I Artists, students and
friends have expressed ' great sadness at the deaths ; of Lottie and Mark
Cheverton. who were
killed in a car crash as they
5 returned from holiday 9 recently. The couple —
who founded and ran the Leith School of Art — were
; renowned fortheir
; inspiring attitude towards i teaching. and for the way
-_ they encouraged would-be i artistswhomight
otherwise have felt
i overawed by the ‘Art
World‘. Richard Calvocoressi. Director of
the Scottish National
Gallery of Modern Art.
I described the Leith School ofArt as ‘a community with its own ethos and
. values — almost a way of
life'. The Chevertons'
contribution to Scottish Arts will certainly be missed.
lJohn Whiteman. who recently resigned as Director of the Glasgow School of Art. has given an interview to the G/thgms' Hera/r1 which seems to quash the ‘official' reasons for his resignation — that he wanted to spertd more time with his family. lnthc interview. Whiteman makes several criticisms ofthe School‘s administration. accusing many of the staffof laziness and a lack of commitment to their work. His own proposals for change. says Whiteman. were ‘as unwelcome as suggesting contraception to the I’ope'. GSA’s response to the criticisms is still to be voiced: as for Whiteman.
. he's setting tip art art
' school in France.
v IN PRINT
, Edward Lucie-Smith
I Sexuality in Western Art
(Thames and Hudson World of A rt series. The
1 strengthofThames and
' Hudson's pocketart
. booksisinthcirbrevity ’ and readability— thisone
really makes for an engrossing read.
Lucie-Smithstartsatthe j beginningwiththe
' phaIIUs-worshipofearly Civilisations.tltroughthe
birth of (‘hristianity arid
Renaissance. and. ultimately. the ‘new taboos' of feminist and gay artists— .‘vlapplethorpc. Sherman.
Dureau and others.
Jo Spence: Missing Persons/Damaged
Lives at the Transmission Gallery until 28 Sept. ‘Who wants to see a woman washing her dirty linen in public?’ The response oi the press to Jo Spence’s work typiiles a tear oi personal politics within the public arena - but it is precisely the notion that only certain kinds oi representation are acceptable that Spence sets out to challenge. These works mark the culmination oi eight years oi photographic research into personal psychotherapy; a process she describes as an attempt at ‘making visible repressed memories, conllicts, iantasies, traumas, desire and loves’. The images are, in eliect, a ‘theatre of the seli', in which Spence explores the ways In which identity is
constructed historically and politically. '
By literally ‘putting hersell in the picture’, she challenges the ieminine stereotypes which have coniined women to speciiic roles, and gains some control over those
representations through re-enactment. '
Spence pictures hersell as the sexual object at a male gaze and the medical
object oi modern medicine; her images ;
concerning her own breast cancer are
also a means oi reclaiming power over 3
deiinitions imposed by a male-dominated society, as much as they are a iorm oi therapy.
Spence has said that ‘in displaying this work I am aware that these images can shock. Breaking out is not a painless process ior anyone. In cracking the mirror lor myseli I cannot help but challenge yourview too.’ Yet somehow these images do not shock, and we leel that they should. Whether Spence is portraying hersell as her mother, as a corpse, as naked with
‘monster’ written across her chest, it is not so much the actions or the guises that are shocking, but the idea that a woman is subjecting hersell to such painiul sell-analysis tor the viewer’s observation.
The fact that the images are part at her own sell-therapy makes them diiiicutt to relate to in a gallery context. While portraying hersell as a victim may help her to gain some critical distance irom victimisation, we are all too Iamiliarwith seeing women representing in this way, and compassion irom the viewer may be a patronising response. Ultimately, the idea at the process at sell-therapy is more challenging than the images it produces, and it is the exploration of the political issues involved in this process that makes Jo Spence a radical artist worthy oi attention. (Ewan Morrison)
Exhibitions are listed by city. then alphabetically by venue. Shows will be
listed. provided that details reach our oiiices i
at least ten days belore publication. Artand Exhibitions listings compiled by Miranda France.
I T 8t R ANNAN 8: SONS LTD 164 Woodlands Road. 332 0028. Mon—Fri 10am-5pm; Sat ltiant—l2.30pm.
Works by various artists artd permanent collection of Glasgow photographs and reproductions.
I ART GALLERY & MUSEUM, KELVINGROVE 357 392‘). Mon—Sat 10am-5pmz'l‘hurs 10am—9pm; Sun noon—6pm. Cafe. ID] Voluntary guides are available free of charge to conduct parties or individuals round the main galleries. Ask at the cnqurry desk.
Vuillard Until 20 Oct. The first exhibition of works by French painter Edouard Vuillard for nearly 40 years. including over lililpaintings. drawings and printsof his domestic interiors. family portraitsand street scenes.
Art lor Industry: The Glasgow Japan Exchange oi 1878 Limit 5 Jan. Industrial relations have not always been strained between Britain and Japan - this exhibition is a testament to Glasgow's role
in the 19th century modernisation ofJapan
and includes some 200 items — ceramics. musical instruments. paper and fabrics-
; which were sent as a gift to Glasgow from
the Japanese Government. The Floating World: Japanese Prints
55The List 27 September— 10 October 199]
c1760—1860 Until Sun 6 Oct. As part of Britain‘sJapan1991 festival. the Art Gallery is exhibiting from itsown collection. some 6i) brightly coloured
or pictures of the floating world' . school
artist-craftsmen. simple objects or garments used routinely by the Japanese tn their daily lives. This exhibition
features textiles. ceramics. metalwork.
lacquer and furniture. dating back tothe
. 17th century. from the Mingeikan
. I CENTRE FOR DEVELOPMENTAL ARTS 18 Albion Street. 552 2822. Mon—Sat
Works by Annie Catrell and Royal Edinburgh
Hospital Residents Until Fri 4 Oct. Exhibition of works by Scotland's first artist-in-rcsidence to work in a psychiatric hospital. and by the residents who attended her workshops.
I COLLINS GALLERY University of
Strathclyde. 22 Richmond Street. 552
' 4400ext 2682. Mon—Fri 10am—5pm: Sat
; Closed for refurbishment until 5 Oct. Guri Le Riche: Eastern Arlelacts Sat 5—29
Oct. ‘Bazaar display" ofphotographs. jewellery. textiles. costume and
metalwork front Afghanistan. All works 1 arcforsale.
I COMPASS GALLERY 178 West Regent Street. 221 6370. Mon—Sat 10am~5.3l)pm.
. Gregg Magee: Recent Paintings Until Thurs
3 Oct. First solo show by a young Scottish artist twice selected for Compass Gallery‘s New Generation Artists show. BIairAnderson: New Works Sat 5—3] Oct. Paintings and drawings by a Scottish artist.
I CRAIGIE HALL 6 Rowan Road. 427 6884.
Sat and Sun 10am—5pm.
Mackintosh in the Nineties Preview
exhibition of furniture and decorative fittings for h’lackintosh‘s Art Lover‘s House which is under construction just down the road.
‘; I CYRlL GERBER FINE ART 148 West
Regent Street. 221 3095. Mon—Sat 9.30am—5 . 30pm. New acquisitions. including works by
: Gillies. MacTaggart. Redpath. Bellany
I DOME OF DISCOVERY South Rotunda. Govan Road. 417 1792. Tue—Sun and Bank Holidays 10am—5.30pm. Science and technology interactive exhibition. featuring 30 images. a vertical roundabout. art air cannon and lvan
'. Mocovich'sSMARTcxhibits. ; I EWAN MUNDY FINE ART 48 West George Street. 331 2406. Mon—Sat9.30am-
5 . 30pm. Underthe tnlluence: ‘The History at Art isthe History oi Revivals‘ Until 19 ()ct. Works by
3 Scottish. English and French artists.
of painting. Prominent among the painters f
are Hokusai. Hiroshige and Utamaro. and the images include depictions oflegendary Japanese heroes. landscapes arid geishas. Brian Jenkins: Wound l'ntil Sun 29 Sept. The latest in the New Arts season. Jenkins' installation expresses the difficulty and pain experienced by the physically disabled. by requiring the viewer to overcome various obstacles before he or she can see the ‘art'.
I ART EXPOSURE 53 West Regent Street. 3320808. Mon—Sat 10am—6pm.
Figures and Flowers Throughout Sept. Life and nature studies by gallery artists. including Katherine Mercer. Sharon Thomson and Robert Alcorn.
I BARCLAY LENNIE FINE ART 203 Bath Street. 226 5413. Mon-Fri lllam—Spm; Sat by appointment.
Jenniier Irvine: Recent Paintings Fri Jr-Zo Oct. Still Lives. portraits and various other works.
I BURRELL COLLECTION l’ollokshaws Road. 649 7151. Mon—Sat 10am—5pm: Wed 10am—9pm; Sun noon—6pm. Cafe. [DI
The collection of Edwardian tycoon William Burrell. housed in a purpose-built gallery which is itself a work of art.
Mingei - The Living Tradition in Japanese Arts Until Sun 6 Oct. ‘Mingci‘. or ‘people's art'. is the work oianonymous
including Degas. Mackintosh. Eardley.
woodblock prints by arttstsofthe thyo-e. “1””de “Mm ‘md “ hmlu‘ “huh
display influences from Flemish painting and (‘lassicism
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.
The Alchemist's Dream: Paintings and Reconstructions by Ian Howard L'ntil Tue 1 Oct. One ofScotland's 'most inventive and stimulating artists". Howard's work reflects a fascination with the art.culture and spirit ofquattrocento Italy. incorporating a curious vocabulary of pyramids. cones and cylinders.
I GATEROUSE GALLERY Rouken Glen Road(galleryatentrancetoButterfly Kingdom). 6200235. Mon—Fri 1.30—6pm; Sat and Sun 12.30—530pm: closed Tue. : ANew Season oi PaintingsThroughout Sept. Mixed exhibition of works by gallery artists and new exhibitors.
I GLASGOW ARTS CENTRE 12 Washington Street. 221 4526. Mon—Fri9am—l0.30pm; 3 Sat 9am—3.30pm. ' Three Artists Exhibition Sat 5—26 Oct. Wood sculptures and furniture by Scottish based 'object maker'. Tint Stead; pictures by Elisabeth Lorimer. inspired by the woods of Argyll. and new works by a mysterious sculptor from Rostov-on-Don.
I GLASGOW GROUP GALLERY 17 Queens Crescent. Daily 1 lam—5.30pm. Postgraduates G.S.A.: Veronique Chance.