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I PROVAND'S LURDSHIP ( ‘mtlc Slit-ct 552881”. Mon Sui Ilium 5pm. Sun 2pm 5pm.
A display (it phuingi tiphs i'ct‘mi thug; Inc in 'l‘tm'nhcad.
I SCOTTISH AMICABLE LIFE ASSURANCE ISII SI VIITL‘L'ITI SIIL'L'I. :15 2.1:.“ Mon 'I'IIIlitI‘li 5pm
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369 Gallery, Edinburgh On the top lloor ol the 369 are pleasant, modest small-scale works by Tina Leppanen-Ritchie, originally from Finland but based in Scotland. Gillian Farmer, who graduated lrom Glasgow School olArt in 1986, has the ground floor. Heroil paintings are disturbed threatened, grieving pastorals inhabited by reclining or embracing ligures, sometimes distracted by birds: the impact of these dramas is subdued rather than intensitied by an accomplished, often beautitul, use ol colour. “The Start‘ and ‘Dreams and False Alarms‘ are impressive, but a balance between pure colour and content is most consistently achieved in the drawings — ‘Painted Pillow‘, a response to myths ol the origin at painting, and above all ‘Faculties lntact‘, which, Picasso-like, retains a strong sense ol the real without recourse to realism.
Also showing is an exhibition lirst seen in Aberdeen Art Gallery of recent work by Kate Downie, Phil Duthie. Brian Macbeath, Ian Robertson and Graeme Swanson, all olwhom graduated from Gray‘s School of Art. Aberdeen, ten years ago. A warning at that time trom one at their lecturers that the lirstten years were the worst, Inspired the present show. Like much contemporary painting, Duthie‘s two
CLASS MATES
large canvasesrelyon scale and symbolism, withouttully establishinga lile lorthe symbols particularto his work. Robertson‘s symbolstake their place within a decorative scheme, as in 'Seraglio' orthe splendid ‘Magyar'. MacBeath'slandscapes combine dillerentviewpoints and conventions into simple patterns. emphasising such importantdetailsasthe burning field in ‘Aldourie‘. Swanson disguises representation as abstraction. The greatest impact, partly because her workis so dilterentlromthe relentlessly colourist369 house style, is made by Downie'sindustrial landscapes, particularly ‘The Bridge To Nowhere'. and the extraordinary ‘Rock Lobsterand Catchthe Gang‘, which achieves a cinematic eltectthroughthe devices olpainting and caricature. (Alan Woods)
Exhibitions 20 Oct—1 9 Nov 1989 THROUGH PHOTOGRAPHY Oladele Ajiboye Bamgboye. Lorna Bates, i Matthew Dalzrel. BrianiJenkins. Vaughandudge MADRID PRINTS it Artists working in Madrid LOUISE GIBB
Handpainted silkand wool scan/es Four On Tour Sculpture on display Work by Doug Cooker in the Sculpture Court ADMISSION FREE 10—5 daily: Sunday 2 ’3 Crawford Arts Cent»). ‘33 \iurt' SI oug StAudrcxns 1.03.3.1» $1010
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(il-;\S(}()\\' l’RlNl S'I‘lll)l() I GALLERY l
Until 21 October Mon—Satmam—5.30pm 22 King Street, Glasgow Ci SQI’ Tel: 041 552 0704
’< >ni’ at lllt’ wanders atanr artistic llt’l'lltlkx‘t . Tilii OBSERVER “A painter at. inti’i‘iiatiwial statnri’.’ FINANCIALTIMFS ’l. l). [-1 rgnssun zvi'uta’I't-ind it haul in lii'liia'r lllll i ant/any lIzZS painted lllt’ st’a llt’Ilt’l' tlian All 'lagga/‘r ' t In Illt’ i’t‘iclt’ntt’ aft/12's titliiln'tian any has tn agii'i'.’ Tiiii SCOTSMA .'\ 'l‘ln’t‘n'st i’xliiliitiun wartln/ titan intrrnatianal ii’f‘llilll tt 7‘ St’Z’t’i‘tZl ‘l/t’lli'fi Mi‘rl‘aggart is, llt’l/tlllll I’ltnil‘t, tlrx' mm» inniartant Smttis‘lz artist since Rar’lnn‘n lllll/ II. ilk/w
a lag, original tali’nt Tiiiaiisr
“One at St‘utland’s last lu’pt sit/via
is the art at I/Villiani Malaggart.'
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