Crawford Centre for the Arts UNIVERSITY or ST ANDREWS

EXHIBITIONS from 1 July to 21 August

‘On Land and Sea’ Scottish Art from the Orchar Collection Past Pursuits photographs of St Andrews by George Cowie Sculptures by Sue White-Oakes Jewellery by graduates of Duncan of]ordanstone College Open-Air Sculptures selected by Matthew Inglis

Subsidised by the Scottish Ans COunCll 93 North Street. St Andrews (0334) 7616.1 extension 591


University of Edinburgh, Old College, South Bridge. Telzo316671o11ex14308


Scottish Tapestry Now Sponsored by Glenfiddich Whisky

Tues—Sat 10am—5pm Admission Free Subsidised by the Scottish Arts Council


Gwen Hardie Peter Howson Stephen Barclay Henry Kondraeki Timothy Hyman David H osie

Ken Currie


15 June to 7 October 1988

Belford Road ° Edinburgh Open Monday to Saturday 10—5 ' Sunday 2—5 Admission Free

political rallies. Football in Art Throughout July. Exhibition of football in art. not the art offootball. Stained Glass Gallery A new permanent gallery of secular and religious stained glass. acknowledging (ilasgow 's impressive history in the field. I POLLOK HOUSE 206“ I’ollokshaws Road. (3320274. Mon—Sat lllam~5pm. Sun 1—5pm. Neighbour to the Burrell Collection. this 18th century house contains the Stirling Maxwell (‘ollection of Spanish paintings and period furnishings. I PROVAND'S LOHDSHIP 3 (‘astle Street. 552 881‘). Mon—Sat 10am—5pm; Sun 2-5pm Images of Glasgow Until 31 July. Small exhibition of prints ot'(ilasgow. See (‘lassical Music listings for dctailsot music events in this yenuc. I THE SCOTTISH DESIGN CENTRE 72 St Vincent Street. 221 (i121. Mon—Sat ‘).3llam—5pm. British Design Awards timil 24 June. Selection of the British Design Aw ard winners. Design for Print 1 l July—27 August. (iraphics and print design have to become the key to everything from establishing corporate identity to rcyiying a flagging image. Just look what they‘ve done to The (iuurdiun. This show takes oyer 15” examples of work designed and printed in Britain and looks at the impact of new technology on printing design. I SPRINGBURN MUSEUM Ayr Street (adjacent to Springburn Railway Station l. 5571405. Mon—Fri ll).3llam—5pm. Sun 2.5 See They Young Yins: Teenagers in Springburn 1988 L‘ntil end June. A show for. and partly by teenagers. covering

leisure. school. fashion and contemporary problems.

A Place to Stay L'ntil Nov 88. (me ofthc largest exhibitions eyer mounted on the subject of housing in Scotland. The exhibition traces the transformation in Springburn from a small village and industrial suburb where property was privately owned. to today istow n dominated by council tower blocks. home for 50’; of the residents.

I THIRD EYE CENTRE 350 Sauchiehall Street. 332 7521. 'l'uc— Sat lllam-5.3(lpm. Sun 2—5.3llpm.

Pavel Buchler LTntil ll) July. l-‘irst substantial exhibition since he left (‘lechosloyakia in 1981 by this l’rague-bron artist who blows tip crowd portraits from newspapers llII they look grainy and ghostly and completely anonymous. See panel.-

Art is Parasitic I‘ntil lllJuly. Installations by Scottish artist Jayne 'I ay lor w ho raises questions about the nature of creatis ity'. Specially commissioned for the Third Iiyc's foyer area.

ImantsTillers L'ntil lllIuly. lmants'l‘illcrs from Sydney ponders the problemsof Atlstr‘alian isolation in his paintings. This is his first exhibition in Scotland.

I TRANSMISSION GALLERY l3 ( 'hisholrn Street. 552 4813. Mon Sat noon- (1pm. Postal Art Exhibition l‘ntil 25 .lunc. Two different artists w ill be working in the gallery cycry day from noon until3pni. and 3- (1pm.

I WASPS 26 King Street. 552ll5b4.

Mon Fri lllam 5pm. A new shop. exhibition space and resource centre with information on work by all \VASI’S

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Third Eye Centre, Glasgow

In Michael Newman’s brief but enlightening introduction to Pavel Buchler’s photographs he says, ‘The crowd has been replaced by the audience of the spectacle, collective activity by passivity. . . The public space forthe crowd may well disappear altogether in the fragmentation of TV and video culture, with inner city riots, mass pickets and public marathons as a last spasm of collective activity. . .‘ Sitting at home, typing this into a word processor, having witnessed recently on television the rampage of English soccer fans in Dusseldorf, that thought istresh.

Pavel Buchler has used an old photograph of an unknown crowd, split it down into its individual components and isolated them in frames. It’s a simple idea with complex and searching consequences. The blurred faces are blown up to larger than life-size, their anonymity exaggerated and frustratingly final. The black around the white photographic dots has the fearful density of infinity. The dots of light struggle to make definition, melting and moving into each other as it against a life-threatening G-force.

Move away from the portraits and you might think they become more identifiable, but in the end the shirt and tie most of them wear is more telling than any ofthefeatures.

Buchler’s photographs are at the sametime quietlyfrightening and darkly poignant, passive faces which cry outforhumanity.

Nextdooran Australian artist works from a very different perspective. lmants Tillers casts around among the images of art past and present for one he can call his own. Julian Schnabel‘s ‘Hebirth 111‘ becomes blended into a large lmant Tillers at one end of the gallery and a painting by de Chirico which seems to contain many of the elements of western 20th century art is built into ‘Antipodean Manifesto' at the other. Living in Australia, out olthe mainstream, Tillers uses art like a huge scrapyard, always available for rehaul

0n the floor a numbered set of metal tiles laid in rows, mirrors Tillers method for all his work. Paintings are made up of small rectangular sections which piece togetherby number. Tillers works at a desk. He compares his satisfaction of seeing his dismantled paintings ‘stacked‘ to that of a librarian walking into a well-stocked library.

As images of ideas, Tillers paintings have fascination. Buttheir neurotic crises of identity leaves them the underdog, forsaken by their own artfulness.

In the foyerJayne Taylor sets up her own debate about art. Repeated photographs of starving children paper the walls. Painted canvas covers them up and a gratitti-like message says plainly ‘Without art we'd have to transform the world. (Alice Bain)

52 The List 24 June 7 July 1988