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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 janpatience@me.com (All work © Jan Patience)

Friday, 22 July 2011

Wiszniewski & Collins, Houston & Blackadder + In Visible Ink

Blue Tit, pencil on paper, by Edwyn Collins

Paintings and Drawings by Adrian Wiszniewski and Edwyn Collins
108 Fine Art
1 Crown Place Harrogate & 16 Cold Bath Road, Harrogate 
01423 7098108 
July 23 – August 27
Glasgow in the late 1970s was one of these places which in retrospect, it was all happening. In the middle of it all, emanating from the vibrant creative hub around Glasgow Art School, young artists and musicians (many of whom did both...) were producing groundbreaking work in both disciplines. 
At the age of 19. Edwyn Collins – the son of artist peter Collins – worked by day as an illustrator of urban bird life with Glasgow Parks Department. By night, his band practised in a room next to a young art student called Adrian Wiszniewski. 
Colllins’ band Orange Juice soon came to enjoy success with hits including Rip It Up and Girl Like You. Wiszniewski became a key figure within a group of emerging young figurative painters dubbed The New Glasgow Boys by former Herald art critic Clare Henry.
Since the early 1980s, both men have led diverse and successful working lives. Collins’ career was interrupted in 2005 by a devastating double brain haemorrhage from which he has fought back to the point at which he is back producing art and music in equal measure with verve and panache.
His new album, Losing Sleep, was reviewed in the NME as ‘… one of the best albums of the year’.  A montage of his bird drawings, used as the cover artwork for this album, will be on show at this exhibition.
Since the late 1980s, Wiszniewski has worked on a range of projects; including writing, illustration, furniture and interior design, multimedia artwork and music. In 2009/10, he worked with the Scottish Philharmonic Orchestra in the production of a musical narrative of GBH. a book written and illustrated by him as part of a trilogy of musical and theatrical events. Recently, he has been absorbed again in painting.
Both artists are now set to exhibit recent work with 108 Fine Art in Harrogate. The exhibition celebrates the opening of 108’s new galleries, situated within a traditional Victorian town house in Harrogate.
Both artists will be in Harrogate on Friday night for the opening night, at which a quintet from the Scottish Philharmonic Orchestra, who recently worked with Wiszniewski, will play. Collins will also play at this inaugural event, which takes place the night after his nomination for the prestigious MOJO Award.

Elizabeth Blackadder and John Houston at GPS workshop c. 1987

Paintings and Prints: Elizabeth Blackadder and John Houston 
Glasgow Print Studio
July 8 - Aug 28
0141 552 0704
Over in Edinburgh, Dame Elizabeth Blackadder’s major retrospective at The Scottish National Gallery is attracting rave reviews. In the Edinburgh show are a number of works on loan from Glasgow Print Studio (GPS), including a new etching, Venice, Salute in a Thunderstorm, which has just been completed at the studio.
At GPS, to which Blackadder travels on a weekly basis to make work, there is a smaller, more intimate look at her work and that of her late husband, John Houston.
This exhibition, in memory of Houston, also marks the 80th birthday of his wife. Paintings and Prints features a wide selection from over 120 etchings, screenprints, woodcuts and lithographs by Blackadder made at Glasgow Print Studio from 1985 to the present day. There are also several of her highly distinctive paintings. 
Alongside Blackadder’s still lifes, landscapes, interiors, animals and plants, there is also a range of works by Houston.
John Houston was much less prolific in his printmaking than his wife, but he still produced a significant body of work, both editioned prints and monotypes throughout the 1980s and 1990s. Many of these are included in the exhibition. Etchings, woodcuts and monotypes will be shown alongside two of his major oil paintings.
Echoing Houston and Blackadder's 1980s show at GPS, this exhibition was due to take place in 2009 as part of the Trongate 103 opening programme. Due to Houston’s untimely death in 2008, the show was forced to be postponed until now.
To coincide with this exhibition, there is also a small show of work by print studio member, Chris Allan, who is a former deputy director of the Hunterian Art Gallery and an author and cataloguer of Blackadder’s graphic works. His book, Elizabeth Blackadder Prints, documents and illustrates all of Blackadder’s print editions from 1958-2002. 
In Visible Ink
The Park Gallery
Callendar Park, Falkirk
01324 503789 
Until August 28
Last year, The Park Gallery in Falkirk held a major exhibition of one of the area’s most famous sons, Alan Davie. In the course of preparing and hosting this exhibition, links were made with Kip Gresham, director of the Print Studio in Cambridge, who has worked closely with Davie in recent years.
The Print Studio is a collaborative printmaking studio and publisher which works with individual artists, publishers and galleries from all round the world.
Each year, the Studio publishes prints by a wide variety of artists. This exhibition, In Visible Ink, is drawn from a small selection of those publications.
Gresham, who has been making original prints for artists, galleries and publishers for over 30 years,  has worked with major artists, including Davie, Sir Peter Blake, Stephen Chambers and Elisabeth Frink. 
He explains: “The medium must work with the artist's idea and not compete with or over-ride their intention. Although a print is often the product of several related processes – and many hands – ideally the finished piece will appear to have arrived in the world fully formed with the artist's authorship firmly established.
“Artists arrive at the Studio with their print proposals in many forms; a collage, a drawing, notes, a box of bits and pieces or a set of calculations, but never a completed piece for reproduction. The Studio makes 'original prints' (a term open to many interpretations). They are prints made through and by printing in which the many processes are part of the means of image generation. This can involve current technologies or those from as far back as the 17th Century.
“The artists prepare their artwork for the print with advice from their collaborating printer. Sometimes the image is made in the traditional way by painting, cutting or drawing directly onto the printing matrix. 
“On other occasions, it is made by working on a special textured opaline film or partially constructed in the computer. Frequently the prints result from the use of several different methods. In all cases the colour prints are made from a group of discreet but inter-related layers, each carrying a separate thought. 
“Individual layers are then proofed in varying colours and sequences. During this phase extensive editing and amendment of each separation is possible. Gradually the image reveals itself and it is in this magical journey of discovery that the 'originality' rests. Once a definitive proof has been pulled, the edition may then be run to match the proof.”
Artists exhibiting here include, Anthony Green R.A., Bob Edgson and David Rayson. 

Medlar Meddler by Stephen Chambers

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