On 1st November, Newsnight Review discussed the contenders for this year's Turner Prize.

Is it rejection or reverence at Tate Britain?

(Edited highlights of the panel's review)

Watch the whole programme - 01 November 2002

KIRSTY WARK:
Tom, a short list to choose from?

TOM PAULIN:
Catherine Yass's light boxes are like contemporary stained glass windows, I loved them. I didn't like her bits of film. I thought Fiona Banner should go back to art school, I thought Liam Gillick was a perfectly decent graphic designer and Keith Tyson was a post-modern doodler, so most of them not up to much, worth it for Catherine Yass but she won't win it, Fiona Banner will.

KIRSTY WARK:
Catherine Yass, people talked about feeling sick when they saw her films reversed and her toy helicopter going through London, I thought that the film Descent which ends up as a metropolis like vision of the cars on top is very good.

GERMAINE GREER:
It's beautiful and extraordinary. I was thinking what it takes to make that so effortless. I was thinking about the way she treated the film, because the colours were extraordinary.

I can't imagine it looked like that, something has happened to that. I don't know what it is. But she has it all carefully hidden.

TOM PAULIN:
It's the way she developed the film?

GERMAINE GREER:
It is. I don't know about all of that. I want to put in a word for Fiona Banner, because I think it amazes me.

TOM PAULIN:
She explores the seemingly limitless possibilities of language.

GERMAINE GREER:
Don't read the blurb, it's rubbish. People travel from miles around to go to the Turner Prize, stand in front of it and say it's rubbish. Cold, mechanical - fine, conceptual - also fine.

The interesting thing about what Fiona Banner is doing is that people think they have to read it, she knows perfectly well the lines are much too long, you can only see it in strange flashes and she does it around corners. One of them is written in such a way that you can't read it at all.

MARK KERMODE:
I think she did better work with the Vietnam stuff. Katherine Yass's film, Descent, is beautiful, it has marvellous classical structure, it is similar to Andy Warhol, and that is what I would give it to.

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