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- I'm an arts journalist & PR consultant living and working in Scotland. I've been a journalist for more than 25 years. I write a regular column for Scottish quality newspaper, The Herald. I deliver a PR service with an arty bent and work on a consultancy basis with arts organisations, including Scotland's leading creative industries festival, XpoNorth & broadcast support body, ScreenHI. I am currently co-writing a book about the celebrated Scots artist, George Wyllie, with his daughter Louise. Instrumental in making a celebration of his life's work happen in 2012. For more information, see www.georgewyllie.com When I'm not being a mum/working, I talk to my dog. He laps it up. Contact me on email@example.com (All work © Jan Patience)
Tuesday, 5 January 2010
Gallery Round-up from The Herald 2/1/10
Pictured: Roy Lichenstein's In The Car, a perennial favourite at the Scottish national Gallery of Modern Art and Janie Nicoll's Fragile Dollar Sign, as seen in Getting Up in Inverness
GETTING UP - WINDOWS IN THE CITY
Inverness Old Town Art Project
Various points around Inverness city centre
Open all hours
Until January 20, 2010
Empty shop windows are a sad reflection of the economic times in which we live. They sit darkly sucking the life out of a surrounding space which once bustled with the bustle of people going about their every day business.
Inverness, like most city centres, has its fair share of empty shop units and now, as part of the inspired Inverness Old Town Art project (which acronyms jauntily into IOTA), several sites in the town were transformed into mini art marts.
Getting Up - Windows in the City has been curated by Richie Cumming, the artist behind last summer’s Rough Cut Nation at the Scottish National Portrait Gallery, and Stacey Hunter of The Lighthouse, who have previously overseen other shop windows projects around Scotland. Several of the artists were involved in Rough Cut Nation
Getting Up kicked off with an extravaganza of art and music in the Old Town Rose Street multi-storey car park on the Saturday before Christmas and runs for most of January.
Mike Inglis is recreating the Garden of Eden at the former Video Drive-In store at 83-85 Church Street. At the same site, Dundee-based Andy MacVicar, (aka Inflatable Monster) is moving into the old video shop to broadcast a series of visuals with a distinctly local theme.
Also doing their stuff at the former drive-in, are textile designers Hilary Grant and Mahala Le May who have created a unique interactive installation.
Glasgow-based Janie Nicoll is mixing up a quote from Tom Waite’s Twitter with Andy Warhol imagery to create a sign of the times at the former Harry Gow shop on Union Street, while Yuck ʻn Yum are at various locations around Inverness city centre, including Rose Street car park and the Yum! Café at 14a Margaret Street distributing art and images via Bluetooth
Glasgow-based collective Now Now are at the ex-99p shop on Drummond Street, with a host of art-based activities to take the chill out of the air, including a Contemporary Art Tombola, which will set you back 99p a throw.
WHAT YOU SEE IS WHERE YOU’RE AT
Scottish National Gallery of Modern Art
0131 624 6200
Open daily, 10am-5pm
Until February 28
The Scottish National Gallery of Modern Art’s recent rehang, entitled What you See is Where You’re At, is the first overhaul 25 years and signalled the beginning of a year which celebrates the gallery’s 50th anniversary.
As with most changes to much-loved institutions, there has been a statutory dollop of dissent over the rehang, with critics (including the artist Jack Vettrianao) complaining that only four of 131 works in the collection are on show by the Scottish Colourists, S.J Peploe, JD Fergusson, George Leslie Hunter and Francis Cadell.
Controversy aside, the walls are literally festooned with paintings by artists by all the greats of the last 100 years, such as Joan Miró, Roy Lichtenstein, Ben Nicholson and Picasso. There is also sculpture by the likes of Edinburgh-born sculptor Sir Eduardo Paolozzi, Louise Nevelson and Tony Cragg.
All the work is displayed in rooms which are themed along definite lines, such as white paintings, on the use of colour, or collage. One room is given over entirely to a single work in white tube lighting.
Still on the theme of lighting, a neon sign by the Scottish Turner prize-winning artist, Martin Creed hangs above the entrance and informs visitors, “Everything is going to be alright”
Maybe it really is a sign?
Various talks and lectures are planned around the 50th anniversary celebrations, including a ‘in-conversation‘ between curator Philip Long and artist Martin Boyce at the beginning of February. Check the website for details.
ECHO & TRANSCEND
Gallery of Modern Art
Royal Exchange Square, Glasgow
0141 287 3050
Mon-Wed, 10am to 5pm, Thur, 10am-8pm, Sat, 10am to 5pm, Fri & Sun, 11am-5pm.
Until 21 February 2010
I dodged into GoMA in recently during a manic shopping day in the lead-up to Christmas. One of the beauties of this city centre gallery is the way in which it can provide a shelter from the storm of commercialism which rages just a few metres away.
I was amazed to find the Echo & Transcend exhibition still up and running. I first saw this thought-provoking collection of abstract art gleaned from Glasgow Museum’s own collection in February last year (2009) after a caffeine-fuelled business meeting at nearby Rogano.
I guess I was in a similar frame of mind second time around, but it still seemed appropriate to take the leap away from seeming ‘reality’ and immerse myself in a wide range of work which, as the exhibition title suggests, transcends reality.
As a quick leaf through the visitor’s book confirms, there is a lot of negativity towards abstract art, but it’s clear that many visitors have also been thrilled and challenged by degrees by the work, which includes paintings by William McCance, Alan Davie and Bridget Riley, and sculpture by the likes of Anthony Caro and Eduardo Paolozzi.
If you have the time to sit down and take it all in, there are also a couple of films on a loop which were not there when I last saw the exhibition. One is a filmed talk by the show’s curator, Sean McGlashan plus footage of a unique recital on the artworks by art historian Elisabetta Toreno.