The Artists' Choice, 369 Gallery. The resident artists and teachers oi the 369 Gallery Studios select and hang all ol the exhibitions lorthe upstairs gallery, including their own collective shows there twice a year (August and December). Once a year they organise an exhibition oi artists at their own choosing.

As we enter the latest we have work by Kevin Henderson, Calum lnnes’ choice. On Each Border, Murder, is a work on paper, based on an emblem lrom a 12th century Ottoman Calender. On the main right wall is a painting with banners by John Kraska, (Kate Lorimer’s choice), a statement in narrative lorm. Kraska has worked widely with Community and Public art, in every medium. However, this noisy piece does not ill either the space or the tone oi the exhibition. Facing it are works in a variety oi media. Siell Torriset has chosen Shona Barr whom he knew at the academy in Oslo where she studied for a year. He is lamiliar with her intricate watercolours oi undergrowth, and is interested in how she has translated this into larger, vigorous works. Olivia Irvine is interested in the relation between the changing phases of Hazel Walker’s work, and its relation to the artist’s travels in Cyprus and Egypt. Strange Ooat (mixed media) is particularly successlul, both technically and in its evocation oi the mysterious ancient ritual oi the Pharaohs. Hob Maclaurin has chosen Kate Oowes who (like himsell) has travelled in Eastern Turkey. He feels that everything in her


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work is very deliberate and personal, an attitude very similar to his own. The two untitled sculptures here, associations contained in heart lorms, speak iorthemselves. Finally, on the end wall, we have a seductive sculpture by Annie Cattrell, Hose Frain's choice. Worth Waiting For is made 01 wood, lormica, stocking, beans and rice, and springs. It combines suriace qualities and shows her lascination lor how things are constructed. Rose Frain linds her work witty, intelligent and subtle, and relates to the strong lemale iconology. The Artists Group at the 369 welcome slide submissions lrom artists wishing to exhibit there. (Paula Garcia Stone)

I TALBOT RICE ART GALLERY Old College . University of Edinburgh, South Bridge, 667 1011. Tue—Sat 10am-5pm.

John Laing Collection Art Competition 10 Feb-17 Feb. The top 80 works in this open competition are hung for a week at the gallery. The next exhibition will be Francis Walker 24 Feb—24 March.

I THEATRE WORKSHOP 34 Hamilton Place, 226 5425. Mon—Sat 10am—5pm and late during performances.

Look Back in TW Until 17 March. A nostalgic glance down memory lane at the very recent productions performed at the Workshop.

I 369 GALLERY 233 Cowgate. 225 3013. Mon—Sat l0.30am—S.30pm.

Drawings by Alan Watson Until 24 Feb. The current artist-in-residcnce at the Crawford Arts Centre in St Andrews presents some of his illustrations for The Sea-King's Daughter by George Mackay Brown.


For exhibition details, see listings page

Opening Hours: Monday-Saturday 10305.50

Admission Free

569 Gallery is subsidised by the Scottish Arts (Iouncil and the (Zity of Edinburgh District Council

Dramatic ink and brush drawings of sombre storm-laden skies over a wee fishing hamlet.

The Education Studio Until 31 March. A display of work from the students who participate in the gallery‘s programme as well as tutor‘s comments on this unique education programme.

Artists’ Choice Until 24 Feb. Each of the six artists in the studios have nominated another young artist to appear in this exhibition. This year the space is more or less evenly divided between sculptors and painters.

I TORRANCE GALLERY 2% Dundas Street, 5566366. Mon—Fri 11am—6pm; Sat 10.30am—4pm.

The gallery will be showing work from stock.

I WASPS Studio/Gallery. Patriot Hall, Henderson Row. Stockbridge, 229 1920. Artists‘ studio and workshop space.


A selective round-up 01 Museums listed lirst by city, then by venue, running in alphabetical order.


I OURRELL COLLECTION Pollokshaws Road, 649 7151. Mon—Sat 10am—5pm; Sun 2—5pm. Cafe. [D]

A wealth of treasure collected by Edwardian tycoon William Burrell.

I NUNTERIAN MUSEUM The University of Glasgow, 339 8855. Mon—Fri 9.30am—5pm; Sat 9.30am- 1 pm.

Roman Scotland From the Air Last year‘s dry summer (remember that?) has led toa host of new discoveries pertaining to the Roman occupation of Scotland. This exhibition of photographs taken by the Royal Commission on the Ancient and Historical Monuments of Scotland illustrates the extent of the occupation.

I PEOPLE’S PALACE MUSEUM Glasgow Green, 554 0223. Mon-Sat l0am-5pm; Sun 2—5pm. Cafe. Disabled access by arrangement.

The Fabric ol Glasgow Until 15 Feb. Ten proud banners depicting the history of Glasgow‘s East End are on display the result of six months’ hard stitching in a variety of schools and community centres throughout the East End.

A new display, chronicling life in 17th century Glangw, includes the reconstruction of a room in a Stockwell Street mansion that was demolished in 1976.

I SPRINGOURN MUSEUM Ayr Street (adjacent to Springburn Railway Station). 557 1405. Mon—Fri 10.30am—5pm; Sat 10am-4pm; Sun 2—5pm.

Work: Springburn Experience 1840—1988 Until further notice.

Get Knitted Until 31 March. A display of knitting patterns through the ages, as well as various workshops and displays of local knitting including a knitted man.

I MUSEUM OF TRANSPORT Kelvin Hall, 1 Bunhouse Road, 357 3929. Mon—Sat 10am—5pm, Sun 2—5pm.

The Glasgow Flourish Until 25 Feb. A chance to view George Wylie‘s extravagent design for bridging the Clyde.


I CANONGATE TOLBOOTN Royal Mile, 225 2424. Mon-Sat 10am—6pm.

The People’s Story The Museum has been established to relate the story of the people of Edinburgh, told in their own words and through photographs and re-created tableaux.

I ROYAL MUSEUM OF SCOTLAND Chambers Street, 225 7534. Mon—Sat lOam—Spm; Sun 2-5pm.

Massive repository of the nation‘s heirlooms, well worth taking the trouble to explore fullv.

Tallts: Islam Past G Present In the Lecture Theatre. Wednesdays throughout Feb and

Ioan Collins,

Iolzn Hurt, Indi Dench,

Billy Connolly and Greta Scaachi

all in the some show?

Yes Iohn Swannell: Portraits in Fashion. Rub shoulders with the rich and famous at the Scottish National Portrait Gallery, One Queen St, Edinburgh

March. 12.45—1.30pm (Doors open

12.3 m). Free.

I SCOTTISH AGRICULTURAL MUSEUM Ingliston. Mon—Fri lilam-Spm. Agriculture still plays an important role in Scotland's culture and this museum looks at the old trades and skills ofthe countryside.

The Sword and the Plough A special exhibition exploring the changes brought by two World Wars and their effect on the communities and the landscape.


The Oecade Ahead: 12 Artists tor the 90s, Scottish Gallery Edinburgh. The Scottish Gallery is one at the lew places in Scotland that select their crait exhibitions to the same exacting standards that most galleries select their ‘art’ exhibitions. Because ol this, the work on show is miles away from the usual Scottish crait syndrome ‘il it’s hand-made we’ll call it crait and sell it to the tourists’. The latest exhibition demonstrates how any fixed boundary between ‘art’ and ‘cratt’ becomes nonsensical as soon as you get beyond that deiinition. The twelve ‘makers’ (tor want of a better word) include painters; jewellers; sculptors in ceramic; textile, wood and glass workers; and a blacksmith. They are all young: the exhibition has been selected with a view to the coming decade, and also rellects the current diversity at techniques and approaches within crait work in particular.

With such a mixed group of work, it’s hard to make any generalised comment about the show. Andrew Smith, blacksmith, shows how tar the aesthetic aims at the individual maker can push a crait that until recently has been stuck with making wrought iron or reproduction pieces. He shows two elegantly designed and very practical-looking boot-scrapers; his set 01 lire irons is a minor revelation, although some at the tools look more useful than others. Next to this hang paintings by Arlene lsbister, lyrical, abstract works whose titles (‘Nine Moons’ and ‘Wise Wound' lor instance) make explicit an interest in the leminine. Another high-point are Clare Brett’s brass and stitiened silk lamps, which look a little like delicate sailing ships. liound the ceramic sculptures by Philip Eglin and Ian Ramsay the most missable works in the show. Eglin's had relerences to medieval German sculpture, and Ramsay's to 20th-century Italian sculptor Marino Marini, but both verge on the edge at kitsch. (Hilary Robinson)

OD The List 9 -— 22 February 1990