utt thcn l.tlc\l PIUIL'LI\ \I-Illkll lllkllltlL' thy (‘hatlt'x chntc \Illklxllllll\ll IIIIL'IIUI .2! 7H I)L'Illj_'.'lIL'. \Hl'lllalltplttll .llItI thc l)c In “an l’;t\tlltnn Ill I‘Imlnll en Sea New Formations In I" Sq» 'l hu .3 Nut \ltnuydxc HI \knllx It} _\ttllll_‘_' IL'\\t'llt'l_\ (Ik'\|‘._'llt'l\ plnx lmttlc \mt'ux It;tj_'\ ttlltl llt'kk'\\(lllk'\.
Architecture in Scotland 8m Ix Sq» In 23 (kt Ihc launch «rt .1 hmnntml tun-u nl Scutnxh .llt'llllt'kllllk'. lmtunn}; htnltltnpx and lantlxtxtpc [)l‘ult't‘h UHHPIL'IUI Hl tIlIL' Ittl unnplcttnn Ill Ill“; and thtt-I. Sec
lvattnt' un lllm‘lx. [mgr l9 .: .. /'
MCLELLAN GALLERIES
270 Sam'htvhall Strut-l. 565 alllttl. l‘l'l & Sun llatn iptn; \lun 'lhtt tk Sat
lllgnn 5pm
Art Treasures of Kelvingrove l'ntll \le Ill \m. .\x lhc Kt‘lungrmc .\lll\\'llllt & .r\rl (talk-t} hax mm chm-(I lI\ (ltml'\ IUI tnatnt t’t‘luthtxhntcnt. mm It)” nl ll\ pantttnpx talu' up t'cxttlcnt'} at IIIL' \lk'l .t'llatl (htllt‘l'lt'x ll IIL' tlhplgt} Illk'llltlkN ‘l llttlll;l\ Inn'th I'ln' luxt u/ I/u' ('lun untl Rmnhmntlt'x .I .llun m ,Ir/mmr. [lllh \\Hl'l\ It} ('ltat‘lL'x chnlc Mackintmh. Dutch and I'lcnnxh at'l.
Glasgow Private Galleries
COLLINS GALLERY
l‘niwrxlt} nl Slt';tlltcl_\tlc. 22 thhtnuml Stu-ct. 5-33 2553‘ Men In Illztnt 5pm“. Sat nnun -lptn.
Polly Binns: Surfacing l'ntil Sal 0 ()cl. :\ I'L‘Il'(t\[k\‘ll\c mhthttiun \panning [hr 25 )mt' urn-ct ul l’nll} Ilinnx and L'utnprlxlng. In mth Inullzt. thc lilakcnc} channcl t‘ttlhlllllL' on thc nut'th an’lulk cuaxt.
COMPASS GALLERY
I73 \VLNI RL‘jJL‘lll SII‘L‘L'I. Ill ()37ll. Mun Sal Illunt 5.30pm. Cityscapes of Glasgow l'ntll Inc M Sup. l’nl) tnct~ pltutngt‘uxut‘t‘x and (Iramtngx h) ll;ll'l'_\ \Ittgcc.
Harry Magee l'nttl Sun I.\' Sop. (Bruin). :tltnmphct'ic pt'lllh cnlttlul I’urlit' xxx/mm.
GATEHOUSE GALLERY Rutthn (ilcn Ruml. (Ct) 0335. Mon. 'I'hu. In & Sun IN) 5.30pm; Sal
I l.3ll;tttt 5. illplll.
Mixed Show I nttl 'Ihu ‘tt \cp l’.nnttnj_'\ It} gttllcr‘} .trnxtx [‘llh \klllpllllk'. pctanno .IIIkI tcxwllct} tnt‘lmhng mth It} \nrtc \Iurrtwn .Illkl l.}tt \Mrltwn
CYRIL GERBER FINE ART
IAIN \\L'\l RL‘jJL‘lll SII'L‘L'I. jjl ill"; .\lun Sal ‘I Want 5 zllpnt
Tom Shanks l’nttl Inc Is \-p \m p.tlllllllj_'\ cntrllml \M‘xt lltghlantl l.tllltl\\'.lpk'\, Rant and Sunxhtnt‘
LLOYD JEROME GALLERY
Illl) Bath Stt‘ccl. Hl “"23. Inc \at “am “pm.
Scottish Art l‘nttl \\L'\I 33 \‘p I'llllkl tawny L'\IllI\lllHll IHl lhc I<\'III.
MANSFIELD PARK GALLERY
5 ll}lltll;llltl Sll‘k‘k‘l. i-l: ~ll2~l “ml III I latn (rpm; Sal ll.ttn 5pm; Sun
lttmtl Jpnr
Autumn Exhibition l'nttl \ttm 2H Scp. Su‘u'npt'lntx. tlr} pulttlx and \Klllltlt'lll\ It} lUlll (illl\j._'tl\\ Intxctl .ll'll\l
PENTAGON CENTRE
3n \Vuxhlngtnn Sln'cl. III 3 I 3 I.
.\Iun l’t't Want 5pm.
Mixed Show l'mll Stu tr ( )t-t. l-nc tnctnhcrx ul thc Stgthlc Sttnltux mlnhtt Itcu \xnt‘k.
SCOTLANDART.COM
(» llurttllcltl Read. (itllnm‘k. (t ‘5 lllllt. Mun l‘rt ll;llll (rpm; Sat Ill.tlll Silltttn; Sun nuun 5.30pm.
Group Exhibition l'mtl I'Im It» Scp (lump mhlhitimt It) l’atx) .\I\‘.-\l'llltll’. llul Huang. Izlcnu Kuttt‘cnkma. Ian Iilhut. lIt‘lun llat‘tlv} and \Ianun 'l'ltutnwn.
Mixed Group Exhibition 'l‘hu It) SCI) \Vt'tl l3 ()Cl. \Ilu‘tl le'Ullp mhihitinn It} 50 rt'gulgtr gztllct‘} ;ll‘ll\l\.
STREET LEVEL 30 King; Slt‘cct. 552 IISI. Int- Sal Illant 5.3llpnt.
0 Virtual Migrants - Terminal Frontiers 0.00 (mil Sat 2 ()L‘l. (lmup inxlullalinn pt‘nlcctx h} Itl'll\l\ lmtn \luttcltcxtcr. Incrptml and l.(lll(IUll \xhuw intcructnc t'lk‘k'll'lllllk' \\Ul‘l\\ tucklc ixxucx ul ax} llllll and gluhgtllxunun. Sec toxic“ and llll I'lxl.
Scottish Art on show at the Lloyd Jerome Gallery
Glasgow Artists Spaces
273
3‘: lltgh \IIK'L'I‘ "fli— ll.tIII *ptn
Seam - Before the Opera 1 nttl m: :5 \vt\.: it‘n: In t: It‘lIlIL'I meant \hnt‘ untt. .tIII\I Hm \I \\I ‘.ll\tl \nnc \I.tt:c \\.ttwn .tntl I 1/ \httnnunt \ uttttc thc Iatt'x: nt .1 wan wt mhtl‘thnm .‘.I IlII\ nc'x‘. gallct} \I‘.t\\‘ \\ llll the \lll‘l‘t‘ll wt (il.t\;_'nu ('tt} (hunt ll. lIlk' \Itmk [It 2w .'tv.'( (ll/re I“ Ik'.lllllk'\ IIIC \\\‘II\ \‘I I I\‘\l I)CI\I'\'I\CII .lllkl .lwnalltan \ntt \ mt Ill gallct} npcntn; Inncx HI tall I’M-1 ‘ Ill< ‘.\I tw .tII.tII‘_"\‘ .III .tppntntntcnt
I“; “I Inc \.:t
MARKET
‘33 t\ 23‘1Huh-Strutllcnntxtuun.“h “37‘ Illk‘ \tt nuun (\pnt
Improve the Shining Hour - Cath Keay l Illll \.tt II My lnxt wlw \htm IIHIII IIII\ ( ll.t\j.‘u\\ l‘ttu‘xl .tlll\l tlxtttt' I‘L'k' III\L'\ .t\ .m analnt'} ml the human \\\.tlIII Shc hm ntmlcllnl I" ilk htnltlntfgx hunt \hu'h HI It‘lllltIJlIUII \\.l\ \xhtph \IIL' Inltuthtu'x tn lllk' hnc .IIIKI lk'I\ Ihc Itccx jJCIIH\\HtI\ I I I I:
THE MODERN INSTITUTE
"3 Rttlk‘l'lxtrlt XIIL‘L‘I. \tlllx‘ It. I luv! I. t‘ l-\ VI I, Inc In ntmn *ptn
Tony Swain l nltl In I (kt lk-Itttt \ulu \htm hunt Illtx ( il.t\j,‘tt\\ I‘.I\k'\l .tIII\I [tlch‘lllllth l.llll;l\ll\'.ll. .tl‘\ll.t\I .Illtl .u't) ht [t.tlllllllf_‘\ lHlij‘tI IlHllt Illk' I‘llltltllll [max ml llL'uxlmlk'H .tntl III.lf._'.t/IIIL'\ '
.3? l’ r”
SORCHA DALLAS
5 St .\I;tt'g_';tl'vt\ I’lau'. (PM) (MSTH 'I'lttt Sal I 5pm.
G Henry Coombes 0000 1 “III Sat ll Sup. I 5pm. I't'ufl ,\c\\ \L't'tcx ul \wrkx on [Mtllcl ll‘uttl lllk' tum-Ht (ll;t\},‘tt\\ Schuul ul :\l'l )Jl'tltllllllk‘. t'lIl]‘Il.I\l\lll_L' lllk' cntt'cnt'hctl puhhml. \'lllllll.ll .Illtl t'l.t\\ cunnutgtltum ml the II.Itlll|UIl.tl ntulm ul utl that hc \Mttlm lll. (Ltll IN! .1” gtppntntntcnt (llll\l\lL' llttl'lltJl jJ.tllL‘l_\ npcntng: huttrx. Scc llll IN '
(Ll lfot LI I13“! E
[VSF]
Vacant \ltup hunt. l.\' \\UH\II.III\I\ RUJKI. (Yul-l" “$th
Ally Wallace l’nttl Sun I3 St'p \th
\ulu \htm.
st'ms Art
Henry Coombes
lhfittttl‘rt'r; t : ",w
rtltt‘lt1zt‘ttf; II‘. ivt‘t Iltltil, ‘tatttt‘.
pantie! <‘()l()‘ll t'trr'.‘ t‘
then unnerx-H :
rex'tew. 8 tr H14.
(V11~‘v‘tr<r.'.t t‘fi‘“ '. t (w
\)(II ,I xjtlxl, rl't'lr‘
I) l:.t'.::; III
.(It‘t'
,w ‘I “I It
The Pumpkin Palace
(3(7,
(ihanee anrl ‘,t;t.‘
(tr), up nr‘.
It?» \rttlt l.tr;I
Assent 3w
anytlunu lulu; it .tttatn lake
(leep breath; as
,(‘tltfl‘ltll
Mtke Nelnen'é; (‘envet‘tezl ISIS-1
travel ltllf;
resonates; anrl reeks: wrtl
Intense, II'ITIIEIIIIIM]
(?.I( h ltttle ru- )llt
atmosphere. l’att pl (Lttlltftill‘w’t' Off Site Muted. (5 Min/wt Street, next the (My Art Centre, untr/ Sun I.” f £4 1/), It/e Sun, Ila/n tip/n, tree Alison Watt ()nm: 9'! )' I've been shaken anrl fillll’t‘tl I); HIOPIIHI/MHIAMY/(1(1)wall;jtlfLI a tntnute ill, the mart :1an take tn Wall's tnenutnenlal teur
panel patnttnu, .‘Jt/tl
Suspended Il‘ the Menwnal (Zhapel the ltltnxlflrn patntznr; of white l(tl)l'l(,‘ gather", tuwatrlf, a central nut) Will] lllll(;l‘. tr) reflect upon. ()/r/ S! Pan/2‘; Church, Jeffrey Strwrt, nntr/
8H! FR”)
Virtual Migrants: Terminal Frontiers Are yen a stranger? Are ypu a local? SIX theusanrl people are currently seektnr; asylum III Glasgevtr. The work ()I etx exploring thtis ltrnlm lanrl I‘; en Show here wrth {JUWUFIHI results. See revrew Street leve/ Phetowerks, ( 3/(1';(/()W. 3332 2 7:3 7, unt/l Sat 1/ Oct. tree.
The Age of Titian Or! was the muse and means for painters III the Venettan eeurt around Ttttan's day. A IIFSI love. tt was treated thh the deltght. Obsessmn and fascination It deserved. Roya/ Scott/sh Academy Bur/(1mg. Edinburgh. 225 6677, untr/ Sun 5 Dec. MonvSat tOt’tmvSpm; Sun
noon-6pm, F7 ([5)
>1 THE LIST 91