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i:1 \Iwitininh} I’Imc. “h “\"3 \Iun
I'll IH.nn hpni. \xl II).nn Jpn:
20th Century British and American Printmaking l nnl S.” in (It! I’;n'l mi» Hi [In\ \k'IIL'\ Imlnn'x \KHIIA h} Ruin-H ("ulnnghmn Inn Ihnc. RILIMHI I’.\IL'\ .lIItI Rqu I<.ni~thcnht'ig.
I INGLEBY GALLERY () ( ‘gnllun 'It‘ngit't'. §§h Jill 'I IIt' 8.11 Ilium ipin
Roger Ackling O... l’nnl Sui {II ()t'l. .\ wlu \II(\\\ Inr Ruggt‘i .\tkln1g \kIIH \L"|I'L'IIL‘\ [‘ilt't'lN HI IHlImI \mud h} t‘ilIL'IIIII}! IIIL' sun's my [hintiin u
llI.lf._'lIlI}III“._' j._‘I;I\\ \t‘t- IL'\It'\\ .lIItI IIIIIl\I,
I..-\.\”I (’II;\‘\‘( "I: 'I() SH;
I INSTITUT FRANCAIS D’ECOSSE I i Rundnlph (it-wail. 335 SW). \Iim \Vth (k In 0. Wan) 5‘ Winn: Ihn
IIHUII 5‘ iIIpin; 8.x! 0. Wan! 3pm. Rimbaud 1854-1891 I'nnI Ill 2‘) ()t‘I‘ I)Ut‘lllllt'lllill"\ t‘\InInnnn Iimhlllgj ilI IIIt' IIIt' and “ink nI .'\l'IIIlll Rnnhnnil. Somewhere Everywhere Nowhere-Seminar Sui m ( )ti. 2 ~1pni. {III I {7). St'nnngn uplnnng il\Pt'k'I\ nI t‘nllt't'lnig t'uiilt-Iiipnmr} mi. and IIlt' mlt' HI L'UIIt't'Illl}: inxlnnnnnx in (It‘\t‘IH|)lll}.‘ ;n‘l. ;iI’II\I\;iI1lI iIIItIIL‘IIt‘L'\. Iiimhlllgj L'\\L'IIII;II.
I LEITH GALLERY
()5 'I‘ht' Show. I.t'ilh. 553 5255. Inc I'l'l Ilgnn 5pm; Sul I |;nn Jpni.
Figures of Eight l'nnl Sui 23 ()cr I'I‘t't‘. Iiighl Hi the gullci'} '\ hcxl
ngmm c [mink-rs tngt'lht'r I'ni' IIIt' Inst lnnt': Kt‘II} .-\nnc (mm. Slt‘pht'n SlmnkIuniI. I’ulx} .\It‘:\i‘lhln‘. I);i\ ItI .\I;n‘nn. Knxl} \Vlnlcn. Inn Bmun. Iit'n I);i\ ic\ .lcnkinx illItI .Inhn Sin} lh. Stephen Shankland l'nnl Sui 2% ()ti. Iil’ I’nrn'un \\ inner mhihilx Inr lhc I'n'xl Illllt‘\IlIL‘L'\\IlIlIIII§1IIIt‘Pl'l/t'IIIl\ \nnnncr.
I MERZ
.\‘7 Iirnughlnn Sn'ccl. 558 X773. \Vt'tI
Sui nimn (\pm.
Skymye Knave Sui 3i) ( )t-i Him 8 .\'n\. :\n mhihinnn nl ncxx unrk h_\ Inrnilin'c maker and mqu curwr RHIillltI I'i'uxt‘r \\ hmc \uirk L‘Hlllt‘\ u iIInn lhc \urlhcrn Iinrnpcun lruihnnn nI I‘clicl um mg. .\'I",\\' SII()\\'.
I OPEN EYE GALLERY
34 .-\hcrcrmnh} Place. 557 Hill). \Iun I'll IIhnn ()pllll Sui Ilium Jpn). Andrea Walsh l'nnl \\'ul 3 NM. New \mrkx in Imnc china and gI;l\\ \mrk. Angus McEwan l'nnl Inc 2 .\'m. .\'t-\\ paintings in u \L‘l'lt‘\ culled Sci'ult'h lhc Snrllicc.
Sarah Carrington I'niil Wed 3 .\'m. Nu“ pznnlingx II'UIII umunil Scullund'x t‘ngixlhnt‘.
I SCOTLANDART.COM
2 St Slcphcn Place. 235 (£57. .\I0n I-ii Ilium hpm; Sui Ilium (3pm. Sun nunn 5.30pm.
It’s Glasgow, 1973 and the fair’s come to town. Dad. in full suit and sideburns. takes his two young kids on the dodgems — G Morrison’s early Supercar Vintage Dodgem to be
precise. This picture is part of an exhibition celebrating fairgrounds and circuses in Great Britain ranging as far
back as the 1880 Alloa Fair.
I (I/[i Alf (lawful, III/Hixi/g'r, .'
Group Exhibition Ihn 3.\‘ ( )a Sun H .\'u\. (imin mhihinnn h} _IHllillII;lll Shtun't‘i'. I’ulx} .\It';\rlhln‘ and .»\hwn Aulin.
I SCOTTISH GALLERY
I(\ Dundux Slrt‘cl. 553 IIIIII. Mun I'n Ilium 0pm; Sill IIIgnn ~Ipni.
John Brown l'nnl Sui 3mm. I‘n'xl wlu \IIU\\ h} Iitlinhnrgh Imwd punilcil
I SOLO GALLERY
Jh I)IIIItIil\ Slrccl. III 3| 550 3328
Sophie McKay-Knight l'nnl Sui (x .\'m. Young: St‘nlnxh :n‘lixl uhihilx Iignrunw paintings in hci' III'\I \nIH \IIH“ balance.
I TORRANCE GALLERY
II) I)lllitI;I\ Sil't‘t‘l. 550(1300, \IUII I‘I'l Iluni 0pm; Sat III.34I;nn 4pm. Ronnie Ford l‘nlil Sui .‘~H()ci. .\ mIIct‘nnn HI IIL‘“ luntIxt‘uptw h) Rnnmt‘ I‘UI'lI HI IIIL' \Vt'xl ('imxl nl' St‘ulIunlI and I'IIIIICL‘.
Artist Spaces
I THE BONGO CLUB Mimi) IIUII\L‘. 3', IIuI_\rumI Road. 553 7hIIJ.
i4 - 26 October 2004
BLIND SIGHT
exploring the relationship between visual art and sound
a collaboration between Scotland and Finland
Royal Scottish Academy BuiIding,The Mound. Edinburgh ‘.‘.".‘J\".’.l’0')'3ISCOttIShaCECEii'.}'.Q?
110 THE LIST U". -'.
with 8113-1 Umi
Border States I nnl ,\Iun .\ .\m \Iulcnhn I’u'n/It‘ c\InI\ll\ phnlngmphx lgikt'n during a i‘t't‘t'nl (up In ( '.in.uI.i .lIItI \Iucncu.
I THE EMBASSY
“(i I',;|\I (.l'll\\(iIII\L'\\.l.\. II-‘IIIIII I‘M), 'I‘hu Sui mum "pm.
Perseverance l'nnl ~\‘un II (M. [mull 7pm. (ii'nnp \IIH\\ h} I.t‘L' ('ninpht'll. .'\IL‘\&III\ICI' ('nxit'lln and Sunni Iii'nt't' n1 \xhlt‘h t‘ut‘h ul‘IN Ilux llnnxlni'lnt‘iI .l Il'ugmcnl uI t‘\ci‘_\tI.i_\ I'mhl} [hintiin IIIt'II \wi‘k hiking; Ixinuln} and the mundane .l\ lht'n' \Iill'lllif: pnnn.
I GAYFIELD STREET LANE
I .4\ (in) Iicld Slit-cl I.;llit'. WWI WWII!» Stuckists Punk Victorian Lite If you Can’t Be Bothered to Go to LIVEI’DOOI IIIIIII I'UI‘ :IIIISI I'lt‘t'. Sl'Il't‘IL'lI urnxix 1mm Ihc \IIU“ ;il lht- \Milkt'i (Lilla). Incrpnnl llIt‘IlltIlleJ ('hurIm 'I'hnniwn. I'.II.I (iuru. I’t'lt'i \Ik'.‘\l'tIIC. Swim \Iniy. I’.mI II;n'\t‘_\. I’Inlip .\I\wInn. I'.I\.I I)ii\. I).in Iit‘llnn. .luc \IncInnt'uniI .\nnt' I'UI'Il'. (".iIl In make u \ 1th mg; .ippninnnt-nl.
I TOTAL KUNST @ FOREST
3 Iinxln I’lgit‘t'. III-1533A Himll liipin
Memory Like a Goldfish l nnl I n “I ()t‘l. \\HII\ I\_\ .nnsl ‘IIIlI \ nmlm \.nun \It'( ‘Imkcl lh.il \'\I‘Il'Ik'\ IIIt' It'I.lIIlIII\II|I‘\ leut't'n pt'uplc .lIItI IIIK'II l'II\ IlHlIllll‘III nun): \t'nlplnn'. \mll innnnnp. innit-t IIHII. tII_L'IIilI nn.i;:|n§: .IIIII mnntlxtgipv Ihc tlmnlp lit-ilunnant'i'nn In 3‘)()('l Imlnn'x Inc nnlxit' .III\I \l‘l‘Ixt'II \\l‘I\I
Outside the Cities
I THE CHANGING ROOM
‘4 I IIt' \lnlnig' \ItmIt'. III 7M» I“) Nil \\t'tI 8.1! I I.nn *pni
Alex Frost 1973 I... l nnl mi in (In \L'\\ «Innxnn'x .nnl \t'nlplint- t‘nnlnnnnj: Iiml'x nnl-it‘s! III IIIl' hmnn HI \Innnmlixni I,\\I ('II.\\( 'I II) SI-I:
I DUNDEE CONTEMPORARY ARTS 152 \t‘lIll'ldeIt'. HI <53 unwu III Im-
\Vt'iI. \'.n & Sun III “Lnn * Winn. Ihn t\ In I”. ilignn hpni
Somewhere Everywhere Nowhere I'nlll Sal ~1 I)ct Intcnmnnnal t'unlt'nnnnui} .nl Imin lhc I n-nt h Rogmiml \n ('uIIt't'nuns \t‘t'n I“! [Inc Insi lnnc III lht-l K In t'nII.ini.il|un unh IhnuIct- ('nnlt‘nlpuiu} \m \t't- [um um.
WIRES”: “cum
I Talbot Rice Gallery