xeeking it out. (iet hold ot a tree eop_\ ot

the National ( iallei'iex‘ uxetul little leallet hetore xou go \\ hieh hax a map. numbered loeatIonx and dexeriptionx. .-\\ailahle lrom ; the National (iallerx . the .\'I’(i. the ( i.\l:\ I and manr art eentrex lhe Iatext and liiial I addition to the xeulpture in the l-extixal'x ; eolleetioii Ix Riehard ( irooin'x giant floating: xeulpture \x hIeh no“ rextx laee tip on the “atet' ot l'exti\ al I Iarhottr.

Festival 88 Art Competition that end Sept. Ai'tixtx ueie Iii\ ited to xuhmit “oil; to eoinpete tor the t. 1“th \xorth ot pri/ex in thix ( iai'den l-extix al exhihitioii. Seleeted \\Ut'I\\ hang; in liehtelmann'x Rextaurant and II;tl'I‘t)lll Bar on the textix al xite. 'l he iext ha\ e heeii Illlll); at the \\'x\Sl’S (ial|ei\ In the ( 'Iatt \ Illaue and ean he xeeiI tliioughout the l-extixal.

l’i'i/eu miteix \\ eie I)oIIItlt§ Black. l:\eleen Wright. ( ’ai'olt n Boxd. .lanet Melroxe. .-\lttIlC\\ Sneddoii and Vieki (‘axxidv

' Art in the Garden lt _\ou uantxomething ‘-

moie xuhxtantial to aeeomimn} a xeulptui‘al tour ol the xIte. thix Ix the hook toget. lt‘xa heautitulh piodueed\olume I \\iIIt photogiaphx ot the l-extI\a| xeulpture inthe Iiiakingandoiixite Riehaid I l)eaeon. \liehelangelo l’ixtoletto. Iiduardo Paolo/xi. Shona Kinloeh. (ieorge \V} llie and William I urnhull et al are Illuxti‘ated III hlaek and \\ hite and there are L‘\\;l}\ h} ei'ItIe Riehaid ( "oil; and I-I'eneh garden \Peeialixt \\ ex .-\hi'iou\. l-dited and produeed h} ii‘aeme .\lui rat lor the (ilaxgou (iai'den I-L'xtix al;

ax ailahle hour the l-extix al. hookxhopxoi the ( iraeme \Itii‘i‘at (iallei') . “Fl-55h (TIIZII‘

Artis Ihe eoIiiIneI eIal artx group .-\I'tix liax xeleeted I3 Seolttxlt atle I” he L‘\Itiittled in the mueh-puhlieixed haronial manor h} \Viitipe} I lomex at tlte ( ilaxgoxx (iai'dett I-exti\al. John I atloi. Dominie Snyder. .loxeph I 'I‘Ie. Sand} .\1ollat aitd Derek Rohertx are among; thoxe xItIm ing in thix

llppL‘t-HIPPIC doinextie xettmg, l-oi' turthei' intoimalion ahout ARIIS or the I‘CSIIMII exhihition eall “3| 55(i"54o. Warsteiner Exhibition ( ‘iati Village. \\'.'\Sl’S(ia||er'\. l‘ntil end Sept, An e\lIIhItion tlixiiltitiiig the pri/exxinning paiiitingx and a group ot the hext entrantx in a ( iai‘den l-extn al eompetition organixed ht \Varxteiner Beer.

I GLASGOW PRINT STUDIO 23 King Street. 553tl"tl4. Mon Sat ltlani 5.3“pm. Scottish Woodcuts t ‘nul 1 ()et. Ihe title xatx Seottixh. hut Inoxt ol the txxentx tll'Il\l\e‘\ItlI‘tlili§J are troni ( ilzixgtm.

\\ oodeutx xeem to ha\ e heen eelipxed ht othei print media hut Douglax'l liomxon. .\lai ie Baihour. .lohii Itt}IUI . l’eter

llou xittl. lan .\le( ~tilloeh and .lanka \Ialktm xlxa are xome ol the artixtxott xhtm. Workshops The xtudio uorkxhopx hax e reopened in their new premixex and are tum mallahle lot al'tixtx' tixe. Member‘th applieation Ittt'lilx are a\ ailahle lrom the ahm e addrexx.

I GLASGOW UNIVERSITY LIBRARY llillhead Street. 33‘) S855. .\lon 'l'hurx

i). lfiain 0. 15pm; Hi i). 15am 4.45pm; Sat 0. ISam l3. ISpIn. .\'e\t exhihition will he in the autumn term.

I HAGGS CASTLE ltltl St Andrew x l)I'I\ e. .\loiI Sat litam 5pm;SunZ 5pm. (ilaxuoxx 'x muxeum tor ehildren. Desperate Journey 'l hix exhihition liax heen poxtponed until tui ther notiee \\ liile I'enmation \xork ix eai'ried out in the

I HARBINGERS 41" ( ireat Wextern Road. 3399909. SlonSat ltlam (Ipm1Sun noon .‘pttl.

Double Show I hid .‘stlSept. Mixed media h} Rhona Marnie trom (ilaxgtm and eeramiex h} .loxie \Varxhau.

I HILLNEAD LIBRARY ( )pen (‘Ii‘ele (ialler) . 34S Ii} I'ex Road. Mom In 0.3llain Spin. Sat ‘).3l|am~ 1pm. 2 5pm. (‘loxed \Vednexda} x.

I NUNTERIAN ART GALLERY I'nix et‘xit} ol (ilaxgow. SI l lillhead Street. 3305-131. Mon~l5ri 9.3llani- 5pm; Sat ‘)._‘ttlain- 1pm.



369 Gallery. Edinburgh. All standing stones have a presence. however indetinable. That mysterious aura, atterall. was the intended creation ot the man who erected them. And despite many theories and much research the true reason tor their existence is not yet tutly understood. In this exhibition there does exist some element otthat power. ancient in concept. current in ettect. However, and probably inevitably, it is heavily diluted. As the stones at Callanish revel in their remarkable richness— enhanced again and again by the calm austerity at their own lorms and their surroundings—so theirceramic torms pass on a weaker version at that timeless message. despite the correct

The Mackintosh House Gallery: ( )pelt ax NIH“ L‘ I‘lll L‘Iith‘LI Ittl' ItlttL‘Il 13.3” I T‘IIPIIT Silpadmixxion on \xeekdax atteinoonxand Satuidaxx. .-\ ieeoiixtiuetion ot the ai'ehIteet'x home titted \\ Ith oi Ieinal turuitui'e. Mackintosh and Others I ~IItiI S ()L‘l. Shit“ x axpeetx UI lIle ( Ie‘tit L'e Slittlit (‘olleetion \\ hoxe maior interext Ix III Seottixh art. IIotahl) the with ol Maekmtoxli laxt tear .\li SiIIItli\\.ix auat‘ded an I lotiot'at‘) Degree In (ilaxgou l'im ei'xit} III aelxnou leduement ot liix \\ttt'I\ in xtipportmg; the “tin eixit} ‘x :\it (‘olleetioiix. and thixe\hilution Ix III Ieeogiiition ol that award.

I HUNTERIAN MUSEUM I lie I ‘Iiix eixit_\ ot (ilaxeou . .‘x‘xUSS‘FS .\lon I'll

“Roam 5pm; Sat “fittam lpm lxxiee named .‘xluxeum ot the \ eai.

Money Plantst‘niil H ()et. l’lanlxol all xoi tx depIeted on aneient and tiexhl\ minted eoiiIx.

Coracle. Kayak and Canoe trail 3: Sept l'\amp|exol \ei'x earl} uateieiatt tIoin a houtaiit hut pI'e-xteaiii. tiiieiiuiiieeied atte I IMAGES GALLERY "-1 ll) iidland Road. 33-1 FRI l. .\IoiI I'l'l V .‘xHam Saitlpm. .\'o exhibition at piexeiit hut general xtoek meludex 18th and l‘ltli eentuit .lapanexe \xoodhloek pI'Intx and huh and ltltli (L'nltltN L'lL’IllttL'S. \\ alelL‘UItttttx and UlIx

lib/KELLY GALLERY I Ix DouglaxStleet.

.\lon I‘l'l ll|.3l|am meandlfill 5.3Hpm; Sat lllam I..‘~tlpiii

Donald Forbes. Gordon Henderson and Peter Gilchrist l 'ntil 24 Sept. l’aintingx and potter),

I JOHN GREEN FINE ART 203 Bath Street. 231 hitli .\lon I-‘ri Wain» 5pm; Sat

lilam lpm.

Viki-r austerity ol the Gallery itselt. It may be that they lack the depth of

quality enjoyed by their derivations: this is always a ditticult hurdle to overcome in derivative work. and therefore perhaps it is the garden, and notthe gallerythatwill provide the rightvenue lorthis work.

To extend this vein otthought. included in the show is a portfolio at photographs, showing the sculpture in settings more romantic and appropriate to GertrudeJekyll thanthe Cowgate (orCaIlanish!) and revealing how the work is more than capable ol standing on its own. as constructed ceramics beneath the sky rather than the spotlight. and consequently closer to its origins. (Adam Zyw)

Flowers lorthe Festival throughout xummei, .'\ll e\liihition ot l‘lth and It lth eeiituix Ilouei pamtmux.

I LILLIE ART GALLERY Station Road. \lIIIIeaxie. ‘WIZFFI 'l ue I'll l lam 5pm and “pm; Sat and Sun 3 5pm ('loxed \IttlltI.t_\\.IlttI IIISL‘PI

Hilda Goldwag 1 "old I ()et l’amtiiigx.

I MAIN FINE ART The Studio ( ialleix . lo (III‘Still Street. 334 SSSS I ue Sat

lllam 5pm;Siin 3 5pm

I he ttPL‘ltlltLY ol the \lainx |o\ el} tlL‘\\ uaIIeIt III ( iihxon Stieel hax heen

Dreamerby Bill Birrell: Birrell who now teaches Art in Glasgow. worked as a graphic designer in Canada and the USA tor 23 years andthere isa hard-edged precisionto his surreal pictures. See Compass Gallery. Glasgow.

poxtponed until the heginniug ol ( )e‘lttI‘L‘l. l‘pxtaii‘x l.exle) .\lain‘x “or I\ ixon \ Ie“

I MCGAVIGANS t ( iraphiex and

Stationer} l. :4 Roxal l:\ehan_ue Square. 24S35‘)“. .\lon~ Sat‘lfill 5..‘\Hpin

Beyond the Pale l um I" Sept l’aIntIngxl‘x

:\Il\0ll llaipei . a ~\oun‘i: ( ilaxgou ai tIxt. \\ hieh I‘el'leet hei emotional rexponxe to tlteuorld

I MUSEUM OF TRANSPORT Ke|\ III I Iall tl' ittianee tIom BUIIIIUIISC Road \\ itli parking; taeIlitiexl \lon Sat lU 5pm.Sun 3 5pm lhe I'eeent|\ opened lianxpoit .\ltixetIIiI \\ itlI itx tond eolleetioii ol eaix. tIaInxaiid It.tlll\.

. 90$ I: ( )l.t}_'U SIlL‘L‘I. .13" :I.‘_.\ .\lon Sat lHani (Ipni

Ironic Realism l ’IitIl 3" Sept l’amtmux In .\Ialt \laephei‘xoii Stiange iu\tapoxitioiix maxupei ‘Iealixt \em

I PEOPLE'S PALACE MUSEUM (iI.txt!I\\\ (iieeii. FS-IHIZR. .\lon Sat lilam 5pm. Sun 1 5pm. (ilaxgou 'x Inuxeumot

\xoi km}; Me \II\\ III itx‘ltlth teai . the muxeum Ix euiieiitl_\ undergoingexxeiitial iepaiix and retuI lnxliment \\ liIeII \\ Ill |.Ixt throughout the teat

Stained Glass Gallery t’ei iitattettt mile-I I or T

xeeulai and Ieliuioux xtaIned _L‘I.Ixx \\ Ille II aekiiimledgedilaxgou'x Impiexxn e hixtoix in the held

The Glasgow Boxer t ‘nut it ()et \\ Iihmie L‘\L‘Cplttttt L’\ L‘t_\ Settlltht \\HI III I\I\\lttu eliampioii haxeome liom ( ilaxgou oI liL‘lllI‘} .lolmm llill \\.t\(iI.ISL'U\\ 'xtIIxt \\t\lItI ehaiiipioii. then eame Henm l \ Iieh .Iaekie l’alerxon. \\ ee \\ .ilteI \Ie( “man and .lim \\ att l’hotogiaphx xliou lIo\iIiI: on the (.ilax‘uou xeene. paxt and piexent. the doetoix. the piomoteix. the ieleieex

aiiddooiiiieii Sotiiidxpuneln Seepanel

I :W‘I' I’UIIUIxxIta“ x RUIHI.

(HUGH. .\lon Sat Illatit 5pIiI.Sun l 5pm \eighltoui totheliiiiiell ('olleetion. thix lSlh eeIituI\ hotixe eoiitamx the Stirling \la\\\ ell ( 'olleetion ot Spanixli paiiitinux and peI iod Illllll\Illll_L'\. I THE SCOTTISH DESIGN CENTRE "_‘ St \‘iiieent Stieet. _‘_‘l (Illl \lon Sat ‘) .‘illam 5pm. Design: The Problem Comes First 1 Hill .‘n ()et. l\xeiit_\ -xI\ l)aiIixh dexieii elaxxiex CreasingaWorldthatWorks I‘lSe'l‘l 3‘) ()et. llou iiiaioi dexelopmeiitx III dexien engineering; hax e heen ehaniielled Intotlie domextie and eer \da\ xpheie ISCULPTURESITECoIiIH ot llitzh Stieet and liell Stieet. neat lioiigaate I‘l‘l into eoiitaet (ilaxgou Setilpture Studon l td. 55l (th: Sculpture Project 1 ‘niil t 1 ()el \\ Ile'tl Kale lhompxon . one ol the diieetoix ol the (ilaxgou Seulptui'e Sttidiox xa\\ a \Iillei 'x de\elopment llllfJIlI he Iea\ lllL' lotxot haid-to-eoiIIe-htix pieeex ot xtoiie to polo \\ axte. xhe approaehed them \\ Ith the Idea ol “Stilt: the xaiidxtoiie lot a xeulptuie pioieet. .\lillei'x readilx .Iuieed. Seepanel I SPRINGRURN MUSEUM .\xi Stieet tadiaeent toSpiinuhuiii Railuat Statioiii 55" HUS. \Ioii I'll lH .‘llam 5pm.SIIiI 3 5 viii, APlaceto Stayl'nul Sm .xx ()llL'UIIIlL‘ Iai'uext e\hIItitIoiIx e\ei mounted on the xiihieet ot liotixmg III Seotland he e\hthtIoII ttaeex the ttanxtot iiiation III Spriiighui It hour a mu” \ lII.tf_‘e’ and Iiultixti'ial inhuI It \\ heie piopei t\ \\.tx pI'I\.Itel_\ ouned. to tod.I\ 'xtoun dominated ht eouIieIl toxer hloekx. home loi‘ Sll’ r ol the i'exidentx ITHIRD EYE CENTRE.ISIISJIIL'IIICILIII

Stieet. 533 “Fll I ue Sat lllam 5 .‘ttpm.

Sun I 5..‘\Upm, Camoutlage I ‘iitil I ()et llIe teeliIIItIiieot eamotitlage \xax IIi\eiited l\\ .i traditional marine .IrtIxt. \oiIIIaIi \\ Ilkinxoii. and

adopted It} the \m tieIxt paiiitei ,l d\\.IId i \\adxuoith \xhoxupeiuxed the eamoutlauedexiunxpaintedonmei It'll“ : xhipx 'l’hixxlioxx lookxat the eontempoiar} applieatioiix ot e'.lliliilllI.l‘.'e ; ill the \xol Ix ol xe\ei'aI .Iltlxlx Itieliitleti at e l Iqu (lag); and Andy ( ioldxuoi IIl\ Ihe l.i.xt lo —~ 2‘) September Wm 31