Yes. I mean, it's...
0:13:57 > 0:14:00It's just potentially, you know, a dodgy situation.
0:14:00 > 0:14:03David, what's your opinion, briefly?
0:14:03 > 0:14:06It used to be a competition for brazen young artists.
0:14:06 > 0:14:08Now they've taken the age limit away.
0:14:08 > 0:14:10Yeah, I always had problems with that,
0:14:10 > 0:14:12I wondered why it was so ageist.
0:14:12 > 0:14:16But I think it's great, especially for women that get married
0:14:16 > 0:14:19and have children and have to look after their children,
0:14:19 > 0:14:22and then, when they are in their maybe late 40s,
0:14:22 > 0:14:25they want to start painting or doing things again,
0:14:25 > 0:14:27so I think it's very good for women in this place.
0:14:27 > 0:14:29I've got a daughter who is a very good painter,
0:14:29 > 0:14:33much better than I can paint, but she's lumbered with three kids.
0:14:33 > 0:14:36Or she loves three kids! So I think in that way it is good.
0:14:36 > 0:14:38As to the artists, I don't know,
0:14:38 > 0:14:40they are all right, but they are all right.
0:14:40 > 0:14:42I mean, they are really all right,
0:14:42 > 0:14:47but I think I expect a bit more from the Turner Prize, maybe.
0:14:47 > 0:14:50And now for our second pair of shortlisted artists,
0:14:50 > 0:14:53Rosalind Nashashibi and Andrea Buttner,
0:14:53 > 0:14:57whose works include video art, painting, printmaking and fabrics.
0:14:57 > 0:15:01While Buttner's prize show features pieces from across her practice,
0:15:01 > 0:15:04Nashashibi has chosen simply to screen two films
0:15:04 > 0:15:05for her exhibition in Hull.
0:15:09 > 0:15:11My name is Andrea Buttner.
0:15:11 > 0:15:13I am an artist.
0:15:15 > 0:15:18I'm showing my work in two rooms.
0:15:18 > 0:15:20I was nominated for two exhibitions
0:15:20 > 0:15:22that are quite different from each other.
0:15:24 > 0:15:29One is an exhibition that I borrowed from a peace group
0:15:29 > 0:15:34in East Berlin that was founded in the 1980s.
0:15:36 > 0:15:38And then they will see etchings
0:15:38 > 0:15:41made from traces of Google searches on the iPhones.
0:15:43 > 0:15:47I was thinking of these traces on the touch-screen
0:15:47 > 0:15:50as a sad kind of painting that we all do all time.
0:15:50 > 0:15:53It's a kind of invisible painting practice.
0:15:55 > 0:16:00I think the subject of the hand is very important in these works.
0:16:00 > 0:16:06I show them in relation to other works where hands are depicted.
0:16:09 > 0:16:11There is a series of nine woodcuts
0:16:11 > 0:16:15showing varied beggars with stretched-out hands.
0:16:17 > 0:16:21There are posters showing material that is sourced
0:16:21 > 0:16:23at the photography collection of the Warburg Institute,
0:16:23 > 0:16:25showing beggars.
0:16:25 > 0:16:29I've been working on the subject of poverty for many years,
0:16:29 > 0:16:32like I think it came from my interest in shame.
0:16:33 > 0:16:36Thinking about shame is so interesting within art,
0:16:36 > 0:16:41because it teaches us about conventions that we blindly accept.
0:16:49 > 0:16:54My name is Rosalind Nashashibi and I am an artist, making films.
0:16:57 > 0:17:02The two films that I'm showing are the ones which I was nominated for.
0:17:02 > 0:17:04With the film Vivian's Garden,
0:17:04 > 0:17:07it is about Vivian Suter and Elisabeth Wild,
0:17:07 > 0:17:10these two artists, mother and daughter,
0:17:10 > 0:17:12and their situation in Panajachel,
0:17:12 > 0:17:14which is a small town in Guatemala.
0:17:17 > 0:17:21Vivian is in her 60s and her mother is in her 90s.
0:17:21 > 0:17:24Their home is really a refuge,
0:17:24 > 0:17:28it's really a very healing place to be, actually, in their garden.
0:17:28 > 0:17:31But on the other hand, it's a very dangerous place.
0:17:31 > 0:17:34There is a lot of crime, there's lawlessness
0:17:34 > 0:17:36and they are in a vulnerable position,
0:17:36 > 0:17:40so it's a complex situation, it's not just a simple...
0:17:41 > 0:17:44..a morally simple situation, let's say.
0:17:45 > 0:17:49Electrical Gaza is a film I made in Gaza.
0:17:49 > 0:17:54I was asked by the Imperial War Museum, initially, in 2010,
0:17:54 > 0:17:58to make a piece of work about Gaza.
0:17:59 > 0:18:03It's so difficult to cross that border and then, once you're in,
0:18:03 > 0:18:06you are aware that you are in this completely sealed area
0:18:06 > 0:18:08on the one hand, because it's under siege,
0:18:08 > 0:18:10but on the other hand, completely porous,
0:18:10 > 0:18:14because the Israelis were flying over at all times,
0:18:14 > 0:18:16they were controlling the borders
0:18:16 > 0:18:19and they could enter, really, at whim.
0:18:19 > 0:18:25So I began to see that siege of Gaza,
0:18:25 > 0:18:27or to find a sort of metaphor, I guess,
0:18:27 > 0:18:31in the idea of a place being under enchantment.
0:18:31 > 0:18:36And, when I say that, I don't mean that in any fairy-tale aspect.
0:18:36 > 0:18:38What I mean is really under a spell.
0:18:41 > 0:18:45I went from animation to live footage in order to say,
0:18:45 > 0:18:48you think that this is a fantasy situation,
0:18:48 > 0:18:52but actually, it is like that, so it's not quite what it seems.
0:18:55 > 0:19:01What I tried to do was really to show to the viewer of the film
0:19:01 > 0:19:04what it felt like inside me to be there.
0:19:04 > 0:19:07Polly, what did you make of the films?
0:19:07 > 0:19:09Vivian's Garden really grew on me, actually.
0:19:09 > 0:19:10I started to find it quite moving.
0:19:10 > 0:19:12Electrical Gaza, I...
0:19:12 > 0:19:16I think I just expected a little bit more from it, I was sort of...
0:19:16 > 0:19:19I understand she was interrupted in the middle of filming it,
0:19:19 > 0:19:21so she had to cut it short, and I wanted to see
0:19:21 > 0:19:23the film she would have made if she hadn't been interrupted,
0:19:23 > 0:19:26because I think, knowing that she was half-Palestinian,
0:19:26 > 0:19:30I was expecting little bit more intimacy, maybe, with the subject.
0:19:30 > 0:19:31And I...
0:19:31 > 0:19:34I couldn't help thinking that the footage that she'd got,
0:19:34 > 0:19:37there were some beautiful shots, but it was quite ordinary, some of it.
0:19:37 > 0:19:41I could sort of imagine many people with a camera out there
0:19:41 > 0:19:42getting those shots.
0:19:42 > 0:19:44I thought they were really, really dreary.
0:19:44 > 0:19:48And also totally irrelevant to the Turner Prize situation.
0:19:48 > 0:19:51I mean, you've got one film set in Guatemala,
0:19:51 > 0:19:52another in the Gaza Strip.
0:19:52 > 0:19:55The Guatemala film, it was like a sort of holiday film.
0:19:55 > 0:19:59You know, I don't understand what was being said about it
0:19:59 > 0:20:02that is in any way sort of pertinent, really,
0:20:02 > 0:20:03and the poetry was lost on me.
0:20:03 > 0:20:07I think it was a film about the encroachment of a natural situation,
0:20:07 > 0:20:09so, you know, the Guatemalan jungle,
0:20:09 > 0:20:11as it were, that they are trying to tame in their garden
0:20:11 > 0:20:13is coming in on these two ladies
0:20:13 > 0:20:16who are living in this sort of vulnerable house
0:20:16 > 0:20:18in the middle of the garden, so I sort of get that,
0:20:18 > 0:20:23but I just found it deeply annoying and badly made.
0:20:23 > 0:20:26You know, there are no great shots in it, the editing was clunky,
0:20:26 > 0:20:30the music was clunky, the point of it was clunky,
0:20:30 > 0:20:31the whole thing was clunky.
0:20:31 > 0:20:33See, I got engrossed in the music
0:20:33 > 0:20:35and maybe that was a distraction, perhaps, I'm not sure.
0:20:35 > 0:20:38Maybe it was from boredom.
0:20:38 > 0:20:41There was one scene, there was one episode in the middle
0:20:41 > 0:20:43where she was going to sleep
0:20:43 > 0:20:44and someone working in the garden
0:20:44 > 0:20:46was putting these leaves over the top,
0:20:46 > 0:20:48which I thought was quite pretty,
0:20:48 > 0:20:50and some music came in then and there were some dogs playing,
0:20:50 > 0:20:52a puppy playing with its mother,
0:20:52 > 0:20:54and I felt like there was something quite poetic
0:20:54 > 0:20:56about life and death going on there.
0:20:56 > 0:20:59David, did you feel like you were watching a crafted documentary
0:20:59 > 0:21:01- or did you feel it was art? - No, not very crafted, no.
0:21:01 > 0:21:06I used to make documentaries, not that that means anything.
0:21:06 > 0:21:09But it's like a bad news report to me.
0:21:09 > 0:21:13Now, I am interested to know what you think of Andrea Buttner.
0:21:13 > 0:21:16The borrowing of the Simone Weil piece, you know,
0:21:16 > 0:21:19that's just a typical bit of what conceptual art gets up to.
0:21:19 > 0:21:20"It's conceptual art, innit?"
0:21:20 > 0:21:23So you go and borrow an entire exhibition and transport it.
0:21:23 > 0:21:26The best thing about her display was the photography
0:21:26 > 0:21:28in that particular scene,
0:21:28 > 0:21:30because you had Andre Kertesz, you had Ansel Adams.
0:21:30 > 0:21:32Finally, you had some great art,
0:21:32 > 0:21:35just nothing to do with Andrea Buttner.
0:21:35 > 0:21:37So, does it matter that it is not her work?
0:21:37 > 0:21:40- I don't think it does.- To me, it doesn't matter particularly,
0:21:40 > 0:21:42because, you know, I love Duchamp's readymades,
0:21:42 > 0:21:45they are brilliant. But they are brilliant because they bring
0:21:45 > 0:21:47something to the party - a strangeness.
0:21:47 > 0:21:51He saw something in the real world, took it up, put it on a pedestal
0:21:51 > 0:21:52and suddenly we can see that it's got
0:21:52 > 0:21:54some weird, sculptural power to it.
0:21:54 > 0:21:56I beat his wife once at chess,
0:21:56 > 0:21:58which was quite an achievement!
0:22:00 > 0:22:03What I didn't like about it was that it had that sort of air of
0:22:03 > 0:22:06a library foyer about it or some kind of trades show,
0:22:06 > 0:22:10you know, temporary dullness that didn't really take me anywhere.
0:22:10 > 0:22:13She talked about poverty by doing those drawings
0:22:13 > 0:22:17and it doesn't make you want to go out and help people,
0:22:17 > 0:22:18or it doesn't help the people.
0:22:18 > 0:22:21I mean, that's just someone expressing themselves.
0:22:21 > 0:22:24Is it more political than, say, last year, for example?
0:22:24 > 0:22:28Yeah, I think it was a sort of anti-Brexit show
0:22:28 > 0:22:31and it was definitely a response to last year.
0:22:31 > 0:22:32I loved last year's one,
0:22:32 > 0:22:35there was a lot more tangible work in there for me.
0:22:35 > 0:22:37I just don't think it's going to be
0:22:37 > 0:22:39a very memorable Turner prize, really.
0:22:39 > 0:22:40There were some nice works in there,
0:22:40 > 0:22:43but it was quite sort of safe and quite art-worldy.
0:22:43 > 0:22:45You've fallen in and out of love with the Turner Prize.
0:22:45 > 0:22:46Are you in love this year,
0:22:46 > 0:22:49or are you turning your back and going for a drink?
0:22:49 > 0:22:51I think it's a very dreary show, all in all.
0:22:51 > 0:22:54It doesn't have much wow factor to it.
0:22:54 > 0:22:57There is just no sense that this is some kind of real reflection
0:22:57 > 0:23:00of what has happened in Britain this year, or very little sense of that.
0:23:00 > 0:23:03The only person that stands out and is properly here
0:23:03 > 0:23:07and is by far the most interesting artist in the show is Lubaina Himid,
0:23:07 > 0:23:10who has had powerful exhibitions in Britain this year,
0:23:10 > 0:23:14who is an exceptional artist and who should win easily.
0:23:14 > 0:23:16If she doesn't, it tells you everything you need to know
0:23:16 > 0:23:19about how wrong contemporary art can be in Britain.
0:23:19 > 0:23:22The public's favourite seems to be Anderson's work,
0:23:22 > 0:23:26the critics' favourite seems to be Lubaina's work.
0:23:26 > 0:23:29It's not a vintage year for you by any measure, David,
0:23:29 > 0:23:31but who would you give the prize to next week?
0:23:31 > 0:23:34Ask the audience, because they are going to be the judges in the end.
0:23:34 > 0:23:35Because, in the end, art needs an audience
0:23:35 > 0:23:38and if it hasn't got an audience, there's nobody...
0:23:38 > 0:23:41I mean, it doesn't matter what he says or what she says or what I say,
0:23:41 > 0:23:42it's the audience that...
0:23:42 > 0:23:45They are part of you doing your work.
0:23:45 > 0:23:48- Polly?- I agree. I think she will win.
0:23:48 > 0:23:49I would give it to Hurvin Anderson.
0:23:49 > 0:23:52I'll put my 10p on Lubaina too, I think.
0:23:52 > 0:23:55The winner of the Turner Prize will be announced at a ceremony
0:23:55 > 0:23:59on 5th December, broadcast live on the BBC News Channel
0:23:59 > 0:24:01and BBC World News at 9.30pm
0:24:01 > 0:24:04and then shown on BBC Four later that evening.
0:24:04 > 0:24:08And you can see the exhibition at the Ferens Art Gallery in Hull
0:24:08 > 0:24:12until 7th January next year. Thank you to my guests -
0:24:12 > 0:24:15David Bailey, Polly Morgan and Waldemar Januszczak.
0:24:18 > 0:24:21Saving our live studio music until last,
0:24:21 > 0:24:25let me introduce you to artist and art provocateur Martin Creed,
0:24:25 > 0:24:29who was a Turner Prize winner at Tate Britain in 2001,
0:24:29 > 0:24:33with Work No. 227, The Lights Going On And Off.
0:24:33 > 0:24:35So, Martin, what was it like for you to win that prize?
0:24:35 > 0:24:37Er, I don't know.
0:24:37 > 0:24:39Are you still overwhelmed by it?
0:24:39 > 0:24:40Aye. Well, I don't know,
0:24:40 > 0:24:45because I think winning prizes can give you a false idea about life,
0:24:45 > 0:24:48because I think life is more about losing
0:24:48 > 0:24:52than it is about winning because, you know, every moment is lost.
0:24:52 > 0:24:55So, life is like a process of losing things
0:24:55 > 0:24:59and I feel like it's hard, it's hard to get used to that,
0:24:59 > 0:25:02so if you win something, it can give you a kind of false idea
0:25:02 > 0:25:05about kind of being...
0:25:05 > 0:25:07about things being OK.
0:25:07 > 0:25:12That's it for this evening's Front Row Turner Prize special.
0:25:12 > 0:25:13If you want information and details
0:25:13 > 0:25:15about anything we've been talking about,
0:25:15 > 0:25:18do head to our website and, of course,
0:25:18 > 0:25:20there's arts news and reviews every night
0:25:20 > 0:25:24on Radio 4's Front Row at 7.15.
0:25:24 > 0:25:27We'll be back next year with a new series of Front Row.
0:25:27 > 0:25:30I leave you with Martin Creed and You're The One For Me.
0:25:30 > 0:25:32Goodnight.
0:25:42 > 0:25:47# I'm the one for you
0:25:47 > 0:25:49# I'm your two
0:25:51 > 0:25:56# You're the one for me
0:25:56 > 0:25:58# You're my three
0:26:01 > 0:26:08# We make one, two, three, four, five
0:26:10 > 0:26:12# You make me laugh
0:26:14 > 0:26:16# You make me cry
0:26:19 > 0:26:21# You make me try
0:26:23 > 0:26:26# You make me sigh
0:26:28 > 0:26:30# You make me lie
0:26:33 > 0:26:35# You make me buy
0:26:37 > 0:26:40# You're my sign
0:26:42 > 0:26:45# And you're my time
0:26:47 > 0:26:50# You're my rhyme
0:26:51 > 0:26:54# You're my nine
0:26:57 > 0:26:59# One, two
0:27:00 > 0:27:04# Three, four, five, six
0:27:04 > 0:27:06# Seven, eight
0:27:06 > 0:27:08# Nine
0:27:14 > 0:27:16# You make me talk
0:27:18 > 0:27:20# You make me think
0:27:23 > 0:27:26# You make me smoke
0:27:28 > 0:27:30# You make me drink
0:27:32 > 0:27:35# You're like depth
0:27:37 > 0:27:39# You're like height
0:27:41 > 0:27:44# You're like light
0:27:46 > 0:27:48# You're like sight
0:27:51 > 0:27:53# You help me see
0:27:55 > 0:27:58# You make me free
0:28:00 > 0:28:02# You let me be
0:28:04 > 0:28:07# You make me me
0:28:09 > 0:28:14# I'm the one for you
0:28:14 > 0:28:16# I'm your two
0:28:18 > 0:28:23# You're the one for me
0:28:23 > 0:28:26# You're my three
0:28:28 > 0:28:35# I love the way you do things
0:28:37 > 0:28:44# And I love the way you don't. #
0:28:50 > 0:28:53APPLAUSE