Collective Gallery, Edinburgh Sponsorship of the arts sticks logos over exhibitions. Artists are often ‘brought to you by. . .' one kind oi company or another, whose main aim is seli-promotion. Willingly or otherwise, art oiten takes on promotional and marketing duties.

Two artists, one working in London, the other In Edinburgh, try on this concept lor size in projects centring on the Collective Gallery in April. But this is no straighiorward exhibition as was indicated by the large bundle at papers which landed on the List’s desk a couple of weeks ago.

A Proposal tor Publicity Sponsorship was how the bundle began. Underlined. it went on with PR precision to outline ‘What We Are Asking For’ and ‘What You Stand To Galn‘. They asked tor the cover of two issues, Ior advertising space and editorial. We stood to gain publicity through the gallery and invitation cards. This is a common enough process, but both the approach irom artists themselves and the nature of their material was highly unusual.

Louise Crawiord and Jane Bartlett mirrored this approach with other media outlets. ‘They don‘t know how to catagorise us. We've been thrown irom the newsroom to the diary back to

current attairs.’ Radio Forth lost their Iniormation, the Scotsman are ‘hopeiully' doing something and BBC’s Tuesday Review Ielt they did not fit and passed them on to the arts diary. ‘lniiltration‘ oi the media is not an easy business.

Why then attempt it? ‘We are trying to have some kind of control over the way our work Is shown and perceived and to remain critical about systems.’ Crawiord describes the gallery system as redundent. ‘As soon as the exhibition is up artists can then shed responsibility.”

Jane Bartlett goes tor a particularly direct route. Simulating iashion advertisements and thereby making advertisements which are not advertisements, she subtly drops questions into the reader‘s mind. ‘Where is the address lor this dress shirt company? Are they Ior men or women? What's wrong with this ad? Why will it not tell me everything?

What Bartlett’s ads and Crawford’s exploration oi the film world both share is a desire to get out at the art world and Into everyone else's world. ‘The art college approach to art washes over an artist’s responsibility and is concerned with working In a vacuum oi rules and regulations.’ Through as many channels as possible these two artists want to keep asking questions in the lace oi those rules. (Alice Rain)

complement the new painting. Scottish Rural Lite 4 April itiluly. In the early 19th century many Scottiin artists sought inspiration from low [ii/(’SIIITICL'IS and two such painters are exhibited here. In tandem James I Iowe ( I780 lb’3hluml Walter (ieikie ( I795— ISB7I pros ide a glimpse of eyeryday Scottish life in their time. Painting and Conservation 3 - 12 April. See Science l-‘estiyal listings. I NATIONAL LIBRARY OF SCOTLAND (ieorge I\' Bridge. 226453] . .\Ion- I’r‘i 9.3liam—5pm; Sat 9.30am» Ipm; Sun 2pm—5pm. Iiaster closing: Iiriday 2-1and Monday 27 March. L'sual openinghours on Saturday 25 March. Exhibition room closed until July when an exhibition which celebrates the Bliiith birthday will open. I NETHERBOW 43 I liin Street. 5569579. Mon-Sat mam—4.30pm and evenings when performances. (‘aie. PuppetFestival Display t'nril 1 April. As an additional attraction to those going along to .see events in this year's Puppet Pageant. there will be a chance to see examples of three different typesof puppet being made in Iidinburgh. A complement to the performance more than a totally separate exhibition. Recent Paintings 5—29 April. Landscape watercolours by Arbroath born Meeda

Inglis w ho is attracted in particular to the light and shade oi old \scatlicrcd stone.

Inglis comes from a family of paintcr‘sand

has taught in Dublin and Iidinburgh. Small Tapestries 5 3‘) April. Natural and man-made materials are combined in the tapestries oi ( ‘arol Marples. an Izdinburgh ( ~ollege oi Art graduate whose work has been seen every“ here from Australia to the (’ity Art ( 'entre.

I OPEN EYE GALLERY 75 Cumberland Street. 557 liilii. Mon l'i‘i liiam (ipni. Sat Iiiarn 4pm.

Flights oi Fancy t 'ntil Kristrireii. Red-headed women and images of sisterhood are common features in .Ieanette l.assen's stroneg coloured paintings. Inchoespl'(iauguin. bold oranges. soft round edgesand

sy rnpathetic frames make for an attractive exhibition.

The Glassworks I'niii 30 March. Work by Paul Miisgroyc. (iraham Muir and Robert Ward.

The Auid Alliance 1—21) April. William Birnic RSW celebrates his ()lllll birthday w ith a retrospectiye of his forty year love affair with the French landscape. Ilere images of Provence are coupled with

those of his natiye Kilbarchan on the w est

coast of Scotland.



5 Northumberland Street lane Telephone 031


March 16—April 8

Gallery open Mon—liri IliameSUpni,’ Sat ltiam— 1pm



NW, Edinburin lil Boll.

557 5454



94 George Street _ T” F Edinburgh 2 s(_”.l..l_'|s” 031225 5955 i;_\i.i.i;iiy


New Paint


2| jewellers looking at the NARRATI

Ceramics by Irene Bell. Textiles by Di (iomery ART AND S(‘()TTISII INDIfSTRY


Ist April 3rd May

Mon—Fri 10am—6pm Sat 10am—1pm


contemporary ring VliS


The Collective Gallery

I66 HIGH STREET ' EDINBURGH EHI IQS - 03 | -220 |26O April 1 —22nd Marketing Strategies Ill ASpring Collection by

Jane Bartl

Installation by Louise Crawiord incorporating

video work by Malcolm Dickson and so

Open Tues—Sat12.30—5.30pm ADMISSION FREE Subs/dised by the Scott-sh Arts Council and the City of Edinburgh District COunCiI


und work by William Clark.


now under independent management

Crawford Arts Centre. 93 North Street.

24 March—23 April Prints from Oi Jiang County new woodblock prints from China Scottish Relief Prints new prints from Scottish artists Hill ofthe Hare landscape photographs of Mull

Contemporary Scottish Woodcraft

ADMISSION FREE 10—5 daily; Sunday 2—5

St Andrews (0334) 74610

The List 24 March—6 April 1989 59