at! . D aXPoSURE GLASGOW x 5

’2iintings, Prints and Photographs of the city of Glasgow.

53 West Regent Street

(nr Odeon cinema) 041 33.2 0808

Until April 28. Mon - Sat 10am - 5pm Thanks I() the S/zepley ~ S/zepley Trust


THE ART OF THE PRINT Part II: From Blake to H ockney

10 March 28 April 1990 (Closed 13—16 April inclusive)

Newly Published Prints & Printmaking: £2.50 Sponsored by Mitchells Roberton, Solicitors

Hunterlan Art Gallery, University of Glasgow, Glasgow G12 800 Mon—Fri 9.30am—5pm; Sats 9.30am-1 pm. Admission Free Tel: 041 330 5431


For many years St. Kilda has been an obsession. Previous attempts to make the crossing have foundered on the hostility and unpredictability of the northern Atlantic. The archipelago, the most isolated and spectacular of all the British islands, situated 50 miles west of the Outer Hebrides and 100 miles west of the Scottish mainland is, even today, difficult of access. In July last year, in spite of heavy seas, I finally set sight and foot on the magical land.



cont ass aller P 8

west regent st glasgowgrtrl scotland .4: 2:20"

7th April - 3rd May 1990

With funds from Glasgow District Council Festivals Budget

54'] llL Listt’i— luApril two

Street. 331 1854. Mon-Sat 10am—6pm (Thurs 10am-10pm): Sun noon—6pm. Glasgow's Great British Art Exhibition Until 9 May. Spalding's Revenge. this is the show that the director of Glasgow City Art Galleries wanted in the first place instead of The British Art Show 1990. It concentrates on new work by Britain‘s finest artistic talents including David Hockney. Gillian Ayres and John Bellany.

I MITCHELL LIBRARY North Street. 221 7030. Mon—Fri 9.30am-9pm; Sat 9.30am—5pm.

Armenia - Drawings From the Earthquake Zone by Simon Gooch Until 28 Apr. The talented illustrator exhibits his stark images of Armenians trying to rebuild their lives after the earthquake in 1988. The drawings. which are the result oftwo visits to the southern Soviet Republic. will also be shown in Moscow in June. Glasgow Society of Women Artists Until 20 Apr. Annual show featuring paintings. sculpture. photography and more. including a number of works by selected artists from San Francisco.

I NEW GLASGOW SOCIETY 1307 Argyle Street. 204 1582. Wed l-9pszhurs—Sat l—Spm.

Dal and Jennie Vaughan Until 13 Apr. An exhibition of work by the (rompel'oeil artist who painted the escalator walls at Princes Square with portraits offamous Glaswegians. The next exhibition will be Cast Iron from 1 May.

I 908 GALLERY 12 Otago Street. Kclvinbridge. 339 3158. Mon—Sat 10am—6pm.

Urban Spaceman 7 Apr—2 May. Paintings ofinter-galactic travel by five Scottish artists. who despite their lack ofactual experience in space. are well known in the genre. The exhibition is organised jointly by the gallery and ASTRA. Association in Scotland to Research into Astronautics. Also the gallery will be launching the Tom (‘ampbcll Eye surgery Appeal which will help raise funds for one of the artiststo undergo surgery in the States.

10am—7pm; Sun 11.30am—5pm.

Boys and Girls L'nti128 Apr. New paintings. mainly portraits. by Glasgow artist Charles Stewart Parker: I

I POLLOK COUNTRY PARK Pollokshaws Road. 632 0274. Every day 9am—sunsct. Henry Moore Sculptures 12 Apr— 14 ()ct. Nine works front old Henry will be on show outside the Burrcll throughout the

Kate Downie: Urban Circus, Collins Gallery, Glasgow.

The outcome of a year spent in Paris, this ambitious exhibition is built around four motifs: the Eiffel Tower, the Place de la Bastille, underground escalators and, unusually, moving traffic. These are used to explore different aspects of representation and painting; the combined use of collage, ink studies, paint, photographs and film signals interesting developments in the artists work.

In Bastille Night Painting, swirling night traffic of red tail-lights and glaring headlamps becomes a cipher where the intensity of the experience is matched by physical blurred paint and broad brush marks. In 2am Study: Childs-Play Traffic Jam, photographs are introduced in a further reflexive device. Elsewhere, postcards are inserted; strangely, none feature in the Eiffel Tower series which is characterised by dramatic loreshortening (a Downie hallmark). Actors perform in front of the Eiffel Tower in Homage. However, while they


will have communicated through speech. mime and the grotesque. no equivalent visual vocabulary ls present and neither irony nor caricature is evident. In contrast, the film/painting trlptych (a collaboration with French filmmakerJakobols) is a development of the Traffic paintings; fragmentation, disorientation and physical distress in the spectator are achieved through skilled editing and sudden shifts of perspective. This and the laser-print series indicate that the single rectangular format of painting is being queshoned.

The artist has set herself many challenges. in eschewing a political or cultural representation of the city, and in avoiding an expressionist method, Kate Downie would appearto be focusing on issues of language and representation. A descriptive tradition is not opposed to a strong conceptual underpinning, and the work would be strengthened if this was systematically developed and clarified. There is much to look forward to. (Fiona Byrne-Sufton)