fi—
etiniiirietitrri u ith tire (I ra\ erse Iheatre.
\x Ilt‘ are \ILIL’IIILI the I)UIIII_IIL'SC tragedy HI the same name. the I)einaretr ( iallert has lll\ ited three l’nittiuese Iigtiratix e painters.I’;itiluRei1ti.IIelena.-\lrrieida and Ruth Rmengarten. to exhihit at the (ialler).
Stourbridge College oi Art MA Students t 'ntil I‘lltilt ()riee ittjtllll the ( ialler} pla_\\ hmt Iti Sttideiit \xtir k truth the West Midlands. llIlIIIL'Il IIIIS tiriie thes eurriissitined small \eale utirk truth the Sttitirhridge students I ROYAL BOTANIC GARDEN 552 H l "I. (iardens ,‘Vltin Sat ‘larn sunset: Stiii
lain sunset. I’laiit llt‘tl\L‘\;llILI L'\lIII‘IIItIII\ t irititiiited in In\ erIeith I IUIISL‘I \Il‘ll Sat Illanr 5pm: Sun 1 Iain Spin. I)tie Il‘ renm atitin til Imerlerth I ItitISL'. there \sill he in» L'\ITII‘IIIUIIS at the limitaiiie (iarden until the I~e\ti\ al Iixhihitirin
\\ hieh Will he a displat til \stirk h} SJUL‘I'LI Iliiixnian heLiining hit 4 .-\tidtist in tlie( )Id lleihaietirn.
I ROYAL SCOTTISH ACADEMY 'l he \lritind. Zlititrfil. \ltin Sat Illarn tiprn. Stiii
1 (rpm.
163rd Annual Exhibition t‘ntil lfilult. \Iaitrr display tit titlltilllltl. \e‘tllplllte' and ai'eliiteetiire. IIIIS _\e.ir' \ptiiistiied h\ the wheitrirs \laelav Mirna} ek Spens, 4‘)“ e\hihit\ \\ ere seleeted nut UI a IUILII HI III III entries til represent the hest til etiirteiiiptiriin art in Seutland.
'Ihe ( iallet'} itseli \HII then he elrised ttlitrtieh their shop “I” remain upen l tiiitil I" .ltlI_\ u hen an exhihititin irrigaiiised h} the Spanish ( ithL‘TIIITIL‘III entitled \‘titinu I Spanish I’aiiitei'x tiperis
I SCOTTISH CRAFT CENTRE I~1ll
(antingate. 55h Slih. \Inn Sat
Illaiii 5 .illprn
Kathy Cumming I 'ntil IT .ltil}. lhe artist‘s
hr IL'IIII). etiltitir‘ed hand painted Slll\
seam es uti tin Slit)“. I lititirgh the I ‘r‘alt (‘entre “I” remain Upcll the ( ialler}. \\ Ill
ririt he \Itt\\\ltll_1 an} L‘\'IIII‘IIIHII\ tintil ( ’r'att \tiir opens in .-\tlgtl\t.
I THE SCOTTISH GALLERY ‘M ( ie'tit'lle' Street. 325 S955. \lrirr I‘ri Illarri hpiii; Sat Illain lpin
Crawturd Adamson: Recent Paintings t 'nrrtS
August. The Izdinhtir‘ph htirri artist rettir IIS
\\ ith IIIS \eetind stilti exhihititin at IIIIS ( iallei _\ I IIS tigtiratix e \Vtirk innilx es \tihieets iri ei'tmded sittratitinsand explnresthe [TS_\L"ITUIU§_IICIII tensitiris inherent in \tlL'lI prisititins.
Nicola Henley: Textiles t'niil 5 August. ()hser‘xatitins tit hirds made rmm her lltll‘lIL‘TUtlS trips tti the tar IIUIILI L‘UTIICFSHI the British Isles appear against the I‘itL‘KIjTUIIIItI til her ahstraet Iandseapes. Karlin Rushbrooke: Glass I'ntil S .-\tl_t:tl\t IIer hriuhtly etiItitir'ed tlltt\\
\ essels pr‘m ide iiitr'i_i1ttiii_r_y stirlaees Irir her Iixel} earieattires.
Mary Maclean: New Works on Paper t 'mil 5 August. I layingY gained rritieh attentitin as a student in huth (Ilasgtm and :\lil\te't‘tlttm IUT her \ ihrant draxx ings she enneentratesirr thisexhihitirin tinhirds. I)1,\plii_\lllgSthlll\ and detailstil their anattim} alongside her “Uka tin paper as it the} were speeirriens in a ItlIISCIIITI.
Ruth Robinson: Jewelleryt'nirl SAugtrsr, (ilass heads are inetirptirated IITIU her \NUVCIISIIVCT neeklaeesandearrings.
I SCOTTISH PHOTOGRAPHS WORKS 14a Nelson Street. 55h JIII—I (phtine t'tir‘ apptiintrnent I.
Scottish Photographers A galler} representing the most exeitinLr L‘tiIIIL‘ITIptil'iIT}' Setittish phtittigraphers. ’lhere is a perrrranent print htilding 31h.ng a varied display. On sale Irom the galler} is l)a\ id Williams hook l’ietures l’mm .Vr) .lluri 'x Land and the Ray rrrtind Mtitire photugravtire entitled Air/U“).
I SCOTTISH RECORD OFFICE West Register IIUUSC. ('harltitte Square.
Mun Tri‘lam 4.3(lpm.
Strange Revolutions: Scotland 1688—89 I'ntil IUTII'IL‘T notiee.
I STEP GALLERY 3‘) I lime Street. 550 lhl} Mun I-‘ri I lam Sftllprn: Sat
llarn 4pm.
City Art Centre. Edinburgh. The Wedding devotes itself to exploring society‘s most valued lorm of spiritual ritual from a perspective which is simultaneously both celebratory and analytic. Structured and displayed
according to the stages of development
towards this personal and institutional bond. the journey round the exhibition re-enacts this mythic process — from ‘Courtship‘ to “Ever Atter‘ via ‘Stag and Hen'. ‘The Ceremony‘ and the idealised ‘Consumation ol
Douglas Phillips: Recent Works l\ ,llll\ \
.-\ti_r_'ii\t Se‘trttisli landseapes Ill IIIS .tIItI
\s.iiei‘etiltltir\ Itll Ill the Iil.tlll\l.'l\ ill the \\tlII\llII\lIt‘\\
ISTILLS GALLERY IIIS I IIL'II Stir-elf“ Il»1ll Itie Sat I I.tIII 5 zllpiii
Owen Logan: Photographs From Morocco I‘iitil :‘I.Itll_\ IIie I diiihiti'eliluixed pliiitnuiaphei It.t\ \peiit .i sieiiitigaiit .lIIItlIIIII lit tiiiie IIl \Itriileeri reerlidiii: Ill\ IITIPIL‘SSIUIISHI the IIIIIIISe‘tlI‘t‘ tIlItl perrple tlIIIIIIIl
I iee utiided trriiiswl the e\hihitit~n .iie a\ail.ihle
I TALBOT RICE ART GALLERYt )Idt rrlledtx
I 'iiix ersits til I'tlllll‘lllL’ll. Strtith Itiiilue. rill“ ItlII \Illll Sat Illain Spin.
Sea Salvage I hid I5 .Itils I lie pnxsei tit [lie SL‘tt ix tL‘IIet‘Ietl Ill Rt lltelt I tillt‘titlei \ e'tlti\lt'llelllititl\HI tIt‘thHlltllll.tltillite \Iltleltlte\. I \iiie’ a \ .iiiet\ wt raw IIILIIL‘IIdlS. peat. \;l\\tlll\l. .iiid .ISIII‘SIII' t'e‘ete';lte\tlie :tppettl'ette'e‘til \tltlttet'\
\\ eathered h_\ time and nature
Treasures otthe University Library t 'IiIIll \trxerriher'. Spanning the eiitiie lel'st'ilIS \iiiee the tliiiridinei til the ( )Id ( hllege .lIItl ith ihr'au the e\hihititin etlII\1\l\tlI aneient htmks, ItitttIIlSe‘l ipts and arehiteettii‘aldi'amnes ITUIII thedtistiest SITL‘I\L‘SIII tIieI III\L‘t\lI_\ I ihiaix
'Ihe next ltl;tltit L‘\.lIlI‘IlltiII will he I .llI.lIi. iii‘gaiitsed iii etiii itinetii ill xx ith the L‘LIIIIITIII'L’II I'L‘\II\;II
I THEATRE WORKSHOP 1»1ll.riiiiltwii I’I.iee.:lh5-1:5 \Iiiii Sat Illarii ’Tpiiiairtl ILIIL‘LIIIFIITL'pe'lltltttlrttlee‘S
Blast2 I ‘tIIII Illx‘xtiutist ;\ri exliihitiwiiu! phntyapln taken h}. ptipilwt the phntngr;rph} el;i\\e\ heldnn these \ e r\ pl'L‘IIIISL‘S I369 GALLERY :33 ( ins thle‘. ‘2; VII.“
\IUII Sitl Ill .N‘IILIIII 53Her
ARI ek’; EXHIBITIONS LIS'I
Honeymoon.
Involving a large number of artists and using a diversity of materials and practices ranging through historical ephemera. installation. photography. painting and posterwork, the aim is to illuminate the nature ol ‘the wedding' in a multicultural society whilst remaining populist and occasionally
critical. However. it is ditticult to detect
any notion of marriage as the most socially—controlled form of state validated relationship. both economic
Pictures on Paperfii lnlu t‘airiiirg tII I\‘.IIIL{‘tilltIIlitllltll‘lllil\IT“Il.Ir mi rriiitiilvtitwis.iwerI l\\l‘llix Irl'-‘- i.r. Paintings byWendyBibbyl lllll l'll'. II i' iii,
Elrir‘n‘illllrllll“I':Iv‘l.llt \ ’l'« rrll\ lk't‘II-III‘tlll‘IIIZL'fiillr ‘l ‘ll'ftI '.‘.itI ih ii'wl t illlll'l‘l til puliplt iiiii- I‘t‘ll IIitil‘ilI.lII' trill“. tlieii ei‘\ti«~iiiiiuiit CBIIEIIIRBI iiIiI llll'. \ivi'.‘ pet
“xhiliitilii‘wt i .tiriliiieiw lil‘t"\tt'li’l
I lSI'e‘IIr li»liiii_' '»llltl:", IIIIIIIIl. lexttiiiiiiz' I ll \cilwii I“II .rIw will tlIIIllt'V-iill. lit. .\iiiiyltht illicit will Itr.ll‘.l .lIiIlL’\
I Iiei iaIlei'» 'x‘.III llle‘lr t Ime Illl .i \lllill I"\l iiiitiI the I "\II‘ .II I \llll‘lllt‘ll l‘l‘l.'ll'~tll': ' \iit"i\t ITORRANCEGALLERY.“’hlliiiid.ix\tieei. \Iitll I II l.riii irpii..S.it
.ll ‘llillll lpiii
From Barrato PortugalVia Scottish Golt COUTSBSI iiiil I'll. \\.rtt
‘HIIIHIIS laiiir‘tix .lliil IllliIIIIt‘ll‘x ItIII\\.I\‘~.lIt'
‘iet'll"ll\tll
‘II‘I‘III‘H-tl i»\ the «i. tittylllt \\lItll\il'lI‘ iIIIlL,’
.II prwtr-twls trillie I'irwal I Irispititl lttl Sit I. l llIlllIt'IlIIII tIlIIIitll.'_lI WestCoastArtistsgl llll‘» < >\tlt!ll\l ll .iitistsalldwiiiieiledintheWestt mist
Ilrt ltliilll',‘ ‘Hiriths Itriiee. Rtiheit Kelsey illtl eiiiex l rwiiiaiie‘xhihit their ieeeiit Ihernrllv' IWASPS STUDIOSIIIIIIIIIIIAII.IltllIIIIltill I’I tee I‘S‘l \ltin Sat 3 " *ltpiii PatrickGillies:Paintingst ttIlI Ill,lrll\
I .lll’r‘IHIII'IIITEISHII I‘L‘IIIt‘liIllIr .ilaiitl
:\ tlSl‘liIIL'I\ .l pivtiiie IlrlllllllL‘
ieIiur ‘lsllldilll x II'UtII‘. till il‘. «ill lll'lIiIlIe I «hill .iit'_l:.rrii\t IWAVERLEY TAYLOR GALLERY‘VI Itltf\liIlIllllltSlIt‘el 1“”1 ilttlli "I‘lll. Sal l l_tIII ~1prii
Shades OI Black I hid f" ltII\ I .lltjt‘l‘ltleh
tllil"»‘.llllt‘eli'\“1I\L’SIII‘III ltllitlilll'l.tt
“1 Ii'i
Itie
l —7 WEDDING BELLS
Despite the ease with which the exhibition assimilatesthe contradictions of marriage. many interesting ideas are explored. In the phototherapeutic work oIJo Spence and Rosy Martin the wedding is identified as a symbol ot imposed powerlessness on womenthereby exposing the hidden agendas which are covered overbythe glamourol romantic love. Conversely, Shirley Cameron‘s photoworks humourously discriminate inlavourolthe ‘superwoman' bride. Installation work by Sarah Morrell. ‘The Wedding Machine‘ satirisesthe commoditication otspirituality whilst Caroline Laidler and Tim McLeish in ‘Stag and Hen‘ reconstruct a room with pinkand blue peepholesthrough which we gaze at and listen to a stereotyped depiction of working class stag and hen parties.
From chocolate hearts and saucy Victorian postcardsto paperdolls with pushout wedding trousseaus. an impressive range olconsumeras well as religious objects are exhibited which illustratethe spectacle olthe wedding as well as the means by which it can be sold to our expectations.
lnlerestand amusement is achieved bythese chaoticjuxtapositions asthey reveal the archaeology olthe wedding. Subverting anylinal nostalgia. the agit posterolClass Warresonates withthe punk polemic ‘Better Dead Than Wed‘ gratiitied acrossthe engagement photograph of the Duke and Duchess of York. Today. sexual politics are inevitable. (Lorna J. Waite)
and patriarchal.
twat :i.rliii.ite \IlltIt'llI .it I tIlIil‘llLL'Il
t ~II we all .\it tIIllI reteiit reeipient tita xi Illll it‘xllll‘ Ill \ltltl\ at the IliitishSeIiririI ‘i‘ I'Ilill‘rt
It WILKIEHOUSEImau.rte.*S1ISTS.
\r t Itl\\L'\ tiiiiiI the end i it the \tlttillle‘l,
OUTSIDE THE CITIES
A selection of exhibitions outside Glasgow and Edinburgh.
Aberdeen l ABERDEEN ART GALLERY Selimilliill.
tiff lhlhiii \IHII Sat lll.iiii <piril Ihtiis tiiitil ‘I'Itl i. Stiii .f ‘I‘Ili
AlistairMagee I iitiI f.‘ Iiih I‘lir thelinal lt‘v. tlti\\tll \Idtit'L‘K tt‘\ltlelle\ ill the (ltllli'l \ the .ihstr itt till [‘.llIIIIIIfl\IIL"\
heeii pitldtieini: iii the l r.tllL'l\ ll\t'II aieriii
\Iitl‘J.
Aberdeenshire I KILORUMMY CASTLE striariticrrrri ‘ss
\Ittll S lI Ill.ttii "pm. Sun -7 <[itti Scottish Sculpture Open 5 l ‘nrrl It Sept ,>\ LIIIIII let til I'iiitrpean \etilptrirs \xliillim e heen I‘ll\\ [illitllle iiir' w rrk at the I Itlllll\ \IllllIHSIIISIilri‘. the IIIII\IIL‘\I I‘ltltllleIS
.iI: lllL'SItIe \t‘tilpttiiex ht «1 riati\ e artists in the iiiwiinds ~l IIIIS .iiieieiit r‘tiiiied eastle.
Dundee I SEAGATE GALLERY in -1llSe‘.ti1;ite. (IRS:
."hiil \Irrn Sat lllarii S ‘llpin Paperworks I 'iitil j‘l .Iiilx \Vtirkstintir IISIIIII paper IIIL'ILIIIIIIL' a thiee—tpiarter \I/C iriridel HI a Rtissiari I il SI Iank .ire e\hihited iii Ilil\ displas hx ItlL'LII tillllIIIlJIx'L'TS
Galashiels l CHRISTOPHER BOYD GALLERY ( )ld ( iala
Ihe rm I4 limit- inst) 55