Art llgtflg‘q,
Glasgow Galleries continued
GLASGOW FILM THEATRE
l: RIHL‘ \lIL‘I‘l, i5: \ l :\
Unseen: Stills from the Set of Young Adam I IIlIl I II I“ (It! IIIIII .lllkl \‘.llllk' IIlIII \llll\ lllIIlI lllk' w! nI Ihc l.llt'\I I'.\‘..Ill \I\(ilt'_‘,'Hl IIllII. l~.u:;3 Mun: LleL'lI h} phnlngmphm. \cIl I).I\l\l\I'll
GLASGOW PRINT STUDIO
33 & 35 Kill; \IIm'I 55: IV"; lIIc \.II IIMIII 5 “WIN
Hitch l'IIIII \II \ \nx. lhc lllllIl III .I \t'll\'\ nI lllt'llII'Il \'\lIIl‘IllI‘II\ III ‘-‘-lll\ll
III\ IIml .IlIl\l\ tHlldl‘I‘lJlt' \‘-IIlI (i\l’ lIl.I\lt'I [‘Illllt'h In lIl.Il\L‘ [\I‘lIlHlIU\ nI mlIIInIIml [lllllh Illxpllcil h} Illt' Illlllx nI \lIIml llllt'llukl’x
Ashley Cook: Process or Progress? l IIIIl \II \ \n\ \mx I‘IIlll\ h} (i|.I\)_'n\\ l‘.I\t'\l .Illhl \xhlv) ('nnk II'.IIIIIIII;_' \InIk IIIIIIlc \lllllllj.‘ .I ImcIII \ |\Il III /,.I\.Ilt\.l\ llI \It'\l\ll
THE GLASGOW PROJECT ROOM lnp IlnnI. M (NInIIIc \IIm'I. 553 H“: INC 8.” IInnII 5pm
Apocalyse Now and Then I IIlIl \II HM .\ IIII\ml \lInv. nI \InIk h} lllk‘lhldll llcxxlc. \\ Ill llnII .Illkl l).III \lIllm
John Mullen and Julia Schnabel .\lnII 1‘ \.II _‘5 ()yI \\nIk I») InIIII \lIIlchI :IIIIl _lIIlI.I \t‘hImhI-l Il\ IMII n! .I [‘IHIIK'I u IIII S\\Ilt'h\p.lm'
GLASGOW SCHOOL OF ART
'l'hc \Iiltlxlllliwll (i.I|ch_\. III" chlmx SIIm'I. i5i -15INI \lnn l'll lll.IIII 5pm. SJI lI|.IIII 2pm
Robert Stewart: Design 1946-95 l‘IIIIl Sal l \n\ I\I.I(l\lllIU\ll (i.IllI-I} I. Rnhm'l SImmII III.I_\ IInI hc .I I.IIIIIlI;II II.IIIIc hIII IlIIIIII; Ihc 5le. (\le .lllil "Il\. hc “Il\ .III lllllllt‘lllldl Ilcxlggnm .llltl lL‘JIlIII}: L'IlIImIInIIulIxI \ anIIu'IIIpnIuI} nI I.llt'lt'llllt' l).I}. XII'IHII “ax lk'ml nI IIIIIIIml IC\IIlc\ .II (il.l\:_‘Il\\ St'hnnl nI .'\II .I\ \Icll .l\ IIIIIlIIIg lllllL‘ In Ilcxlgn InI' l.Il\\‘ll). \lnIII. .'\ll\llll Rcml .llIIl Ihc l'.IlIIIl\III'3_'lI lupmlr} \InI'kIIIg: III IlIc IIImlIIIIIh nI Inulcx. m‘IuIIIIt‘x. gI'uphIt‘ \lL'\l;ll .llltl Mpg-x“) Robert Stewart and Colleagues - Posters l'IIIIl Sul l \n\ I.'\llllllll (i.lllk'l}l 'l‘n IIt‘t‘nIIIpIIIII Ihc SImquI It'lltnpt‘t‘llu'. .I \t‘lL‘t‘lIUII HI IIIIIII\.IlI\C pancI Ilcxlgnx h} Rnhml Slmxall :Iml lll\ unllmguc»
Lapothecary I‘nIII Stu I I (M (\mth'} (}.Illc1_\ I .lcuIIIIc lLIII mplnu'x IlIc Il\c nI IInII-t‘lnIlIIIIg III.IIcII;Il \\lllllll Ihc l.I\lllHll IIIIluxII‘). 'l'lII'nIIgh hm n\\II guI'IIII-III Ilcxlgnx. \hc lIInkx .II Ihc (I‘mlnc Ilcngn PI'IK’C\\ II‘nIII IlIc nI'IgIII nl llllL'lk‘\l. guI'IIIL-III (“Il\llllt‘llflll and Ihc IIIIul Pltltlllt‘l, Sm‘ Shnppmg'.
GOETHE INSTITUT E
il’uI'k (‘III‘IIx “I 3555. \lnII 'l'hII
lIl.IIII (min. I“ llldlll ~1pIII.
Christine Niehoff: For the Time Being l'IIIIl l'II III (M, ('lII‘IxIIIIc \Ichnll (Milo III Ihc guulcn nI IlIc (lnclhc llhllllllc :III lll\l.Ill.IlIUIl III Iun nIIIlInIIxm \IlIIch I'L‘\pUII\l\ In IIIL' lI\L‘\ \‘I lL‘I'I'UI'hl Rink“ .Illtl \‘IIlllllllllllxl \‘IkInI' limknnmn. l\\n (Icrnmn pcnplc \\lIU \\ L‘I'C IUI't't'il In ll\L‘ .Il‘I‘UJIl. l'nI' llk‘ plt't‘t‘. \lt‘llnll III.II\C\ Il\k' nl Il‘lllltl nhIm'h. IIIIII InnIagc .lllkl In}.I| It'IIIg wulplurc.
JOHN GREEN FINE ART
l8: liulh SII'm'I. 333 l‘l‘lll \lnII III
II) .iIluIII 5pm; Sat IIHIMIII lpIII Mixed Exhibition mm In El (m. .\ \clm‘IInII nI l‘llh. ZIIIh t'L‘lIllll'} dll\l CUIIIL‘IIIPUI'JI'} p;IIIIIIIIg_'\
FW HOLROYD GALLERY
9 ll (IL‘UI'gL‘ SII‘L‘L‘I. .55: :lll‘l. \lnII Sui ‘LIIII 5pm.
Angela Hewitt l’IIIII l’I'I 3| (M \w \\;IlcrcnlnuI\.
HUNTERIAN ART GALLERY l'III\CI'\II_\ nI (iluxgmx. $2 llIllhcml SIIm‘I. 330 543]. Mm Sal 0.3II;IIII 5pm; Sun 12.30 4 30pm. l’nr Innrc IIIInI'IImIInn \m‘ \\\Iu.“lIIxIlchINBt‘nIII
88 THE LIST .‘ ":01 .‘
Anna Whistler - A Life I IIIIl m: 1 (LI \\ lIIxIchK IXIIIIIIII: nI hm IIInIIIcI. \I/IIIig'I HI: I‘.' 1!: (In Ink-I:- II’.I.I - \w E\ tl'lllplt'lllt'llIt'Il h} .: xpm 1.:l c\lIIl\IIInII lxxxml nII IIII". InIle} IIIIpIIhlI~lIml \I‘llk'\llilllxlt'lltt' .Illxl .1ltlll\IIl llldlx‘lhil. Icunhng Ihv llIk' lthIId IlI-c lu‘lllt
IIII.I‘_'U ’II'I.'II'lI/1/\{_}; _‘I/II¥
Beauty and the Butterfly: Whistler’s Depictions of Women l IIIIl .841 NM l’mlclx. I-IIlIIIIp .Ill\l lIIlInf;I.Ip|I\ Illll\II.Il\' \\ lIlelI-I'x (It'lllt'lllllh nI \KHIIIL'II I’m: n' H XIIHII/ 31/116 ' f ' 9;
Copper into Gold: Whistler and 19th Century Printmaking I IIlIl \\ml_‘-1l)m llll\ c\hIl\IIInII pIcwIIh I'ItlIIIlgngIIIl lIIlInj:I.II\l1\l\_\ \\ hI~Ich .Illkl l1l\ mIIIIcIIIpnI.IIIc\. lIIplIlIglIIIII;
\\ lIlelm'x .It'lllk‘\t'lllk'lll\ .l\ «mu nI Ihc yImII-xl .Illl\l IIIIIIIIImkch nI .Ill IIIIIc
III! III ll I'IIHI'I/ 3/1”."
In Grey and Black 1 Hill 8.11 IIII'I \\ lIlech'x I.IlllUlI\ II.IIIIIIII;_' nI l1|\ IIInIlIm. .l/IIIIIL'I HII'III' III (i/n IIIII/ li/ml \n/ mIIIIc\ In ( iI.I\;_'n\\ InI Ihc IIle “Hit” 111 mm 5” yuux. nII ln.m lI‘nIII Illk' \lIIxm' II‘I Il\;l} Ill I’.III\ 'Im' n7 ll/IIIII'. I jun“ 5' :EE
Women I'lllll \\t'\l :-I l)\‘\ I)k'|‘l\'llflll\ nI \kHIIICIl h} \\ lII\llCI.\ t'nIIII'IIIIInIJIch III'.IIII\IL‘}.\I.It'l\llllil\ll. (XIIlnx Sphxwlw .lllkl nIlImx lll\[‘ll\'\l h} I;IIII;I~}. |lll.Ij_'Ill.IllUI1.III\l\}|IIl‘I|lI\IlI II” n/ II/II\I/I I III/l." Whistler and Scotland I lIlIl \u .1 ()t‘l, lhIx mlIIhIlInII t'\|‘lUlC\ \\ lllxllx‘l \ pmm-I'IIII lllllllt'llt‘k' nII Ihc Synlllxll .III \xnlel \lllllllf.‘ lle lIIcIIIIIv. IL'.IIIIIIII_~; IhI' (il.I\;_'n\\ lln) |‘.IIlllt‘l\. \lk'tllk'l\ .IllIl t'nllm‘InIx .‘IIIIl |l1t'llltlt'\ \\HIl\\ h) l: \ \VilllUll. .I.Illk'\ (iIIIhIIc. (it-nigc lchII) .lllkl ('h.II'lc\ RmIIIIc \I.I\‘I\Illltl\ll In! M ll'lIIII/«I JIHIA'. " . 'E ' II Whistler Pastels .\Inn I I (III \M-II ll l)m‘_ :\ \k'lt't'llllll nI \\ lIIxIlm‘x k‘\t|lll\lIL' Imxlclx lHt'lINIllfJ nII IlIc lt‘lllJlk' InI’III. \E 8- '5 The Whistler Collection Illt' lllIIIIcII.III\ IIIIcIII.IIInII.Il|} IIIIpnII.IIII \\‘lII\Ilm (‘nllm'IInII l\ nII \II'\\ III llt‘\\ (Il\[llil}\ ImIIIIIIIIg: .‘x'll nIl II.IIIIIIII:_'\. lllllltll't‘\l\ nI \ll‘.I\\ III;_'\ and \\;IICI\‘UlUlll'\ .lllII mm lINlll clt'lIIngx .Iml llllIHjJI'.IplI\ 111'! n/ ll/mI/I'r .‘llllfi'.
INTERMEDIA GALLERY
l.\ King: SII'm'l. 553 25‘“). Inc Sal
IInnII (IpIII.
Body Prints lllL' " lhu 3‘ (M. .l(I\lIII limch III'cxcnlx :I \L'I'ch nl Ilt'\\. largc ‘hmh III'IIII’ lIIhngI'uphx \thclI t'IIIplU} Ihc [liltlllllillill \Innc llk'IlIUll nI lIIlIngI‘uph} :Ilnngxulc il (IIIIIL‘IIIPHI'III') Il\L‘ nI' Ihc IIImlIIIIII. \E 5’
KELLY COOPER BAR
I58 liulh SII'm'I. “I JIIIIII \lnn lhII IInnII l;IIII; l'l'l Sal nnnn 3am.
Shape of Things l'nIII \le 32 (II-I: 'l‘hc Shqu nI 'l’hlngx l\ :I wnm nI’ L'\llll‘lll0ll\ lIIglIhghIIIIg IlIc \xnI‘k nI I‘m'cnl gl'mluulm :Iml \Imlcnh :II (iluxgnu St'hnnl nI .\I'I. I’III .\ltu\I'I|IuI illlkl RIIIh _\Illl\IC \llU\\ \xnI'k [Mill 3 ()cI lnlln\\ ml h} lug} ('IIIIIIIlwll I‘) 22 (MI.
THE LIGHTHOUSE
ll \lllt'lu‘ll l.;IIIc. Ill (I503. .\lnII.
\\ml Sal III,.‘~II;;III 5pm; 'l'uc lltllll 5pm; Sun IInnII 5pm: £3 INHle GraphicalHouse: Everything in Moderation l’IIIIl Sun 5 ()gI, l~.\:IIIIIIIc _\nuI' lIIL'\I)lc III llll\ c\hIhIIInII pI'cwIIIml h} \It'\l:_'ll t‘nIIxIIIIuIIt‘}. (huphImIlllnIIw h} IIllIIIg III Ihc \L‘llv.I\\t‘\\IIICIIl InIIII .llltl Ilprl;I_\III;_' II \\IllI nllIL‘I‘x.
Memory and Movement: New Housing for People with Dementia l'IIIIl Sun In ( )m. .\ pI'nIm‘I IlnmIIIIcnIIng .1 prnpnxul InI' llL'\\ \uppnI‘Iml hnuxmg InI' pcnplc \\ IIh IchIImIIIII h} ('hI'h Stu-“art :\I‘chIIm‘l\. 'l‘hc L‘\lIll‘lIlI‘lI IcIIIIII‘cx \hllill \llllIUlI. t‘nlnuI‘ pxy‘hnlng} .Illtl l4}nIII \thch .Illu\\\ \ l\llUl'\ [U L‘\[‘CI‘IL‘IIL‘C \UIIIL‘ HI lllt‘ \ulk'nnxt'lnux .IcIInIIx .Iml cnanucngcx HI \UIIIL‘UIIL‘ \\ Ill] \lL‘IIIL‘IIIM.
Nightfall, Santorini by Chris Bushe on show at Roger Billcliffe Gallery
GIA Annual Awards 2003 I Illll I'll \U\ nI \ltllllt‘\1\.l\\.lltl\ \‘.lll\ lI lllt lllllk'\ llk‘ \‘.III-f_'nIII'\ llUlI\Ill;j I‘lll\\‘\. lcmm' .lllil IcI.II|. lIc.IlIlI\:III'. mlumIIInn .Illtl
A Future in the Past? I lIlll \un W \n\ \II\'\l1ll‘lIlUll I‘.I\\'\lUll [‘IUI‘I‘\.Il\ InI .Ill .IIt'hAcnlngq} llk'ltl \IIIIl} m‘IIIIc III \IInIIIIchx. I )llxllk'} [\ImlIIm'Il l\_\
.llt lIIIm'IIIIc \lllilk'llh .II l IlII1l\III§_'h (’nllcm' Ul \ll
Clydebank Rebuilt 5.11 I ()(l Sun 3 \n\ l’lIIIIUjJIJI‘lh .Illtl \Jlt‘ lllI‘IlL‘l\ (Imlml h} mm 51M )I‘llllf; III-nplc \IlIII'h mpIIIch IIlk' nm‘. IlcwlnIIIIIth l.Il\|llf_' [ILIm' III IthI ‘Ilt‘d ' '
LILLIE ART GALLERY
SLIIInII anl. \lIlIIngc. 55\ “I”
luv .\.II III.IIII lpIII :\ 3 5pm
Hilda Goldwag I IIlIl .\.II \ \m \ IL‘IIH\|\L\‘II\I' I'\hIhIIInII t't'lk'l‘ldllllfj IlIc \InIk nI \‘Immmc .Illl\l. IIlltlJ (inlllng: ltlllllllllf.‘ [‘.IIl1lIllf_'\. Ilmu MILK .Illkl I|lII~II'.IIInII\
25 Years On l IIIIl III 5 .\n\ lhc 35Ih .IIIIIIu-ImI} c\|IIhIIInII In my \Il‘llllt'lltlllt'lx hunch nI Ihc l-.IIIhInIIchcI\' (illlltl
LLOYD JEROME GALLERY
3”” liIIIlI SIIm'I. “I H53: luc XII
‘LIIII IIIIIII.
Dino Squillino In Hm \mI II) \n\ .\l‘\ll.lt‘l II.IIIIIIII3_'\ ' ' H
MANSFIELD PARK GALLERY
5 ll_\IlIll.Il1\l Sllt't'l. H: -ll_‘~l \\ml III
I l.IIII (\pIII. XII ll.IIII 5pm. Sun
IInnII ~1pIII,
Original Screenprints and Etchings l‘IIIIl llIII 33 (III \tlt'tlll‘llllh .Iml cIt'lIIIng h} InIII (ilaxynv. .Illl\l\. lchI} ll.I\\\nI'Ih. \\lIlc_\ (‘nnh .ln} IIIIHI .Illkl llclmI l‘.1}
MCLELLAN GALLERIES
3"” Sauclnclmll SIIL'L-I.5(\5«11IIH
\lnII Sal I‘LIIII 5pm. ~\IIII IInnII 5pm Art Treasures of Kelvingrove l'IIIIl \n\ IIIII5 \\ Ihc Kclnngmxc \IIImeIII I\ \II (i.Ilch'_\ lI.I\I1n\\ glmml Il\ \llllll\ InI III.IInI It‘llIIl‘hlIIllt'IIl. mm 2”” IquIIIIng II‘nIII Ihc Kclx IIIgInw wllmIInII 1.1M up I‘mIIlmIg} .II Ihu \lpl k‘llIIll (LIlch‘IL'x IllC IlI\pl.I_\ IIIglIIIlcx 'l lIHIII.I\ I'.It‘\l'\ [Ill lu‘H' I" {'III (-llu'l.‘ .Illkl RCIIIhI'dIleIK \ IIIHI II! lI/Izusu. plux unle h} (‘haI‘lm RL‘IIIIIL' \Idt'lxllllthll. I)UIt'll .llltl I‘lL‘IIII\lI .II'I
Friends of Glasgow Museums Talk Illll I k 'l'hu ‘) ()gI lpIII l'IL‘L‘ \ \t'I'ILN HI [Alla ltk‘lhlllg HI] \UII‘lo III Illt' t‘nllm‘IInII lllt'llltllllgj SII'IIIIg'x 1.4.11". III III. lx’: If Hu! :2 ()gII .Iml IIC\\lC \liit‘NIgnl'x I
(iIrI' n’ {in \IUII \
Illt' .IIIIIII.II (ll ngjnu lll\llllll\'
TRACEY MCNEE FINE ARTS
l" l’.IIIIIc \IIm'I. 55.‘ 5h.“ lIIc \.II III iILIIII 5 5lll‘IIL \IIII l 5IIIII Scottish Artists 1 Mil llIlI II» I III \II c\lIIl\IIInII nI I\.IIIIIIII;'\ l\\ I.Illl\'\ ll.I\‘-l\lll\. ( lt'lJIIl lIlIIIh. l’.II \cmplv. l’ctm lIH\\\HlI. I).I\l\l \IIIIIlI. \ll\l.Ill l’nuIIc \IIIIIlI :Illkl \\ llll‘llllx' III \.IIIIlI.I IIk'll .lllkl \ln l .Ilkllldlvlll
Peter White IIm In IIm aIIIIII \
\nln \lIH\‘. nI Il\‘U. \‘.IIIl\ h} l’clm \\ lIIlI‘
THE MODERN INSTITUTE
"5 lx’nlwlenII \IIm‘I. \llllt‘ II. | lnnI l:
I l.\ i'll Inc I II IInnII 5pm
0 Richard Wright l IIIIl l II l '()\I Illk' lll\l llt'“ hnil} nI \InIk In |\’I\lI.IIIl \\ lI_L'lIl In lw \lIIMll III \tllIlJllIl \IIIm' I‘N‘l ll|\ IIcu \‘.«III\\ .III' \ Imlml h} ll.Ill\l [‘.Illlllll}' \\Ilh \ll1.Ill l‘lll\ll\'\ IlIIm Il\ nIIIn Ihc \IIII.Im'\ nl lllt' \mllx In I Ix‘.III' .I (I‘llt't'llllJIk'tl .llk'.l\1'l lk'Ilt'IIIKWI ILIIII‘III \llllt‘llll\'\ \m‘ Icucv. .IllIl lllll|\l
EWAN MUNOY FINE ART
\\L‘\l (Ix‘tilgg' \llg‘cl, “-I.\ ‘l '55
\lnII IN “Hill 5pm
Joan Eardley and Sir William Gillies l'lI i l'II J1 ()II l’.IIIIIIII;'\ .lllIl Ill.I\\lll_L'\ h} ,IH.IIII1.IIIllI"\ Il‘L‘l I‘HIM .lllIl \II \\ llll.IllI (Illl|\'\ l.\‘).\ I‘VM
PENTAGON CENTRE
5“ \\.I\hII1;_'InII SIIm'I. 3.‘.l .7 | 3*
\lnII I'II ‘LIIII 5pm
Contra-Flow l IIIIl lII il (III Il\c I‘IIII'Igqu: \IIc \pm'IIII .Il[l\l\ I5 \IIml ~u .IllIl IlIIm' III\ IIml jguml .Ill|\I\ mplnn- IlIv mnIInIIIIImII nI Ihc III'llIIIIJHll ('I'IIIII- .Illkl lllt' (II) nI (ilmgnv. Illk' .Ill|\l\ lllt lllllt' II.It'I]llL'llllt' (IIHIII. l l/ IllllIL'l. Kt‘llll \\llll'lII. l,}IIII (‘n\ .IllIl \IIIlIm \\.Il\h illlkl lL'.IIlllt'\ lll\l.Ill.IllHll. \lecn [‘lIllt't’llIHh. han phum \mIlpIIIIc .IllIl IIIIIIII.¥I.IIIlIIp lill.Ij_‘L'\
PRINCES SQUARE
-l.\ liut'hdmn \IIm'I. 33] (Ill-1 l).:Il). ‘).IIII "pm
The Art of Robert Heindel I II III S.” 25 (M l’;IIIIIIIIg_'\. \kclthm .IllIl plillh nI \l.IlltC.Ill\lIl.Il1tCl\I‘} Rnhml llt'IIIIlL'l
PROJECT ABILITY
("I-IIIIc l-nI l)c\ulanIIcIII.Il .\Il\ l\ .\lhInII SIIm'I. 552 3533 \lnII I'll
lII.IIII 5pm
Full of Life I'I'I IIIIM l'll 3| \nx ,\II c\hIhIIInI1nI I. I\ll.Il .II‘Ix :Iml \I‘mmc \\IIIIII:_' h} IIICIIIl‘L‘h nI hnIh Ihc 'lInnguIc SIIIIlInx .Illtl \IIHIxnIx I’HCII} \nIluIIIl
RGI KELLY GALLERY ll-\l)nllj_'l.1\ SIIL'CI. 3‘15 (I‘M‘xh \ltIII III 1“. 2Hum 5pm. Sal 1H 5IliIlll lpIII.