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Jeanne Moutoussamy-Ashe, Dauiusltie Island, Street Level Gallery, Glasgow. Jeanne Moutoussamy-Ashe’s photographs of Dauiusltie Island are more than socio-historical documents or images reilecting baclt to a culture’s visibility in light of contemporary exploitative economic forces. Daulusltie Island, oil the coast oi Georgia, is a paradox oi American history. In the 18th century, many slaves settled there; aiterthe Civil War the sale oi all South Sea Islands was limited to blacks, thereby minimising the possibility oi the resurrection oi Confederate plantations— an ironic reversal oi colonial power relations. The security oi postwar stability and the availability oi rich natural resources (iishing, seacotton) was overturned by the knock-on disasters ot the Great Depression, environmental pollution trom mainland factories and, today, the geo-political intrusion of leisure-based capitalism and tourism. Moutoussamy-Ashe, relers to this ilux, subjection to external iorces and the continuation oi the African diaspora as location politic.

Capturing the homogeneity and communal strength oi the native Dauiusltians, Moutoussamy-Ashe has created a moving, empathic record which may be the only evidence in the iuture at a culture as yet untarnished by the brutal eiiects oi the corporate leisuring classes in search at the illusory American Dream. The photographs are beautiiul yet the aesthetics are created through trust between photographer and subject. This encloses the aesthetic quality and reveals the integrity oi the photographer and the reilective



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stoiclsm oi the subjects, in whose iaces a history oi determination is portrayed. Intimate portraits taken at home and the rituals of religion - burial, communion— as well as many images oi the materiality oi existence at many older women recreate in still iorm moments oi the untouched Low Country Culture at the island. Pictorially, the photographs convey the knowing beauty oi human beings, their endurance and iortitude, who view the disruption to their community as an inevitability and their way oi tile as devastatingly transient. Moutoussamy-Ashe’s worlt enters this space respectiully, providing a context for our gaze which is more than a personal sociology oi events. It is rather a visual history oi the gestalt oi a community as revealed in the actions and personalities oi the human beings who live there meaningiully despite the shadow oi hamburger economics and the swimming pool mentality. (Lorna J. Waite)

international desigri present a selection of their work in the upper gallery. The space. though meant to resemble a room in a house. looks more like a showroom.

Willi Baumeister (1889—1955): Drawings, Gouaches, Collages Until 14 .lan. An exhibition of works on paper by the one-time Professor of Frankfurt School of Art. whose experimental paintings reflect his scientific research into colour.

After these two exhibitions the gallery will be closed until April for refurbishment.

I GALERIE MIRAGES Raeburn Place. 315 2603. Tue —Sat 10.30am 4.30pm. Sun

3 —-1.3(Ipm. closed Mondays.

Special Sale lfnul Zliian. I’iecesthat

would not normally go on display can be snapped up at bargain prices. some are chipped and repaired. others are just fmtn the gallery‘s stock.

I GALLERY OF MODERN ART Belford Road. 556 892I. Mon—Sat 10am—5pm; Sun 2—5pm. [1)] Cafe.

The gallery‘s justly renowned cafe isopen Mon—Sat 10.3liantf-L30pm: Sun 2.30—4.20an (‘ream teas will be served from 3—4. l5ptn.

English Art 1920-1960: Paintings From the Elizabeth Watt Bequest Until 4 Feb. Miss Watt‘s unerring eye for a future force in painting enabled her to collect works by John Piper. lyon Ilitchens andJohn

Tunnard among others at the start oftheir careers. The collection constitutes more than fifty items. the rump of it beingtaken up with English paintings from the I920s to the 19505. I GRAEME MURRAY GALLERY 15 Scotland Street. 556 6020. Tue—Fri 10am—5pm. Sat 10am—1pm. Kate Whiteiord Until 26 Jan. Probably best known for her symbolic turf-cuts on Calton Hill a few years back. she exhibits some of her recently completed gesso panels. I HANOVER FINE ART 22a Dundas Street. 5562181. Mon—Fri 10am—5.3()pm; Sat 10am—4pm. Artists New to the Gallery Until 20 Jan. The new names include Simon Cook. Eugeniesz Jarych, Josephine Manby. Dorothy Vaughan and John Walker. After they have made a briefappearance the gallery will close for a week. I HILLSIDE GALLERY Hillside St. 556 6440. Tue—Sat 10.30am—6pm. The hard-working boys at the Hillside will be taking a breather until 23 January. when State oi the Earth opens an exhibition of illustration from pupils at the Glasgow School of Art. I ITALIAN INSTITUTE 82 Nicolson Street. 668 2232. Mon 2—5pm. Tue 9am-5pm. Wed 2—7pm, Thurs 9am—5pm. Fri 9am-2pm. The Lost Paradise Until 31 Jan. Etchings by the Italian artist Enrico Baj . in which he offers an interpretation of Milton‘s famous work. I KINGFISHER GALLERY Northumbcrland Street Lane, 557 5454. Mon—Fri l()am—4.30pm. Sat 10am—1pm. Bob Charnlcy. who has painstakingly researched the location ofeach photograph. Ronald Stevenson Until 28 Feb. An exhibition that charts the life and times of one of Scotland's best known contemporary composers. I NETHERBOW 43 High Street. 556 9579. Mon—Sat 10am—4.30pm and evenings when performances. Cafe. Two of the artists, Jane Fletcher. Susan Nuttgen. from the above exhibition will also be showing their work in Shorelines 8—27 Jan. Fletcher and Nuttgen. whose work appeared in the Christmas Exhibition. get a chance to go it alone with their works on a nautical theme. I OPEN EYE GALLERY 75 Cumberland Street. 557 1020. Mon—Fri 10am-6pm. Sat 10am—4pm. From the Director's Chair Until 25 Jan. The gallery invited 28 directors of public and private galleries throughout Britain to select one work each from a contemporary Scottish artist to be hung in this exhibition. I PORTFOLIO GALLERY AT PHOTOGRAPHY WORKSHOP 43 Candlemaker Row. 220 191l.Tue—Satnoon—5.30pm. Portrayal Until 13 Jan. The Gallery‘s annual open exhibition concentrates this year on portraiture. From seven hundred prints submitted. Sara Stevenson. the

Curator of Photography at the National Portrait Gallery. has selected forty portraits. Among those whose work will be shown is David Ilarrold whose portrait of Pierre Victoire was commissioned by this very magazine.

Basic Darkroom Technique 13 Jan.

. Patterns oi Intention, Talbot Rice Gallery, Edinburgh.

The diverse work oi Neil Ferguson, Jim Mooney, and Eve Thomson, three Scottish artists who left Scotland ten years ago, has been brought together in Edinburgh where they were contemporaries at the Art School in the Seventies. Time, memory, and rellections on past and present unite the work. On the whole a harmonious exhibition.

Neil Ferguson now lives in London. Presently, his preoccupation is with the relationship between the land and the economy in Scotland. These iundamentatly abstract paintings contain transient human iorms as well as reierences to the land. Particularly strong works are his multi-Iormats where the division between formats takes on a symbolic meaning.

Jim Mooney lives in London and travels to Italy and South America. His work explores travel and the passage of time, as well as patterns oi culture. Mappiing I and Mapping II suggest ground plans ior imaginary cities, with their richly layered surlaces oi patterned grids.

Evan Thomson now lives in the United States, trom where she reilects on her Scottish background. She explores detailed elements and simple structures relating baclt in time, with delicate shifts of balance.

(Paula Garcia Stone)


University of Edinburgh, Old College, South Bridge. Tel:03166710112xt4308

6 January—3 February


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


THE ART OF THE PRINT Part I From Mantegna to Goya 13 January - 3 March 1990 Newly Published Prints & Printmaking: £2.50

Sponsored by Mitchells Roberton. Solicitors

Hunterian Art Gallery, University of Glasgow, Glasgow G 12 800 Mon—Fri 9.30—5.00; Sats 9.30-1.00 Tel 041 330 5431. Admission Free

54The List 12 25 January 1990