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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)

Monday, 6 February 2012

An Arty Clanjamfrie...

This is the Galleries Round-up wot I wrote for The Herald on Saturday 4 February... unedited
The Scottish Show 2012
Panter & Hall
27 Bury Street, St Jame’s, London
020 7399 9999
Until February 24

Near Castine by Charles Jamieson at The Stafford Gallery, Wimbledon Fine Art
Although times are hard for working artists, with sales all around the art houses sluggish, two commercial galleries on London are currently holding substantial sales of Scottish art.
Judy Stafford, who until recently worked with Thompson’s Gallery in central London, has just launched her own enterprise, The Stafford Gallery, with An Exhibition of Scottish Painters.
Her first exhibition is currently on show at Wimbledon Fine Art in SW19 and features a host of well-known, established and emerging Scottish names. There is work on show by; Craigie Aitchison, Mike Healey, Lachlan Goudie, Charles Jamieson, Robert Kelsey, Paul Kennedy, Sheila McInnes, Archibald Dunbar McIntosh, Sandy McIntosh, Jack Morrocco, Jacqueline Orr, James Orr, Jonathan Robertson, Saul Robertson, Andrew Squire, Frank To, James Tweedie, Helen Wilson and Alma Wolfson. See www.staffordgallery.co.uk for more details.
In central London, Panter & Hall’s twelfth successive Scottish Show has just opened. According to the gallery’s Tiffany Panter, this is a prime opportunity to ‘‘showcase our regular stable of Scottish painters while offering our clients an opportunity to discover artists new to the London market.’
“We always include a selection of more serious works by major twentieth century masters,” she adds. “This year's highlights include paintings by Alan Davie, John Boyd, William Crosbie, John Cunningham, Tom Hutcheson and William Russell Flint. New acquisitions of works by contemporary painters include a fine Harry Holland, a stunning still life and a moonlit beach scene both by David Martin, a Colourist inspired still life from the 1980s by Norman Edgar and a classic example of Scottish landscape art by James Morrison. 
“Charles Simpson, one of Scotland’s leading landscape painters, has sent us a stunning new batch of work, the two largest pieces of which have already been snapped up by a major corporate collection.”
132nd Annual Exhibition: The Royal Scottish Society of Painters in Watercolour (RSW)
Upper Galleries, Royal Scottish Academy Building
The Mound, Edinburgh
0131 624 6550 
From today until March 1 (Admission free)

Another Day in Feegie II by John Byrne HRSW 

There’s a raft of Royal activity going on in the title of this exhibition, which features paintings by more than 130 of Scotland’s leading artists, including John Byrne and John Bellany, both of whom are now honorary members of the RSW.
The society has enjoyed royal patronage since 1886, when Queen Victoria – a keen amateur water colourist – agreed it could adopt the prefix ‘Royal’. 
Prince Charles, also a keen amateur water colour painter, is the current Royal patron and he is one of many members who have work on display at this plum venue on The Mound.
The exhibition opened last night and to give you a taster, it is on show in its virtual entirety at www.rswgallery.org.uk.
At the opening, a clutch of award winners were announced and names on the roll of honour include, Tom McKendrick, Simon Laurie, Derek Robertson (this is his third award), Christine Woodside, Kate Henderson, Chris Brook, Ronald F Smith, Sian MacQueen, James Fairgrieve, James McNaught, June Carey and Archie Dunbar McIntosh.
There is some fine work here in this most delicate of mediums. The award-winning Glasgow-based artist Tom McKendrick has produced a beautifully delicate triptych, Datum Marks on Blue, a name drawn from his years spent as a Loftsman in John Brown’s shipyard on the Clyde.
He says: “A Loftsman’s job was to draw and mark the components of a ship in full scale, make templates from drawings and transfer these to steel and the building process. Datum Marks were the essence of this work, designating for example where a deck began, seams ended, machinery was placed, curves delineated and marking and identifying thousands of components. Arrows, numbers, lines and punch marks were methods used to do this work. Datum Marks on Blue is an assemblage of these components on corroded and painted surface.”
Centrespace, Visual Research Centre
(Part of Duncan of Jordanstone College of Art & Design)
Lower Floors, DCA
152 Nethergate, Dundee
Until March 4

For the last six years, a major art preservation project, initiated by the German Federal Cultural Foundation, in partnership with leading new media research centre, the Centre for Art and Media in Karlsruhe, Germany, has been working with a number of arts bodies to preserve some of the earliest examples of video art.
Together with five leading German museums, the two bodies have collaborated to preserve, restore and disseminate one of the most influential art forms of the 20th century, many of which are suffering from the dreaded ‘sticky-shed syndrome’, a condition created by the deterioration of the binders in a magnetic tape which hold the iron oxide magnetisable coating to its plastic carrier.
This exhibition in Dundee concentrates on the second phase of the project and includes many works not been seen for decades, including over 40 works made between 1968 and 2008. Video art anoraks will be drawn to a rare work featuring a boxing match from 1972 in which Joseph Beuys was a participant. Other gems include the first video synthesizer collages by Walter Schröder-Limmer.
The exhibition focuses exclusively on the medium of video and the core mission of the project, which is preservation. Many works from the history of video were considered untraceable, lost or no longer playable. The project’s main concern is to save these works from deteriorating while at the same time reconstructing the history of the video movement as a whole.
Duncan of Jordanstone has been involved in this international initiative through its REWIND: Artists’ Video in the 70s & 80s research project. The REWIND project focuses particularly on video works of the 1970s and 1980s and has investigated, conserved and archived over 450 single screen and installation works from the first two decades of artists’ works in video. 

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