ART REVIEW Contemporary American Prints

The screenprint gods Lichtenstein, Jim Dine, Warhol and Sam Francis are presented in this small exhibition of fourteen works. Warhol’s flat, industrial-style screenprints and Lichtenstein's ironic printed ’paintings' are a Vivid assault compared to the more painterly styles of Dine and FranCIs.

By contrast to these brash American icons, the work produced by members of the Printmakers Workshop is infinite in its style. In amongst the twee and the average are some disturbing and striking figurative gems by June Carey, Jenny Macrae and John Bellany. Everyone from browser to collector to artist will find something to savour. All works are for sale —— you could even take Marilyn Monroe home.

(William Silk)

Contemporary American Prints (Fringe) Edinburgh Print/makers Gallery (Venue 744) 5572479, until Sat 72 Sep, Tue-Sat 70am—6pm.


The 1995—97 Liverpool dockers strike was the most ignored piece of sooal history of the last decade. Dave Sinclair’s evocative photographs capture all the heartache and humanity of the strike Without ever being polemical In picket-line friendly black and white, lined faces, bathed in something that looks like hope, peer from a part of England, first rewled then ignored by successive governments.

In one picture, there's Arthur Scargill, while in another, local hobbies are Sinisterly kitted out In RObOCOp gear. Other than that, It's a succession of images that cry out defiance against a derelict backdrop of muddy streets and clapped-out concrete. Most telling of all Is Scabby Mal/y Walks Through A Picket Line, which sees the strike- breaker walking through an angry but dignified line of strikers Dockers is an

essential portrait that slipped through the near Orwellian network of denial, and dared to fight back. (Neil Cooper) a Dockers, Theatre Workshop ( Venue 20) 226 5425, until Mon 37 Aug, daily 9.30am—930pm.


End Of An Age

Moody-looking indIVIduals slouched against walls in the half-light: Paul Graham's large—scale photOgraphs of youth on a night out. After looking at this collection of faces, you find yourself thinking it might have been wiser if these youths had stayed in and moped in the comfort of their own bedrooms.

But we’ve all been there: when club ambience and every conceivable lighting effect does nothing to budge a sense of everyone else's madness, your own sanity and life's essential vacuocisriess. Call It late teen angst which is tamed With age, Graham's photographs of solitary clubbers could be tied into some weighty lines on the trauma of growmg up in the western world under the obligation to go out However, Graham’s work is all style With little back-up muscle.

The show's title, An End Of An Age, is the real clue to reading the work as Visual essays In pre—millennial tension and other zeitgeist afflictions. Pick up today's glossy style mags and you'll find photographs of Inoodiei IndIVIduals looking dazed and, more often than not, confused - and usually more engaging. (Susanna Beaumont) 21:? End Of An Age, Paul Graham, Portfolio Gallery (Venue 42/ 220 l 9; I, until Sat 79 Sep, Mon Sat 70am- 5.30pm, £7.50 (75/);

ART REVIEW Jock McFadyen

The urban underbelly and gum \s/astelands Down-at-heel l.)Ill(l’) hails and desolate high-rise towers Juc k McFadyen paints the scruffy, neaiec ted corners of the (Ily \Vith gi‘affItI-tzclcltm shelters and railway vaults, he ‘.;'}-',l‘.'.'s the scrag-end of the buzit (,‘ll‘.,.'cr.'"li:("ll

Club-land blues: Paul Graham's End Of An Age on show at Portfolio

In portrait

Who's site when she’s at home? A Geririanborn jewellery maker who lives in


Eyeocatching neckpiece to say the least - not what you would categorise in the discrete gold chain school of jewellery. Turba is clearly not keen on hallmarks No. She's more thrilled by the prospect of half dozen empty Evian bottles than a lump of 24 carat gold One of her bracelets is made from plastic


Good to hear that someone is tackling the recycling question. You’d be

A quick guide to the woman behind the necklace.

Who is she? Model ’Jane' wearing a 'Nylon Neckpiece' by Brigitte Turba.

pleased to know that many jewellery makers have. turned their hands to soCIety’s


Such as? Old camera film, guail’s eggs and tanned pig's bladder.

Inventive to say the least. Yes: get along to Jewellery Moves for what is billed as a ’fascinating survey of the current state of iewellery'.

Where can I catch the show obviously not at Ratners? No, the Royal Museum on Chambers Street. A great building

in a pool an the atrium

There's a thought. They would make stunning pendants. Don’t even think about it. Mind you, if you want to get creative there is The Changing Room.

there're even goldfish swimming

Adiac‘ent to Jewellery Moves, this is an interactive area where you can string }

together your own necklace or even do something radical With a plastic bottle.

(Susanna Beaumont)

‘ifiri lave/lery Moves, Reyal Museum {Venue 43) 225 753-4 until Mon 4 Jan,

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ART RE '. 'E'Kv'

Howard Hodgkin

To I all How iicf Hodgkin a colourist Is somehow to short-c hange the artist Yes, colour :s used In brilliant abundance, but it :s tempered and never excessive Besides, H()(l’lklll could (I'lltlrilly be called a mcod-rst gives us colour '.'.’iill tints


Burnished crange, wrdant greens, deer: blurs the colours are sumptuous to the point you want to dive Into lllllllllcll’l‘, :oioIir-ric h world and lounge III the afterglow l-lis‘ oils are \‘-./itliritit doubt tlu- Iiirrst seductive, but his hand-col lured etc hirigs and lithographs, on show here, still charrvi

As to mood, there Is occasionally a "st-rise of brooding Bright colour Is' nc; simple, happy one-liner for Hodgkin Intense \.-.«h:rls of (clown conjure up ('llltllllill of the ltllllt‘Si variety Palm trees and numerous relerenc es to hotter places beyond Europe ensure that the mod travels beyond the grey confines of Edinburgh a good Visual warmer lSilSdlllld Beaumont)

53235 Hoyt/arc! Hodgkin, log/eby Gallery, 556 444 1, until Sat 12 Sep, Mon Sat 10am GpIrI


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* You’ve been warned

// Aug >il) ‘sep l‘lfl8 THE LIST 63