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I Oead Trees has nothing to do with ecology - it is a new comics anthology, the end result of a regular comics workshop organised in Glasgow by Graham Johnstone. The content is a mixture of traditional comics sci-ft stories and wierd. conceptual artwork and the genre is always. asthe editors point out, treated in ‘a serious and critical way‘ (no busty cover-girls, thank goodness). lssue one is in the shops now and expect to see a second issue out in October. price £1.75. In the meantime. would-be contributors should write to Dead Trees, do 125 Dowanhill Street, G12 9DN. I Overshadowed by the new Museum for Scotland controversy is the announcement by Timothy Clifford, Director of The National Galleries of Scotland, ofa plan to create a National Gallery of Scottish Art, so bringing under one roof the Scottish paintings, drawings and sculpture currently divided between the three National Galleries. Various homes for the collection are being considered, one possibility being the Dean Centre, situated opposite the Gallery of Modern Art in Belford Road, but a growing lobby is pressing for the choice of a site in Glasgow. The proposal has been welcomed by some people; others argue the effect would be to sideline Scottish art implying it has no relevance to the rest ofthe world. I Midlothian District Council has decided to purchase a small art collection for its new Council Headquarters building in Dalkeith, and has invited artists living, working or studying in the Midlothian District to submit up to six works (in any medium, but suitable for hanging) for consideration. The closing date for submissions is 10 Oct. For full details, hone 031440 2210. LP
ART LISTINGS
NGING NUOES
Lewin assingthwaite’s‘Undress
The Nude at the Hunterian Art Gallery until 19 Oct. Since The Nude came to be considered a proper subject lor artists during the Renaissance, it has played an important part in the work at most artists, men and women, whether as part at their artistic training or as the main subject matter oi their entire work. Both male and lemale models are used as Iiie subjects, so why do nearly all iamous nudes ieature women's bodies? As the Hunterian's selection oi prints and drawings shows, depictions ol the naked iorm have tended to be oi women and by men. 01 the 79 works lrom the past 400 years which constitute the exhibition, only two were produced by women. That woman has historically been observed - and rarely allowed to be the observer— is nowhere more clearly illustrated than in an etching entitled ‘The Major is so Oiiiicult’. In this late 19th century print, a prostitute, her eyes averted, is gazed upon by a portrait oi a man (the Major?) hanging in the background, as well as by the viewer. This is one at the tew works which draw attention to the actual nakedness oi the subject; another is the 1966 woodcut ‘Undresstng, 9 Parts’. Others seem to use the nude as a vehicle tor displaying technical ability or, particularly in the case oi the earlier works, as a representation at abstract
ideas, such as Innocence or Fame. Nudes portray mythological, historical and biblical characters: Venus appears several times and Neptune, Hercules, Adam and Eve and Bathsheba are also present.
Most oi the historical works are unsurprising, although including them has given the gallery an oportunity to display some 01 its more iamous prints - by Diirer, Rembrandt, Goya and Lucas Cranach. The exhibition's real interest lies in its illustration oi the way in which attitudes to the nude have changed. One notices, lor instance, the move away lrom the traditionally heroic, muscular male nude to the simple and direct representation of a naked man by David Hockney, orthe female nude as depicted by Egon Schiele ln ‘Misery’ — hardly an object 01 beauty or sensuality.
The nude is on show in the Hunterian's Upper Print Gallery, but it is well worth going on lrom the exhibition to the main gallery, particularly to see J.O. Fergusson’s massive oil painting at a group 01 nude ligures, ‘Les Eus’. Painted in 191 041, it has much in common with some oi the contemporary prints in the exhibition, but the scale and colour oi the work, as well as the strength ol the lemale ligures, makes it altogether diilerent. (Katrina M. Brown)
9.30am—5 . 30pm. New acquisitions. including works by Gillies. MacTaggart. Redpath. Bellany
54 The List 30 August — 12 September 1991
and others. I DOME OF DISCOVERY South Rotunda. Govan Road. 417 1792. Tue—Sun and
ing,O Parts' (19661.
Bank Holidays li)am-5.30pm. Science and technology interactive exhibition. featuring 30 images. a vertical roundabout. an air cannon and Ivan Mocovich's SMART exhibits. I EWAN MUNDY FINE ART 48 West George Street. 331 2406. Mon—Sat9.30am— 5.30pm. Modern British and Scottish Contemporary Paintings and drawings by the Scottish Colourists. the Glasgow Boys, William Gillies. Crosbic. Donaldson. Gary Anderson and Jack Knox. I FINE ART SOCIETY 134 Blythswood Street. 332 4027. Mon—Fri 9.30am—5.30pm; Sat 10am—1pm. Works from the gallery‘s collection of 19th and 20th century Scottish art. I GATEHOUSE GALLERY Rouken Glen Road (gallery at entrance to Butterfly Kingdom). 6200235. Mon—Fri 1.30—6pm; Sat and Sun 12.30—5.3()pm; closed Tue. A New Season of Paintings Throughout Sept. Mixed exhibition of works by gallery artists and new exhibitors. I GLASGOW PRINT STUDIO 22 King Street. 5520704. Mon—Sat 10am—5.30pm. British Printmakers Until Sat 31 Aug. Contemporary works by Paolozzi, Hockney. Hodgkin and others —selected by Martin Hopkinson of the lluntcrian Museum. Artist oi the Month: Fernando Lopes Until Sat 31 Aug. Brazilian printmaker currently studying in Glasgow. Contemporary Japanese Printmakers Sat 7—28 Sept. Prints by Hashimoto, Koeda, Kurosaki, Musashi and Tanaka — five artists from Kyoto whose works include silk screen self-portraits, still-lifes and abstract woodcuts on handmade paper. I GLASGOW SCHOOL OF ART 167 Renfrew Street. 332 9797. Mon-Fri 1()am—9pm;Sat 10am—5pm; Sun 2—5pm. The Finnish Wooden Church Until Sat 31 Aug. An exhibition demonstrating how folk builders in Finland applied the finesse ofinternational styles of architecture to the technique oftimber-joining. and how eastern and western architecture are harmoniously combined in Finnish wooden churches. Gulag to Gorbachev Until Sat 31 Aug. Photographs by Alexander Kuptsov and Alexander Kuznetsov documenting the life and landscapes of the Siberian district of Krasnoyarsk. A Diversity ol Approach: Works by the First Year Stall Sat 7—20 Sept. Representing a range of ideas, approaches and concerns of GSA teachers. I HUNTERIAN ART GALLERY University of Glasgow. 82 Hillhead Street, 339 8855 ext 5431. Mon-Fri 9.30am—5pm; Sat 9.30am—5pm. The Nude Until 19 Oct. A look at the myriad of ways in which artists have chosen to depict the naked form, from the loth to the 20th century. The show includes drawings by Whistler. Mackintosh. Rembrandt, Gauguin. Schiele and Hockney. I HUNTERIAN MUSEUM Glasgow University, University Avenue, 339 8855. Mon—Fri 9.30am—5pm; Sat 9.30am—1pm. Scotland‘s first public museum takes its name from William Hunter, a student of Glasgow University in the 17305. who left his substantial collection of books. prints, and various other curiosities to the university. Many additions to the collection have since been made. I LILLIE ART GALLERY Station Road, Milngavie. 956 2351 ext 226. Tue—Fri 11am—5pm and 7-9pm; Sat and Sun 2—5pm. Closed Mon. Janette Anderson: Paintings Until 14 Sept. Margery Clinton: Ceramics Sat 31 Aug—29 Se 1. I MCLELLAN GALLERIES 270 Sauchiehall Street. 331 1854. Mon—Sat 10am—5pm; Sun noon—6pm. In Our Time: The World Seen by Magnum Photographers Until 27 Oct. A major exhibition which has been breaking attendance records all over the world. this