('olquhoun and Spencer.
I EWAN MUNDY FINE ART 48 West ( icorgc Strcct. 3.“! 24”“, Mon—Sat Illanr 5.30pm. liastcrclosing: Honda} 27 March. ('ontcmporgn's Scottish painters including I)it\ id Donaldson. .lohn licllan} and \Villinin('rosh\ plusothcr Illthccnturs British [Titllllllll'.\ including ( ilusgoxs School and Scottish ( ‘olourists. Prints and tlrmsinus trom thcii lontlonc\hihition, . I34 HI} III\\\(‘(HI Sti'cct..‘\‘~3-1H_‘“. .\lon- I'll
0.3llgun 5 .‘stlpiii;S;it lllum- lpm. liustci' Cltl\llll.li Saturday 25 and Honda} 2" March.
Victorian Art l hill 4 April l'hc I‘inc Art Society pluss host to an L‘\I‘llI‘lIlUll rcccntl} sccn .it thc l-thnluirgh hrnnch \\ hich looks hack to thc scars \\ hcn thc Socict} \\ us cstgihlishctl .is .l pun csot ol liuc Victorian art. l-oumlctl Ill ism lll thc IiL‘}tI£k\ ol Victorian print .llltI painting. thc Socict} continucs totlc.i| in thispci'iotl. particulth succcsslulh in rcccnt scars since the iisc ol the nostalgia I‘ll\lllL‘\\,
I GATEHOUSE GALLERY Rtllllxcll ( ilcn Routllgnllcr} .lI cnlruncc to liultcrlh Klugtloinl. tiltltl335. Hails ll..‘~ll 5 .illpm. (ItNL‘tI Inc
The Lighthouse Studio l 'ntil “ April. .-\u c\hilulion oi ctchingsuntl lhrcc tIllilL'lhltlllJIl‘;tllllllll1\ll'tllll louricccnt
gt .ttIlldIk" ot ( iIilng“ School Ul .'\l'll Simon I..'lllllL‘. ,loscph I).'l\ ic. lirmn( nuns illltI ( ".iiolinc l’mstl. Also cct'umics. clocks andcandlesticksln I’nul I‘\\lll_u.
I GLASGOW ART CENTRE l3 Washington Sticct. Ill 1.5.74», \lon I-ri Illum t‘spin Sat Illum 3pm I .istci closing. 3-1 3".\l;iich, Three l hill 25 March. An C\IllITllltlli ol paintings, prints .md tIltI\\lllf_'\ hi lhi'cc }tlllll§.1( il.is\sc;'i.in artists uhogmduatctl lrom ( ll4l\_\_'tl\\ \‘chool ot :\ll in NM). (iordon l’ickcn's largc uootlcuts and paintings It iok imch at classical llllithL‘s It‘iiltl tt c‘otllcltlliill‘nlk l‘L't‘slTCL‘lH c. I’L‘lL‘l’ ()urnn piotluccs 'p.untctlcss;i_\s'
PI'L‘\L‘llllll‘._' a critical and spcculzitis c \ lL‘\\
ot Scottish cultural ligurcs such as Stcs cnson and Thomas .\lurr. .-\ntl l-ionn Rohcrtson c\plorcs thc cultural contrasts
lictuccn Scotland and Poland in a sci'icsol 5
Photos de Model 23 Apr”. .-\nc\hihition rcccnth sccn at thc l-i'cnch Institulc in l-tlinhurgh in \\ hich thrcc l‘rcnch photomuphct's ttilx'c n closc look at lushion and thc lushion uorltl. including pictui’cs ot couturc and ;i spcciul honme to l’uco RilI‘iIlIllL‘.
I GLASGOW PRINT STUDIO 2: king:. Sli'cct. 553l|"ll4 _\lon Sat Warn 5 .‘sllpm, I';l\lL‘l closing: Monday 2“ Match
James McDonald t‘nuljv \lurch. \nuitlsl “IIUl‘;lllll\I‘tNlI\\.llltI Lissnmoucismth cqu.ill\ IIL‘IL'IIICIICLI tL‘;lll\lll.
Tracy MacKennat» 3o.-\pnl Atlottlilclll'sl hcrc. It is lroth thc tirst timc that thc (il.is_~_'o\\ l’i'int Studio h.is picscutctl an c\hihitionol sculptuic.intlthut .\l.icl\'ciui.i. .i toting: ( iI;l\l!tl\\ sculptor. has hcltl .l onc \somun \Iltl‘.\ in Scotland. I GLASGOW SCHOOL OF ART lo“ RCliIlL‘“ Sirch 5339")" \lon I'l'l Ilium 5t‘iri;.\;il Illtllll llpm
.\c\\ cxhihitions licuin nc\l issuc
I HARBINGERS ~1I—‘(ilLHlI\VLNIL‘lllRthltI. .ii‘l‘l‘l‘l‘l \lon Sat lllum 5 .illpm. I'£l\lt‘l L‘Itlsllig. Monday .3“ \Idl’t‘ll
Mixed Textiles.‘~i shut-h 2‘).\piil
I Lil'l‘ingci ‘s litst slum ol I‘IN‘) lc.ittlrcs lllc \ .it'ictl \sork ol lcti l.il‘j_'cl_\ (ilusuou l‘.l\k'tI crults people. I hcic’s c\ ci _\ lIllltL' trom h.its. cushions. cmlu'oitlcr} .mtl lcll losilk Iloucls
I HILLHEAD LIBRARY 3% in l cs Road. .\lon Ill". ilkun 5pm. MI ‘I ,itlam lpm. 2 5pm. ('losctl \Vctlncstlns.
Claire Hellewell l hill 3" .-\pi II \ ounc, (ililstltl\\ ligumlnc puintci'.
I HUNTERIAN ART GALLERY l 'iu\ci sits ot (ilusgms . 83 I IllIIlCittI Slrcct. 33|l5~l il .‘slou I'l't‘)..‘\(l;|lil 5pm; S.it‘)..‘~ll;un lpm, I'.;l\lL‘l (losing: ll 3~ .\l;irch
From McTaggart to Eardley l 'nul 15 .'\[\l il.
.-\ \\ intci \Ilt)\\ in}; ol thc gullci \ 's
The National Gallery ofScotland
' isn't what it used
That much everyone agrees. But the dramatic
recent changes at the National Gallery have sharply divided opinion. It won't cost you any— thing to make up your own mind: the Gallery is open free Monday to Saturday 10-5 & Sunday 2-5. Recorded information on 031—332 4939. A
Hunterian Art Gallery University of Glasgow
FROM MCTAGGART T0 EARDLEY Watercolours and Drawings from the Scottish Collection l9 November — 15 April 1989 (Closed 24-27 March inclusive)
Sat 9.3tlam—I pm Tel: 04] 330 543]
Richard Demarco, Edinburgh
It’s the kind at exhibition which makes the Demarco Gallery seem somehow Iargerthan lile. Poland is a country which Richard Demarco discovered tor Scotland in the Seventies and tar which he still swears an unshakable allegience.
But this is not a Demarco initiated show of Polish art. In tact it hails hour the Museum at Modern Art in Dxlord. No matter. It is a rellection ol the strength at the work that it has moulded the gallery into just the kind at space Demarco would like to see his building assume on a regular basis.
It is a powerful exhibition, dark and heavy and with a sense of unity that while not denying individuality lrom each oi the six artists, draws them togetherwith a unyielding sense ot Polishness. Downstairs Izabella Gustowska's padded ligures give a silent welcome. Harsh black and red, they look like they are made-up tor night lile- not quite sleezy, but theatrical, not quite horrilic, but verging on the psychological tears at lairytales.
Next door, the best known of this group of established artists, Magdalena Abakanowicz, shows
L'UIIL‘L'IIUII HI Sc‘tllllsli \\ .lIL'lLtlItllll\ including “or k by ( i|.isg_vo\\ ltotmntl Scottish ( 'olouiists
The Mackintosh House Gallery: ( IPL'II as illitn c hut closctl lot lunch ll. ‘stl l..itlpin. 5llpgitlnussion on \scclstlu} .iltcrnoonsuntl Sntut‘tluss. .-\ iccousti uctiou ol lhc inchitcct's honic IlIICtI \s llIl original lurniturc
Mackintosh Cabinet Design l mu 15 April. l-rom simplc stuiuctl picccs llltltIL‘ in thc illltI- lWlls toclnhoratcl) tlccorutctl \shitc cuhrncts. this c\hilution ot tsscnts tlcsigns prm itlcs a tcpl'cscttt;iti\ c sumplc ot Muckltltosli's \soi'k in this llL'ItI.
I HUNTERIAN MUSEUM Hm I 'nixci'sit} ol (ilusgms . 55‘) 8855. Mon I't'i
l)..‘~ll;iin 5pm; Sat 0.30mi] lpm. lzustcr (losing; 3-1 37 \lurch.
My Lile in Miniature t 'nul t Apr II. An mlulntiou ot \HHKI cars rugs h} .Iustus Akcrctlolu. a tIl\Illll1lll\IlL‘(I lcuchcr ol caning.
I IMAGES GALLERY "'4 I l} ntllzmtl Rtltltl. 331531l. .‘slon l-ri Villain 5.3tlpm. Sal ‘) .illuin 5pm.
John Keppie. George Houston and Japanese Woodblock Prints 1 mil It) April, A \\ ltIL‘ ranging L‘\IllI‘llltlll mth the highlight licing .lohn chpic thc ( ilasgoxs .‘irchitcct u ho is knou n lor his partucrship with ( 'hnrlcs chnic Mackintosh and his work on thc (ilusgou llcraltl building in Mitchcll Slt‘L‘L'l. Also lc‘uittl'c‘tl ltcrc til‘L‘ L'lc‘ltlligstil A} rshirc and surroundng countr} sitlc h} (icorgc l louston as \scll zis l‘lth untlltlth
standing, lorming what looks like a burial party, anonymous, headless shells standing against time. Beside them, heavy-looking giant pupl lie in a heap like human luggage. That room . holds its breath. l
The other tour artists share the upstairs gallery. Edward Dwurnik’s three large canvasses dely their darkness and roughness ol technique by having a startlingly restless and deliant quality. In one painting where the Third Shift moves silently lrorn the workplace, his daughter has inserted bright shopping ladies into a window in the canvas. These childish scribbles are in poignant contrast to the clenched lists and heavy heads at her lather’s people.
Jerzy Nowosielski paints icons, geometric women with their nipples sucked red. Leon Tarasewicz shows a landscape ol lines, dense thickets where black becomes blue and lull ol ' hiding places. Sculpture in lrontol ' those paintings uses the Polish woods 4 to make the obviously political statements - a seat at nails hammered with the Polish llag, a boat that cannot ! sail and a chariot that cannot lly.
Art critical speak and description at this exhibition is in many ways unnecessary. These Polish artists work lrom the gut and that is the reaction which defines them best.
ccntuis .lnpuncsc \sootlhlocls pi ints liom ;u lists including lx'oson (animal \IlltIIL‘\I untl ( ~luclxunoliu t I‘L'dlllllllI \tomcn ). IINTERDEC GALLERY Mui'ilull liuruh
I lull. 3-1 ( iuiihmitl .>\\ c. ‘No 5" i .‘. l .istci closing: Montlm I" .\I.tlt‘Il
David Roberts Lithoprints and work by contemporary Scottish artists I ‘mil 3] Mar, Spring Pre-MaylestExhibitionl :“AprilA , llil\L'tI tIl\[TI;l} lC;tlllllll}.: \s.itcrcoloursh_\ I‘.tI\\;ll'tI lclhc I-iom ( ihtum. tnlu‘iczirt In Fiona .‘slncRitcluc .tlltI thc ;‘ L'UIIL‘CIIHH
I JOHN GREEN FINE ART 3H3 Bath Stt‘cct. lelitl25 Mon I’ll ltlam 5pm;8;it
lllum 1pm. lustcr closing: l1 37 March. 10th & Ztlth ccntttr} contincntnl oilsuntl “tilct’cnlilttl's.
I KELLY GALLERY l 18 Douglas 511111.248
(x‘sh‘o. Mon in lithium 3 mi. l
3.3” 5.3llpm;8;it Ilium l2 .illpm Elizabeth Paton l ‘ntil 25 March. Paintings. Tom McKendrick & Patrick Dorrian 1 IS April. I LILLIE ART GALLERY Station Rum. Milligrnic. ‘)5h_‘.‘~5l, luc l-ri l lam 5pm and 7 ‘lpiri;8.it;ii1tl5iiiil 5pm (‘losctl .‘sliltitlgru.
Bearsden Art Club Annual Exhibition t 'mill April.
I MAIN FINE ART Michacl Main ( iitIIL‘r}' illltI The Studio ( iallcr}. lo and .‘s-t(iih.son Slt‘cct. Boll] gullcrics on 33-1 8858mm open Mon Sat IIIillll ppm.
Ihc ncxs Main conccrn is no“ olliciall} open “till paintiugsh} l.csIc} .\l;iin;intl
55 The List 24 March—6 April 1989