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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)

Tuesday, 13 December 2011

Round-up, Round-up

This is the gallery round up which appeared in The Herald Arts section on 10/11/11
The Innocents by Rachel MacLean

The Skinny Showcase Shop
Until June 2012
Since the beginning of this month, free distribution Scottish arts magazine, The Skinny has been helping young emerging Scottish artists sell their wares via a virtual shop.
This new virtual enterprise is being promoted through a collaboration with online arts brand, CultureLabel, in partnership with Creative Scotland’s Own Art scheme, and gives buyers the opportunity to buy original artwork in 10 interest-free monthly instalments.
The organisers say this initiative, which is to run for six months in the first instance, provides the opportunity for art lovers to support new talent for less than the price of a monthly mobile phone bill.  
The Skinny’s editor, Rosamund West has been selecting the magazine’s Showcase of artists-to-watch since 2007. She claims this new venture takes the platform to another level by enabling the public to buy original work by promising artists at the start of their career.
New artists will be added to the collections in the coming months but the first collection of limited edition prints presents seven diverse Scottish artists who have made works in painting, printmaking, photography, illustration, collage and graphic design. 
Artists exhibiting and selling their work include, David Lemm (davidlemm.co.uk), Good Wives and Warriors (goodwivesandwarriors.co.uk), Jamie Johnson (jamie-johnson.tumblr.com/), Markus Thorsen (markusthorsen.com), Rabiya Choudhry, Rachel MacLean (rachelmaclean.com) and Ross Fraser McLean (rossfrasermclean.com).
Artist Rachel MacLean, whose memorable degree show at Edinbinburgh School of Art in 2010 attracted a lot of favourable attention, said, “The Skinny's CultureLabel project is a fantastic opportunity to exhibit and sell a collection of my prints alongside a diverse and accomplished group of artists and designers. The project not only offers great exposure but also supports the financial and practical difficulties of attempting to sell work as an emerging artist.” 
The Winter Exhibition
Peacock Visual Arts
21 Castle Street (off Castlegate) Aberdeen
Until December 23
David McCracken's feeling the chill...

The Peacock winter exhibition is always a seasonal highlight in the north east’s art calendar and a fine opportunity to buy original art work at reasonable prices for the art lover in your life...
This year, there’s over 500 works on show from professional artists and keen amateurs, and if you click onto their website, you can see 360 degree views of jam-packed walls.
It’s worth making a date in your diary for the Peacock Print Shop Extravaganza next Saturday and Sunday (December 17 & 18). The weekend before Christmas can be a stressful time but with mince pies and mulled wine on the menu, plus a 10% discount on all works on offer, it sounds like the ideal place to shop.
There are hundreds of prints, paintings, sculptures and photographs on sale, as well as a selection of hand printed posters and prints by Bob Batchelor, Francis Boag, Adam Bridgland, John Byrne, James Furneaux, Kenny Hunter, Barbara Rae, Claire Roberts, Willie Roger, Ralph Steadman and Frances Walker.
Peacock are also collaborating with CultureLabel in conjunction with Creative Scotland’s Own Art scheme, allows the public to take advantage of an interest-free loan on all works.
New artwork now on sale include a selection of fantastic limited edition screenprints by Kenny Hunter. His sublime text-based Then the Animals said God is literally like gold dust, as Hunter has used gold dust to achieve a glittering finish.
This work is available by paying 10 monthly instalments of £20. Hunter is mostly known for his sculptural work, including Citizen Firefighter outside Glasgow’s Central Station, but his screenprints are becoming increasingly collectable.
Alessandra Campoli: Edges
The Arches
253 Argyle Street, Glasgow
0141 565 1000
The idea of getting finding our way around planet earth with assistance from a satellite in space has become commonplace in the modern world, but I can’t think of any artworks which have explored it in depth.
This recently opened exhibition by Glasgow-based Italian artist Alessandra Campoli is part of a wider project devoted to the notion of ‘edges’ in different European and Asian urban contexts. The result is what she describes as ‘a series of physical and visual explorations of Glasgow’s cityscape’ combining black and white analogue and digital photography, photomontage and what she calls GPS Art.
Using a Global Positioning System, Campoli has been tracing her way around the margins of Glasgow city.
She says: “While photography is capable of figuratively representing and documenting reality, performance art provides the possibility of materially interacting with the space, of penetrating it, of physically perceiving and expressing its meaning. GPS drawing simultaneously facilitates a physical exploration of the space and an abstract representation of it.”
According to Campoli, who is completing a practice based PhD in Media Arts at the University of the West of Scotland, edges mean not only the periphery of a horizontal space, but ‘the collocation of marginal space at some distance from the centre of security can be temporal or spatial, real or symbolic, material or conceptual.’
“They can be forgotten places in the centre of the city,” she adds. “Places where the urban space is transformed into something strange and even uncanny. Edges can extend vertically, as stratigraphic spaces lying beneath, buried in the ground; or they can be conceived as fragmentary spaces within the city, where modernity is brusquely interrupted by the presence of rejected, forgotten memories.”

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