Jazzing it up at Queens Hall. Seelistinas.
\ttit'lx ttt IIIIStitlhiillltilll}; eailierapher amt t_\ ptteraphet amt tnettittex \xaterettittttrxttt iIIttttttnatett LIIPIIIII‘L'IS .IIILI Ittitiktlletxei IIL‘SIL'IIS.
0 NETHERBOW 43 I Iteh Stteet 55h {Ix—W}.
Isolation and Interaction t 'tttiI Sat in Mar. .-\|lI\;l I I_\~Ittp\ peitpte are erammett IIIIti liars III Itlllitlil'\ nr IIIL‘JII'L'S ttl' Ii\ L“ lli \kttl‘Ith \\ ItL'l'e there is \lleii L'UILL'L'SIUII that the \L‘Iillif; ttt Iamtxeape tttsappearx Itehimt the Iii;l\\tlI httmanttv I’atntettttrttraun \\ tth ttnnet‘\ in}; preeixtttn. het petthe are all til the MIME“ I‘IL'L‘II. there l\ IIIII an attraetn e laee ;lllttiltf_'\I thetn amt their e\pte\\tt>n\. at IIISI
etttttteai. are Iteettletttt IIISIIII hing.
Embroidered Picturest liIlI Sat 2” \Iat. AGrimm‘s Fairy Tale Mun .‘wt .\lat- Sat 5 .\pr. I.ee \Ie( ‘ttItxter leII\ a shirt ttsittexithttttettes. \hatttm pllppe‘tx .tmtenthrtttttet't. .\IIL‘.\IIII‘1IIHII in IISSttL'IIIIIUII \\ itI: the I’ttppet I‘L‘\Ii\ at. 0 OPEN EYE GALLERY 5‘ ( 'ttmhertamt Street. 5.5T IIIJI‘. \ittlt I'il't Illatn ttpm. Sat Ill;tttt—4pttt, [DI Marian Achburn—Paintingst'ntil I'httts T .\Iar. I’atntingx ttt IIISII llllItll'e'Se‘aI‘L'S. I'he \ll'IISI strangely emittgh Ii\e\ amt \\tII'I\\ itt Ieatless ()t‘lelL'b. Andy Lang—Ceramicst mil thin-QT \Iat. .-\ Seitttish putter \\ ith an e_\e hit the aneient. I his e\hihititttt tlI tnttxtlt' Ittnetittnai \tttt‘k has wine eye-eatehine pieees. itt pat‘tiettlar ingx amt ttrn\ «it a tttatt \Iettiterranean I‘Itle. ()ne til the mute ittittxyneratie tttttehes is the pitstn}; ttt hamttex as UCIHPIIS Iimhx. Jerzy Marek and Jeanette Lassen— Paintings I 'tttiI 'I Iitll'\ 17 .-\pt. Irma Demianczukand Don Ewen— Ceramics I hit! 'I‘hnrx 1" .-\pr. . Queen Street. 55(iS‘l2I. \Ititt Sat Itlam 5pm. Sun
—5pm.
he RiddellCollectiont'ntitsat1.1 \Iar. Iast _\'ear. the Rttttteli IatniI_\ gm e a gitt ttt extt';tttt‘tttttat'_\‘ generosity to the Seottish I’htttttgraph} arehix'e. Hunt the etiIIeetittn tit III.IHIIIUI‘ieeI\ (phntttgraphs. hunks. ttnt_\pesete. L‘IL‘I i the gallery Ittlx \eIL'L‘IeII SIIOI the hest phnttigraphx itt a tnetttoriat trihttte 10 their ettIIeetttr. Sir Peter RIIIIIL‘II. 0 PRINTMAKERS' WORKSHOP GALLERY :3 I‘ntttn Street. 55" Mun Sat Itlam rttpm. From Three Sidesl'rt 21 Mar Sat ti) Apr 'I‘he \xnrk nl three Setittixh phtttttgraphers Rnhin Deas. I)a\ ILI
34“).
Murristtn amt ()wen Ingan. I)ea.\
has reettrttett the Iast disappearing
I-, ._
ART & EXHIBITIONS LIST o ROYAL MUSEUM or SCOTLAND
(‘hamhers Street. 235 “53-1. I Stun Sat Illam 5pm. Sttnl 5pm.
I Brian Kelly Print51982—1986t'nnl ' \\ett3.-\pt‘. oTHE SCOTTISH MINING MUSEUM
ttrhan Iamtseape itt I’ile. \Ittrriwn timts rieh pattern amt tttrm in the mirth \\ ext ttt Settttamt amt( in en tittettments the pettple ttt Initia. (ireeee. \Ittriteett amt ( ‘t'atetniIIat. 0 QUEEN'S HALL 5 I Ittpe I’arI\ (texeent. (tttt\5~1.5ti.
Jazz Photographs—Sean Hudson and Dominic Snyder I 'tttiI I tte I .-\pr. .la// phttttteraphs ht' I IIIIISUII amt pl'ilth amt than mes In Sttttter mark li\ e tearxttl I’Iattttrtn .Ia// perttirmanees at the (_)tteett\ Hall.
From Staten Island tothe Battery: drawings andphotographytromthe pasteighteen months it} .Ittlt‘atitttlt Itrimn,
O RIAS GALLERY I5 Rtttlamt Sttttare. ZI‘IOIII5. \Ittn I’ri‘lam 5pm. Urban Regeneration t 'ntil that-xi“ \Iar. 'I’Ite \xitt'k Al the ItnaIi\I\ lit the RI;\S SI):\ LI\\';IIII\.
0 ROYAL MUSEUM OF SCOTLAND Queen Street. 55h SI): I. \Iitn Sat Illatn 5pm. Stttt 3 5pm.
‘lam come home‘ t'tiiit_1tt,-\ptll. 'I'reasttrex til I’rim'e ( 'harIes Izttu artt Stttart.
— INDOWS
WARM
Her rooms are warmed by coal tires, morroccan reds and burnt browns. Victoria Crowe's solo exhibition at the Mercury Gallery, Edinburgh is tull ot portraits at places. atmospheric interiors cloudy with memories, and landscapes ot wispy trees. The detail is dense with mantelpieces cluttered with photos and mementoes and branches bent and entwined. In some at the work the detail is overworked and stilted but in the best the space is titled with a warm living presence. In ‘The Room In Autumn' the shadowy ligure at a
I —
Costumes and Textiles ot Kuwait t-m- art imtel'inite perimt. the \Itlllllllig eat’h HIIIIL‘ IIILIIL‘S til the Itexet‘t.
I 1 \\';t\'\\'ehaVeIteettratettttttrtaee\ merthetearsttleutttttittn
MP, all specially commissioned, use
LIMIT \Iteitil‘itl I .UIIIL‘I’I. Neutunerattee. \Iittittthtan. ht»? "5W. Itte I't‘i Illam Aimillpm.
Sat Stttt \tttttt 5pm.
A Day in the Lite ot a Coal Company .Itttttnet I‘itk'h te the earI_\ \I.t\\ III the emittert Via a series ttt t.tIiIe.ttt\ ttxttte
About Face I 'ntiI \tllttlllL'I. SmaII ItispIa} iii the haek stairease (III the
New Acquisition I'IUIII‘ rare amt [‘I'L‘VIUIISLV ttttkmm n Iienin (Nigerian) Iigtttex have heen reeetttI_\ aettttirett amt are mm IIII IIISPILLV in the tnain hall III the
New Gallery I )pening Hum 23 .\iat'eh. See titliie‘t.
0 SCOTTISH CRAFT CENTRE l-lll (annneate. 55ttS13h. Mutt Sat Illatn 5.3IIpm. ( 'eratttiex. knitwear. putter} . glass amt textiles lrttm the et‘attwnen amt \tttmen ttt Setttlamt. 0 THE SCOTTISH GALLERY III ( ienree Street. :35 5‘55. .\IUII I’ri
Ilam 5..‘~llpm. Sat ‘lfillam Iptn. Rural America I'ntiI \\ L'II 3 :\pt‘. I);liltIilt_L’.\ In Ian ( ‘ttttk a ( iI.l\f_‘t)\\ artist. Iast well in this ettttntr)‘ at the Settttish ( taller} ill a IIIIL'—III.III e\hinitittn in IVS-l. (mka -\meriea is htit hItte skies amt rett e.trth.
I Ittek I'inn pttrehe\ amt ItewIate gas
statinns suggest the \tttrk til I ittpper.
artetaetsattttettsttttnett llttttIeIS, PTBSIOIIgrange(I‘I'I\\eettI’l'e‘\1ttltti.ttl\ amt \Ittxxelhttrehl Itte I It
Illam 3pm. Sat Stttt \tmn 3pm. \‘isttttrt‘entre.Itixtttrtet'nrntsh Iteam Izneine amt Ittxplatx illustratingeitaI-tntntnethtitttehthe apex.
OTHE SHORE GALLERY 5" Iietnartt Street. 315 (7.5.1, I)et.iiI\ til ltttttre exhihitiitns \\ iII he LlIIIltiIIIIeL'tI ttt the I.i\t.
0 STILLS GALLERY Ill5 I Iteh Street. 55“ I till. IIIL'\ Sat 13 ttptn.
Onthe Edge otWhlte Peak t ’nttt Sal tit .‘\priI. I’htttitet'aphxtit IilllL‘SItille Itttarrtine ht .Itthn I)a\ leS. ()ttatttex. Ittt‘riex amt \ .lSI skies. the titan-matte eIiIts III I‘Itl\\ n SIIIIIL' (IIIII til'.IIII.t it» the Iznelixheitttrttttxitte.
\iaehiner} l\;lI a \tamtstiII .tmt pettpte are ahxent lt‘ttm these
strangely eaItn artttteiaI L'QIIIMIIIS.
0 TALBOT RICE ART GALLERY( )Itt (iitIIeee. I 'ni\et\it_\ til I tttnttttreh. (it: Hit I e\t IltlS. \ittn Sal,
Illatn 5pm.
Turning Points in Scottish Architecture ~An Exhibition from the BIAS Collection \Iitn ll .\iar Sat I” ,\pr. Settttish .tteIttte.'tttt'e has hati three
IIIUILL‘II the \eenex are liltlI'L‘ .‘\lllel'ie;llt ttream \earehett lttr than .‘\met‘tean LII'L‘Llnt IIISI. I he \L'IISL‘ ttt pitienanet‘ is misxitte.
Scottish Paintings and Watercolours
I hit] \Vett 3 ;\pt . .-\ glint lit: rett the tram ;\nne Rettpath. the IILIIIIII e_\e\ ttIa (. ilasetttx I‘II_\ ht .Ittan Izartttet
,m m] IHUUhHmxnuflt IWHU“ Itixtinet Itll'llilltl [IKIIIII\ ttt lI\ IIISIHH. t L k) t A t i .
I'IIISC\IIIIIIIIIIIIIIIIIhSIII the e;tt‘I_\
ISth eetttttrt \\ hen the pt'iiie'\\tittt Iit'xt etttereett amt I’Iat latt el al IeII the Setttthh I it‘eeIx RLW t\ glI. .11 the
me In (km ie are \ttme Hi the
images itt this tttixett exhihitittn.
tttrnttl the eetttttrt \kitell .itt tttitneatt IIIIII the re ‘IIISL'I‘\L'I_\ tit Setth trattitittttsttereetnItraeett ht III'L‘IIIIL'L'ISIihL‘ \Ittt'kttttmtt;ttttt Rtmamt .‘\IIIIL‘i\tlIl amt at the mitt Itltheentttrt \then IIL‘\\ ttteihttttsttl ettnxtt'ttettttn \\ ere taekIeiI It; It.t\lI Speneeamt I'httmax Iatt. .THEATREWORKSHOP5IIiillIlIIItili I’Iaee. :3,“— T‘IIJ. .\itilt Sat
(ISIIJIII Iate.
Drawing and Prints by Diane Greig I'ntiI emi \Iateh. I tettt'attxe pttttt\ amt tiraxt tries (III the IIII‘IIIL‘HI I).tm'e Irtttn a tilting; I ,tttnItttreh tliIISI, .TORRANCE GALLERY.‘.‘IItI)tttttt.i\ Street. 55hliitttx \Itttt Irt
I Iattt ltptn. Sat Ill. illam Ipm George MacPherson Mun 3-1 .\t.n Sat 5 ;\pr. ( )iI\.
(i2. .iti‘l ( i.-\I .I I RY Ill‘l ( Km. gate. WWR
.‘xtlti \Itttt Sat 13.411 5.‘~tltittt. (tZSprine I \hthttttin I ‘nttI I IIIIIS 3.“ Mar.
.-\ IIII\L'II shim t‘I Sewtttxh arttxtx :\Iatt \Vatwtt. I)a\ III I mite Ian Itttehex. Ian I IILL'IIL'S IS .IISt‘ L'\‘IliI‘iIill}; at \Iatn I ttte ;\I'. ttt (itasetttt. I he .itt‘l ltllls an e\etttne
woman dissolve: into her surroundings and become part at her room. ‘Messages' and ‘Sunlight in an Unoccupied Boom' give a teeling of nostalgia as It the occupants have just left. Some oi this artist's best work belongsto the PortraitGallery in Edinburgh. The portraits ot Winitred Bushtorth, B. D. Lalng and Jenny Lee
prtteramme «it elasxes amt Ieeltli'e\ (‘ttnlaet Angela \\ tapwn. .‘ih‘l Iitttteatittn ( )ltteet Ittr tIL‘IAiIS,
The Mottat Suite Sat 3‘) Star I H IS :‘utr New \t'ttrix ttt KL'\III \Ieinttte, 0 TRAVERSE THEATRE I I.‘ \\ e\t Iitm, ZJIISIT‘TT
Works by Margaret Mitchell. Maureen I00er and Bill Brodie t mil in 4 .-\pr
her hesitant, decorative qualities to their best advantage. Victoria Crowe lectures part-time at the Edinburgh College otArt.
The List 21 Mar — 3 Apr 33