Michael Craik Sal I: .\pt sat I“ \la}. \cv. paintingx and (Vinn- photographic pllllh h} Izdnihtngh .tlll\l \ltchacl (.l'illlx Sotnccd Iiotn thc doctnncntalion ol lhc nrhan landxcapc. (‘rallx \clcch aiclnlcclnral clclltt'nh to prodttcc ahxlract [IttIlIlIlIg‘x V- " '
FRUITMARKET GALLERY
~15 \lttl'lxt'l SII'CCI. .3 5K5. \ltill \tl
I latn 5.3llpin. Sun noon 5pm
Inka Essenhigh t'nnl Sat :1 \la) (Iitl'ltltlllrt'wlllk' Iignratiw paintingx h} .\'c\\ York hawd arltxt Inka l'.\\ctlltiglt inllucnccd h) llaltan chaixxancc iconograph}. .lapancxc [loo c pt'lllh and conlctnpoiat'} ni_\lhologic~, l'.\\ctilng|t \a}\ ol hcr \xorkz ‘.\I} paintingx ha\ c \tr.nghllor\\aid rau cncrg} III lhcin. and Iliat'x ulial t‘UIIIC\ acrmx ax hctng cartoon} and not Iinc art). 'l'hoxc ttl\\ll.lt'l qtialiticx arc in thcrc. hut \xithotit prclcnxion.‘
FMG Collection: American Artists l'nlil Sat 34 \la). 'lhc lirxl III a \crtcx oI occaxtonal c\hihition\ drau n lroin lhc I't‘tntinarkct (iallcr) '\ conlcinporar} art collcctton (UlIlIIIl\\IUIIL‘tl horn and donalcd h) arlixtx \\ llll “hom tlic gallcl'} lta\ \torkcd \\ Illl. ’I'hc \ho“ It‘ttllll't‘\ \xoi'k h} :MIIL‘I'IL‘JII ill‘ll\l\ or :tt'll\l\ haxcd in lhc I'SA including 'l'hoinax .onhua ('oopcr. Sol l,c\\ ill. Shirin chhat and Yoko Ono. FMG Collection in Focus Inc :3 .-\pr. opin. (lallci‘) dn‘cctor (lracinc Murra} (ll\\‘ll\\t‘\ kc} thpcch ol tlcwloping a contcinporar) art collcclion and introduccx \xorkx III thc cut't'cnt .'\lllk‘I'IL‘illI .'\l'll\l\ c\hihition,
GALERIE MIRAGES
Joa Rachurn l’lacc. 3|5 3mm. .\lon Sal Illain 5.30pm:
Spring/Summer Collection l‘nnl \Vcd 3” .-\pr. .1\ nc“ \pt'lllg/\IIIIIIIICI' collcction oljcncllcr} h) lli‘itixh and inlcrnational dcxigncrx.
Chinese Style l'nt'il Wm 30 Apr: ’l‘raditional (‘hincxc lurniturc and lludtlhax.
GOLD
(iallcr) «L Shop. 77 Dundax Strch 55p “5". Mon l‘ri Illatn ()Pllll Sal
lllain 5pm.
Wild Along the Edge l'ntil \Vcd It» .-\pr. .-\ \olo \hou ol' nc\\ Scolli\h landxcapm h} Stu/antic Borland.
A Brighter View 'l'hti I" .-\pr I’rt 33 Ma}. .-\ tni\cd \ho“ ol' \llll lilc and landxcapc paintingx h} \ill'ltlth artixh including \\Ul'l\\ h) Dchorah Rm cu. Marion ’l‘hoinxon and Sarah Bradl'ord.
HANOVER FINE ARTS
33a Dundax Strccl. 55h 3l.\'l. .\lon l-ri llain ppm; Sat ll),_‘~t)ain 5pm.
John Bathgate Sat 12 Apr Sat 3 Ma). Working in a \arict_\ ol' tncdia. \cht llighland landxcapm and liaxt l.othian coaxial \ccncx h} John Bathgatc. NI W SI {OW
Spring Mixed Exhibition (Part I) Sat l3 .-\pr Sat 5 Ma). .\ \clcclion oI' nc“ uorlxx h} gallcr} arti~tx Ironi Scotland and abroad.
THE HUB
(‘axtlchilL Ro}al .\lilc. 4773 2mm, Hail) 0.30am ltlpni.
Linda Green: Textiles l‘nnl Sun In .-\pr. Dclicatc tapcxtricx It) Linda (lrccn inxpircd h) hcr rcccnt lrawlx.
INGLEBY GALLERY
6 (‘arlton 'lcrracc. 550 4-14 I. Inc Sat ltlain 5pm.
Garry Fabian Miller t'ntil Sat 26 Apr. (Barr) l‘ahian .\lillcr\ opticall} incxtncri/ing photographic \\orl\\ arc crcalcd \\ ithonl thc ll\L‘ of a canicra or
liltn. lnxtcad hc \xorkx dircctl} with light.
ll\lllg tcchniqucx pionccrcd in thc I‘Ith ccnlur} h} William Ilcnr} I-‘o\ 'l'alhot. In hix \ccond mhihition at thc Inglchx (‘iallcr_\. .\lillcr “ill be \ho\\ittg hi; inoxt rcccnt crcationx including (In/(It'll Sim-nix and Burning. Scc rcx ic“.
Compositae by John Hutton Balfour on show at the Royal Botanic Garden
INSTITUT FRANCAIS D’ECOSSE l3 Randolph (‘rcxcan 335 5 {on
Mon I‘rt ().5ll;llll (i. Itlpin; Sat
Illatn I.3(Ipni.
Au Coeur des lmaginaires du Monde l'nnl \Vctl 3o .'\pll l’holographcr .\laric .\'ocllc Rohcrt doctrincntx indigcnoux pcrlot‘tntng artx Ironi all m cr lhc uorld III llll\ mlnhrtion ol 3” photograplh.
I2
(to (‘tnnhcrland Strccl. 55X 033,
Mon I‘ri Illain opin; Sal Illani ~Iplll. Robyn Denny l‘nnl Sat I() .\la_\. SL‘lL'L'lCtl \L‘I'L‘L‘llpt'lnh l1} Rolnn lk‘llll}.
LEITH GALLERY
()5 'I‘hc Shorc. I.cith. 553 5355. Inc l‘l'l I lain 5pm; Sat llain 4pm.
Davy Brown and George Birrell l'ntil Sat l‘) .»\pr. \t'\\ paintingx, Peter Goodfellow l'nnl Sat It) .'\pr. ;\ \tnall \olo \hou ol \\;ttcl‘colotn‘\ h} l’clcr (ioodlcllou.
Andrew Hill l'ntil Sal I‘) .-\pr. (‘crainicx
LEITH SCHOOL OF ART
35 North Junction Slrcct. l.cilh. 55-1 57M. .\lon Sat ltlain 4pm.
Between Paradise and the Abyss l'ntil Sat I3 .~\pit .\lc//ottnt\. ctchings and oil paintingx h} printinakcr Stuart Dnllin Ithpll‘Ctl h} ll'lp\ to Jcruxalctn
LYON & TURNBULL
33 Bronghton l’lacc. 55" 88-14.
.\lon Sun llam "pm
Antiques Sat I3 .-\pt'. I Iain. i-\ \pccialixt \alc ol' antiqticx. Decorative Arts \Vcd It» .-\pr. I lain. .-\ \alc ol' tlccoratn c art\ including a l.aliquc clcar. Iroxtcd and hluc \taincd
MAGNIFITAT 8i SONS
l‘lat 3. Ill llrnntxlicld .'\\L'Illlt'. 33‘) 0500. [or niot'c inlornialton cniail
InagntlitawI holntatlcotit or click on uuu.inaginlilal.com
The GIo-in-the-Dark Issue In I I .v\pr. 7pm and h} appointincnt on Sal I3 & Sun I i .-\pi. \lagntlilat picxcnt a nn\cd \hmx ol \xork h} \Iar} .v\nn 'l'uckcrnian and And) Slalcr pltix l‘l'ltlth' cttratcd h} IIahak (iah/i \xhtch lcatincx mm 30 ptcccx ol .n'tuork llI\ltlt' .l Iiidgc (io\hka .\lacnla. l)a\c llccch. (icltllt
\V} n l'.\an\ and 'l'honixon and ('raighcad arc among lhc contributing tll'll\l\ SI l( W.
MERZ
X" lli'otighton Strccl. 553 HDTV: \Vcd Sal noon opni; Sun noon ~lpin.
Equinox l'ntil Sat 3o :\pr. .\ nn\cd \hou ol paintingx Including uorkx h} .v\lan l)a\Ic. Stcxcn llood. l’htlip Rcc\c\. Mich;th ('raik. .-\ndrc\\ .\lcl\'cn/tc and Ian \Ic‘Kcti/ic Smith
NATIONAL GALLERY OF MODERN ART
IICll-tll'tl Rotttl. (‘34 (i3llll lt'ccnt'tlctl inlorinatton 3‘3 220m. .\lon \Vcd & t~'n Sun ltlani 5pm; 'I'hu llIain 7pm. Warhol to Koons: International Contemporary Art from a Private Collection l‘nnl Sun I Jun, l‘rcc. .v\n mhtlntton ol \xorkx on long lcrin loan including And} \Varhol. lad Rthcha. .lcll Koonx. Hill Viola and (iilhct't and (icorgc.
Earl I-Iaig l'ntil Sun I Jun. I'rcc, 'Io cclchratc thc artixt‘x X5th hirthda}. an c\hihition ol painltngx h} Izarl Ilaig I'caturing lantlxcapcx III oil and uatcrcolonr Ill\pll'L'tl h} lll\ honic tn thc Scottixh Bordcrx. Izarl llaig \crx cd in thc Ko}al Scolx (irc_\\ during \Vorltl \Var ll. \pcnding thc Iinal _\car\ ol thc \xar
totixt whiz: I‘IIM‘II
-' at ( .I'Iil‘t‘I'At‘ll \ itool of \It :n l otttlon Recent Gifts, Loans and Bequests l :1!:': \ti:: lilnl lltc L'll'lllltlllln‘l \‘lll1\“‘.:llt‘l\ I\ tlchficd to .1 ll:\;‘I.:\ oI tctcnt -"Tt\. ioanx .nztl lx'titacxtx .nnl trtcltttltx \xork l\\ lolnt \\cl'.\ I‘ll" .‘INNM ( rl ('olltitx vl‘lll\ \‘U l.1IIIt‘\(i~\\It'Il\\f\ l‘l‘tw
.:II\ll\l‘..1Itl \lnntlillVV‘ l"11~
NATIONAL GALLERY OF SCOTLAND
lltt' \lottntl. M31h‘tltllictoitlctl tnlottrtalion ii.‘ .“Ixm \lon \\utl .\
lII \tni lHant 5pm. llIII lll.tl‘.l ‘pm The Print in Italy 1550—1620
I Illll \ttn “ \pi I Il‘_‘I.t\lll‘.'\. ctt Inn-xx and \tootlt Ill\ protltitctl III llal‘. tlnirnc tlic pctiotl l“H to loft! on loan Iron: tlic lilll‘mll \lnxcnm'x t ollct Iron \Ill\l\
1n. ltitlc l lt'llllIl‘.‘ ( orncltx ( iHIl
\t. l t'ilcitto llaiot .I
tl‘ ‘5 lhl 3'. Mn lnollich \Z‘I‘\llllt\ tl5“ INI.‘~ .llltll .zrratti and l rantcxto \ Illantcna IV" In ‘ l» Gainsborough’s Beautiful Mrs Graham I IIlIl \nn .‘.‘ Inn til! .‘I \ Ian III.tlIII:' \'\lIIl‘llIt‘II dcxotctl to Ihc \alional (u.il|ci_\ oI \ oll.intl\ \\|‘lltl l.I|IIUlI\ poitiatl o! In. //m:u.wii/>/. Iln (rim/14H): In llIHlII.I\ ( I.IIlI\l‘t‘lt‘ll_‘,'ll
II '3' \\» ("titalcd l\\ lllli'll llclxcx. curator ol (i.llll\l‘ttli‘llt'll llonxc III \lltll‘llH. llic c\lnl\tlion c\plorc\ thc pciwnal. wt I.tl and lII\ltIlI\ .Il \l‘lll\'\l ol lhc pit llllt' Ill dcplli and lt‘.iltllt'\ .t \clcttion ol ;'Ic.it [IHIII..II\ l\_\ (i.tlII\l‘HlHll‘.'lI, l(t'\it«~ltl\_ l .micntc and \an l)_\tl\
Fashion on Display l: Gainsborough In II \w I ‘ \VIclHlIJ \lII.ttltIl liotn l dtnltnit'li ('Hllcg't' Hl \ll f.'l\t'\ .t l.lll\ After Hours llIlI Ili .\ llIlI 31 \pr
5 ;“pm llic (i.illt‘t§ \ \lt‘tll\ \l.l\ opt-n |ll\l that ltlllc lnl Ialci lot .I ptogtannnc oI lalkx. lllll\lt. lt'.ttllllf_'\ and. o! \lllll\t'.
hl§ll
15pm
NATIONAL LIBRARY OF SCOTLAND
(it'ttlflt‘ l\ lllltlzft‘. 33“ l5 5| \loll \al Illaln 5pm \un 3 5pm
Theatres du Monde l nlil \M-tl zo \pi \n c\lnl\ttion ol pliologiaphx In \Ich \ocllc Roltctl tlottnncntint' lln- \I.II\HII dcx ( ’tiltnicx «In \lontlc\ l t'\ll\.tl dc I'ltnag'inaiic
NATIONAL PORTRAIT GALLERY ()ticcn \liccl. (Cl (\3INI tit-t oidcd inloitnation “3 33pm \lon \\cd .\
lIl \nn lllani 5pm. lllll Illain “pin (hllt'
Navigating Stevenson: Digital Artworks by Sara Gadd l nnl Snn ll “.0 l tcc \Itlc l.ll_‘_'t‘ \\.ll\' digital art \xoi‘ln h} \aia (iadd lll.tll\\ lhc III\l cotnpnlcr gcncialcd t‘\l1ll‘llIHll at lhc \Jllttllal (i.illt‘tlt‘\ HI \uillalltl l \Illt' lllt' lalcxl lcthnolog}. (iadd lI.I\ t icalcd a \t‘llt'\ oI \ nlnal \P.I\L'\ ulnch It't'lt'.|lt'\ llIt' cclclnalcd anlhoi Rohcit l Ulll\ Slc\cn\oll\ rottinc)\ to thc South \ca lxlandx Ill IXXX
Robert Louis Stevenson l'ntil \un ll \la) l‘tcc \n .itcoinpaang \tllall c\hihition ol [I.llllllllj_'\. drau III}._‘\. punk and \clllpllll't' cclchranng thc lilc oI Ihc icnouncd author. Rohcit l Hlll\ Stun-morn Mad, Bad and Dangerous: The Cult of Lord Byron l nnl Mun 3!) \la} I‘t‘cc ()rganixcd h} Ihc .National Portrait (iallcr) in l.ondon. llll\ mlnhrlion i‘cinlcrprch thc continuing l;l\L‘Ill.'tIlHlI lor Ihc Romantic poct lord ll}ron t INK I331: l-caltirtng mcr It)“ \xorkx including paintingx. \culpturcx and nnniattircx. lcltcrx and ltlcrar} inannxcriplx. thc \hov. c\plorc\ hou “york lilcrar} Iainc and \ocial notorict} ucrc Iticllcd h} Ihc man} rcprcxcntalionx ol lhc poct
Bold and Native Energy: The Ettrick Shepherd and Lord Byron \Vcd lo Apr: I3.J5pin, (itllian IItiglicx I'roin Stirling l'nixcrxtt} _‘_'l\L'\ a
talk.
1’, ’3‘]! :/y
THE LIST B7