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illitIL‘TliiIlNlll.
I EDINBURGH COLLEGE OFARTI itIIll\itlli I’Iaee. EDWIN I. \Iiin 'I Illll\ Illaiii 5pm; I'll Illain 4pm. Sat Sun Illani :Plli
FirstYearStudents‘ Exhibition l mu 3M )el
Andrew (iiant ( ialleri.
Drawings Fromthe College Collection 1. _.~
Oct. Sculpture ( ‘iiiiit.
Open Days 35 Iti()el
IEOINBURGH PRINTMAKERS WORKSHOP AND GALLERY :3 I'niiinStieet.>5_31fi‘l \Iiin Sat Illam 5.3llpiii.
Two Women Printmakersl‘niil l1()e't Work It} .\I.ii_\ Rose ( )‘\'eill anil I IIlklil Iarqiiliarxiin
Elspeth Lamszouchstones :Iitiei l“.\m New work It} an (ll'Il\I \HIII a L'iim me reptttattiin; te\tiiied mian pi mteil tin papei anil \llh. «in .i \eale llllll\ll;ll in pl'lllilllilhlll};
I FILMHOUSE I Hillian Rimil. ::\ 3W5. \Iiin Sat IltltlIi lliini. Stinfi .ill I liiin 24IDIDS I hit] RI Oct Itlae'k anti \\IlliL‘ \Ilti[\ Ii} l)a\ til I Iimaiil
I lie permanent e\hihitiiiii «it ( 'nI'an \ereen prints UlllIlllllL'\ m the ie\l.itltattl anilhai.
I FINE ART SOCIETY 1.?‘(iei'rueStiei-i. lllltfifill. \Iiin I-i'i‘l..‘~|'.im Yillpnifiat Illain lpin
SirDavid Young Cameron1865—1945l Hill I“ ( )L'i .‘\ Ie'.ttllll}1 .\e‘llIIl\Il I.tllLI\e'.tpe ai'tist.(‘aineiun stat teiI l‘.1\ eai'eei asa Iaiiier‘anil latei lieeaine IIl\ .\I.l|L“\I_\ K I’amtei‘ and I iinner tiii fieutlanil SirDavidMuirhead Bone 1876—19533ii ()et la \m. .\ hiehl} \leIIL'kI iliaiiehtsnian. Itiine \taiteil Olli as an aiehiteet and later Iteeaine tittieial u .ll artist in hiith \\ iirlil \\ arx.
I FLYING COLOURS GALLERY 3* \\ illiiin Stieet. ZISIVW I'iie I‘ll liani (min. \at Illam lpin.
Rosemary Beatonl‘mhii (it-i \e'\\‘.\illI-, lll pastels Ii_\ the WM winner III the \atinnal I’iii trait Award. ilepietme iaH llltl\lL'l;lll\ antl Ianilseapes. \\ itli wine inteiiiii‘sanil liteiliaiimgs.
I THE FRENCH INSTITUTE l} Randolph t‘reseent. 3.75 53ml, \Iiin I'll
‘IRllain 5..‘~ilpiii; Sat “fit lain l..‘\lliim. Glen Scouller: Provencal Light 1 mil in ()etiiI‘ei'. (ilaseim—Iiiirn Seiiiillei \ I'l iuht eiiliiiii‘liil paintings are inspireil Ii} Ille \illaeesnt I’i'menee and the Mediterranean eiiaxtal I.tllLI\L.l}iL'. ITHE FRUITMARKET GALLERY Market Street. 335 :35}. Iiie Sat Illain 5.3llpm. Ihnrx Illani wpin; Sim nimn 5. illpm. Peter Kennard: Images forthe End otthe Century I.” )et l.\ Nov Ixennanl l\ Iti'itain\liireintist expunenliit photiiiniintaue.erealmu iniaeexnl ileIiale anilaetivit} ; \isiialeiiiiatiiinxanil
oppositions which attempt Itl 'iiii apart . ..
the \iiitaee til tiltieial ileeeit'. I Ie employs anilxiilnertseiintenipiiian ieiinieiniaues Il‘ explore a \arieti iii illeiitex meltiilme the arms i aee. \xiii'lil pm rib and the L'UIIIIL‘L‘IIOII\ hetueen them. .mil to examine the u a_\ x in \\ hieh \\ e are eiieieeil It} the media.
ART & EXHIBITIONS
MATERIAL TRUTH
5%. v-
David Nash, National Gallery of Modern Art. Edinburgh
People who enjoyed the Andy Goldsworthy exhibition at Edinburgh‘s Botanic Gardens should make a point of going to see David Nash‘s sculpture at the Gallery of Modern Art. Goldsworthy worked with Nash after leaving college and learned much from him. The two artists share a similar ethos in their approach to their materials—a great respect for nature and natural processes —yet their work is in many ways dissimilar. Visitors to the Nash exhibition will find work that is a lot tougherthan Goldsworthy‘s, less pretty. and at the same time often less ‘artful‘ and yet more humorous or even sexy.
Nash's sculpture is made exclusively from wood. He uses only wood that has fallen or died naturally which he then cuts and carves into rough. organic shapes or into slices. The pieces are not ‘finished‘ when Nash stops working on them: time plays an important part. The wood gradually dries. cracks and warps: pieces that are made for
outdoor sites continue growing or are slowly reabsorbed by nature. leaving the landscape altered. These processes are seen as integral to the work as titles such as ‘Crack and Warp Column’ make clear. Some otthe pieces are burned to charcoal: when placed outside, this altects their re-absorption, and the kinds of plants thatwill grow overthem.
Nash’s working process can be seen as an intervention in the landscape and in nature‘s growth patterns. rather than as a process of taking or rediverting material into completely new uses. ln this he fits well with the spirit of the times—compassionate, gentle; he makes his own charcoal from fallen branches. 0n the other hand he follows to an extraordinary degree the modernist dictum usually exemplified by Henry Moore of ‘truth to materials‘ — an attitude rarely found among today's post-modernists with their interest in simulacra and artifice. It gives a refreshing simplicity and integrity to his work. (Hilary Robinson)
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at 3pm. David Hosie: Recent Paintings 1 1i. let in \m. I'IiiiiiL'Ii eini‘ilm in;' a ililleient iiliiim.
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TRLBOT RICE GRLLERY
University of Edinburgh, Old College, South Bridge. Tel: 031 667 101 1 ext 4308
13 Oct RUSSELL COLOMBO Recent Paintings
20 Oct - JOHN MOONEY Recent Paintings
17 Nov
Tues-Sat 10am-5pm
Admission
Free
Jewels and Boxes l hill 3 Nm. Siliei .i
()et at 1pm. and tor the general iinliliuriii Sat 3," ( )et at 2pm.
I GALERIE MIRAGES Raehni'n I’laee 31* Still}. The I'l‘l Ill. iflam »1..illiiiii. \at
Illam 5pm (‘liiseilXIiiiiilais
and Iilph ieiiellei'i irtiin IllLIl;l and Thailand. airing \\ itIi large and \lll.tII Iii mus triini Iiiii ma. Korea. IlltItlllL‘\l;l .mil Il!i_Il.t.
I GALLERY OF MODERN ART Iiellv iliI
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2 5pm. [I)]('ate.
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William McCance I llIlI \iw Md anee. iiiieeliaileil ixiheleailmu llIl\IttIIllC
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l‘l ll‘iIi'l l‘IlIiIhlle‘l teacher and eiitie I II\ ‘.\I‘l'I~. lt‘\.r .il\ iItc iniliiwiigeiil \ illIlL'I\lll. lint crime-x \ .i ‘A‘IIKIII‘x .inil \i'lllltllllJI \wliiiiie.i\\i.ell.ixai‘imeitiil\enxeiil iiimeiiient llex"-.llll‘lililll i\.im;iiiit Hull‘l‘lrllmlli'l Iltl‘xIllllt'ihlliWHlitiil\I. .‘meiiii: exei \ atrium iii Ill\ \rli ietliiiitiiiit. ll GRAEME MURRAY GALLERY 1‘ Heritlanil \ti;~ei. ‘ ‘I fulfil. lire I’l lilam 5i‘lll.StlI Ill.llll liiiii POIBSISI llIlI Illellli‘ill 'I‘i i “'
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E HANOVER FINE ART
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l ItllliI.l\ Street.
\iwn Ill i".i1i: ‘ *I'piiifiéal
{Weir if»; RecentPainiingsbyJamesSnmen/illel‘niil l«i )r_i
From Kirinmy to Baliiakeil flit it l-ie ’. izl Iii‘iwai' l-liii.v
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Christine Sieverson: Ceramic Stoneware Ill
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Tribute to Santoniaso (1907—1990) l ‘viiilii
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lilani 1. ‘vliiiziifml illazii liim I’ciiiianenl e.illi,'i.‘iii>ii t‘l I<ii\\i;iiiaiiil I'ieiiuhy iiiilmi‘ani‘ui iilptiii'e EMALCOLMINNES GALLERYfiWii-iiiue ill» fi\i \luii l:i‘l iilain iipni; .‘xai .‘Iil'll Il‘lll
The Witching Hour.‘ 1i let .1 \m Scottish ll‘. 'l laiw‘lx .iitexli‘. I<1ilie‘li\\\;lil. NATIONALGALLERY OF SCOTLAND IIie Mitzinii. WWW} '\ii~n .\at lllani 5pm \iiii.‘ ‘i‘iit
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‘iIIllliIlltiI‘.1\L‘Ie'tlltillitl[MllllililLZN
()4 George Street. Edinburgh ILI I2 Hit". '1 el it}! 225 5945
JAMES MORRISON, ARSA, RSVV "ANGUS AND ASSYNT"
"MASTERS OF LUSTRIC" ALAN CAIGER-SMITH & SUTTON TAYLOR
ALICE KETTij ~ EMBROIDERY
5 - 30 October Mon-Fri 10 - 6; Sat 10 - l.
Iile'I l\I
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