rcvmrlang nI IIIL' I nndnn I IIIlt‘IL'IHlIIIII map. "IIII‘ (iIL'aI BcaI' IIILIIIIIK'5 Iu\ InaInI \HIII.. '(icnt‘IaI '\\\t'llll‘l_\ I‘M-1‘ \u‘ [nun-v. and IIIIII\I ’ '
I NATIONAL GALLERY OF MODERN ART
75 Iit'llllltl Rnarl. (L31 (i3lill \Inn \M'II k III Sun IIIaIn 5pm. 'Ilm III.IIII 3pm Andy Warhol: Self Portraits I nul \lnn 3 \1a} 5 4L5 5m .\\ part nI lllt' \JIIHIMI (iaIIL'I’It'x' .l )i (II III Inn III (III III Ilux mainr \II()\\ dcwlcx IIwII In Illt' \t'll pnIIIaIIx nI .\Ir ;\nd_\ \\.IIIrnI I I‘I3” .5"). Hamming Illt' \xa} III \xlm'li Illk' .III|\I lililllil}t'(l IIIIII\L'II III pamImgx. diau nng prmlx. plinlngiaplix. Ii|m\ and uaIIpapt-I (IIII\ I\ lllt' nIlI_\ l K \IIIMIIIg \I'L' IlIlII\l Curator’s Tour of Andy Warhol: Self-Portraits \lnn 3| I'cli. I3 ‘I5pm I‘II'L' (IIIL‘I t'lIIIIIHI HI lllt' \\.IIIIHI \IIIM. KL‘IIII IIarllt'}. gin-x IIu\ Iu'luiv
I NATIONAL PORTRAIT GALLERY
I ()uccn Slru'l. (i3-I (i3IIII .\Inn \M-d & I'll Sun IlIam 5pm; 'IIIu IIIam “pm.
A Tale of No Cities In IN I'k'l‘ ~\un 3 Ma}. Salu‘it'al I’aIII'aIunw Ii} .Inlm Ka} nI chmc} Izdinhurgli Iigum \lIL‘lI ax .-\dam Smilh. lh‘acnn Bindn' and ;\dmIraI Duncan. cnnIraxlt'd \\ llll t'UlIlt'llllNiltll'} graphic III’II\I. lam \It'lnlnxli. \xlinxc iIquIraIinnx haw au'nnmaIm-II .\Ic\andci Mcall Smuli'x St'nlxman \Inr} 4-! .SI Ill/(IIII/ .S'II'I'I'I InI‘ lllt' [Iaxl )L‘ar. NI W BI Ir Selt-Portrait By William Gillies \M-d 3 Mai. I3.Al5pm. I'I‘cci Rnhm BaIIIIc. wmnr nulrcat'li nIIiu'I aI Ilic Nalrnnal (iaIIcriI'x nI Sculland. gm'x llII\ Iu'lurc. After Hours: Self-Portraits in the Print Room 'I'Im i .\IaI. (mm. I'Iu‘. ('nint'iding will dig .»\nd} \Varlinl Scll I’nrlrail L‘\llIl\llIHII. Imngcn (iihhnn Icadx a Inur nI lllt‘ I’rmI Rnnm In new prinlx. draxxmgx and Immalurc \t'll pnl'll‘all\
I THE QUEEN’S GALLERY
O... I’IIIIIL‘L‘ (II III)I}I‘I)IIIIIIUII\C. .550 5IIIII. II5IIQIIII 4.30pm, L5 ([3 Hi; Iami|_\ llL'Iu'l [I i.
Holbein to Hockney: Drawings from the Royal Collection l'nul Sun (i .\lar. :\ IanIalixing glimpxc min III': \Ia'lt‘lr} rn_\aI lrcaxurcx Irnm a \Iud} nI a gIc}IInund h} I)urcr In In Vint'i'x ‘:\ I)c|ugc' and Nicnlax I’nuxxm'x "I‘hc 'Iriumph nI I’an‘.
I ROYAL BOTANIC GARDEN Inwrlcilli Ilnuxc. 553 7I7I. I)ai|_\
IIIam me Ihpm I'rnm Inc I .\I;Il'l.
>i< Mat Collishaw “000 l'nul Sun 3” Ii‘h (clnwd .\IUI‘.IILI}\I. IIIam 3.30pm (5.3IIpm Irnm Inc I Mari. I-‘Iu‘. 'I'IIL' 'I‘urncr I’ri/c nnmmcc. in III\ Iirxl St'nllixlr \lln\\. brings III\ digital \xnrkx nI m} \Icr} [H III\L'I'IL‘IIII IIUl|\L‘. SL‘L‘ IIIlII\I. IAESI IiIIANIII IUESI I
Ii\IIihilinn IIaII. Imcrlcuh Run. 553 7I7I_ |)aiI_\ IIIam 4pm Ihpm Irnm Inc I Mari. Images from the Garden Vll l'nIiI .\Inn 3% Mar. IIIam 3.3IIIIIII I5pm I'rnm Inc I .\IaI‘I. I‘I‘L'c. :\n uhihilinn nI \xnrkx Ii} \Iudcnlx aucnding Illt' RB(iI: aduII cducalinn wurxm Icaluring plinlngraph). liaxkcIr} and papcr making.
I ROYAL SCOTTISH ACADEMY 'I'IIL' .\lnund. (Nil 335 (\(W/I. .\Inn Sal IIIam 5pm; Sun nnnn 5pm.
Visual Arts Scotland Annual Exhibition IIIII I7 I-‘ch. \'i\ual .-\rI\ St'tilland'x npcn mhihiunn Italuring I'mc and applicd arlx including painung\ Ii} Ian Ilnxxard and Barbara Rac. \culplurc h} Iiduard Bcrxudxk} and pIinIngraphx h} Rnhin (iiIIandcrx. IASI CHANCE ’0» SEE
ROYAL SCOTTISH SOCIETY OF PAINTERS IN WATERCOLOUR 'I‘Iiu l7 I’clw. ()nc hundrcd and ciglu_\ nc“ \mrkx I») mcmhcrx including IiIi/ahclh Blackmldcr. Barbara Rat and Blair 'I‘hnmxnn. LAST CHANCE TO SEE
LIVE ART: A HISTORY IN SCOTLAND 'I'hu I7 I‘ch. Ii\hihiunn charting Ihc III\IUI‘} nI I’crI‘nrmancc .-\rI in SL‘nIIand In cnincidc \\ iIh Ihc l'pluggcd Ii\c aI'I \wckcndI LAST CHANCE TO SEE?
I STILLS
3‘ ('ntinuIn \Irqqr h33 IIam 1mm
Martin Sastre - American as Well
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I TALBOT RICE GALLERY
I mwmrx nI l drnliuiglr \nuIII BIIIII'I'. M5“ 33III Illt' \al III.IIII 5pm ShowCASe: Contemporary Art for the UK I IIIII \aI I3 \IaI \I'v. .IuIIII\IlIIIII\ nI Illk' ( ‘nIIII'InIInIan‘ \II \ntu'n I‘IIIII;'III IngI'IIu'I III III\' nIIIjt \IinuIng l‘t'II‘Ik' IIII‘} gI'I \II\IIII‘IIII'II In II\ IIIII IIII'IIII‘I‘I II",'II‘II.II and II.IIIHII.II IIIII\t'llIII tnIIt-tlinnx \III\I\ Int Iudv \Iltlltlk'l I and}. I’auI \I‘I‘I’t'. I).:\III \IIIIgIv} and Ix’It II.IIII \\ IIj.'III
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al ('II} \II (‘I'IIIItx 3 \IaIIa'I \Ilk'k'l. 53" UNI).
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I WESTON LINK
IIauIIrnIndt'n I t't'luit' IIII‘aIIc, \.IIInn.II (iaIIcr). IIIL' \Inund.
In the Gardens of Impressionism luv 33 I't'l‘. I3 ~15p1n I Ict- \I'mni II'I'IuIt'I m an III\IHI_\ aI IIIL' I‘mme nl (iI.I\gnu. I)I (iIaIc \\ Ilednn. _‘._'|\t'\ IIII\ Inluit' Being Andy. Andy Warhol and his Tape Recorder “rd 3* I ch. (rpm I'It't‘ .\rI qulnrran and I'IIIII‘ Ican \\aIn\\i1gIII IIa\ th'n giu'n llllltlllk‘ aux-w In IIIC aIIdInIapcx IIIaI \\aIIIn| It'll \\II\‘II IIC died. Slic IIIIL‘I\[\L‘I\L‘\ Ilux It't'luic \\ IIII I-\IracI\ Irnm Ilrc [apt-x l'lt't' IIIII Hula-ltd Benjamin West in Focus In 3.5 Ivh. ‘). Warn 5. ilem Ira: Ian Iit’kI-II-d. Slud) da_\ Int‘uxmg nn \Vtxl'x gIcaI pamlmg. ‘:\Ic\andcr III nI St‘nlland Ix’cxt'ucd Irnm IIIL' I'ur} nI a Slag I\_\ lhc lllllt'l‘ltlll} nI (‘nIm I‘II/gciald' (Iiancd Ii} I’InIcwu Brian ,-\IIcn IInm lllL' I’auI \Icllnn (‘cnuc
Simon Nicholas White
'\'L;I1;\:'1B.';':\I; \II ('aII "I 1I (‘31 """I 'n‘ "HUI. I. Pint \‘ Looking Atresh at Dutch and Flemish Paintings at the NGS I n 3‘ I c“ I3 15pm I is; I IIIIIIt' ( II‘MII'IIIxt'I. x ":nI “ruin: :Im- \.II:nI‘.aI (i.:IIcIj., TIII\ II: {urt- Ken Currie: Artist's Talk Int- I \IaI. 13 151w. l I\u:‘.( Iztrrc nzi lm
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Private Galleries
I AMBER ROOME
“5 “W IIIIII‘I'IIIIIIII \III'CI. 555 “5.. Michael Craik IIIII I" I «Ii Hm I“ \I.II \nIn cxIIIIvIInu nI zanII. In Iqu I'IIII'IgIIIg 1:1erMinx;pa'nquNIakc.IIIIIIImIIIIaI plintnz‘raph} .:\ IIII'II \nurtc \I-g l‘hllllt'
I DOGGERFISHER
II (ragtrcld \Iiuaic. 555 "I III \\I‘II III
I.IIII (mm. \.rI unan 5pm
Liquid Soft Lightening Touch I u Ix
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I FILMHOUSE CAFE BAR
55 I nIIIIan Ix’nad. 33‘) 5‘I53
Scottish Naturesques l :1er I n I \IaI ('Inxt' up I‘IIHIHjJIdI‘Ih Ii} \Imnn \It‘linlax \\ IIIII' nI \nllerI I.IIIII\\.I[\'\ Icn'aIIng \kcnd and \‘ul‘lltlk'IIlll paIIt-rnx In lllt' Int‘k. mud and IIIII\\ \k't' l‘lxllllk'
I INGLEBY GALLERY (i ( 'aIIInn ICIIIRC. 55h H II IIIaIn 5pm
Alan Shipway CO. I nlII Sun I ‘ Hm I II\I \Iinxx .II [Irv IngIrIi} IInm IIII\
I dmhuiglr I‘awd .IIII\I Minw \llllt'l. .II\\II.I\I \KIIIIw .IIL' IIL‘III'IIICI} IIL‘II In t'It'IIIk'IIl5 nI IL'.III\III. Iic II III lllt' \IIIInuI'Ilc nI an I\I.IIIII nI a Nady nI graxx Stu I‘L'ch.
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I INSTITUT FRANCAIS D’ECOSSE I ‘ Randnlplr (.It'\\ cnl. 335 5 Vi!»
\Inn \M‘d I\ I II W Main 5 Winn; IIIII nnnn 5.10pm. Sal ‘I IIIam 3pm
The Paris Drawings l'nul In 3.5 Ich Ix'cll} Suwxarl'x Iargc \LIIIL' draumgx nI I’.III\ uxmg paxlcl. gnuathv. \xalt‘r cnInur.
Visual Art
tIraItnaI and gIaI‘InIc I :I\I nI Ihc ('aI‘Ic BIaIMIc \cIch InI I Ik'll\l‘. and \‘nItrxli azuxrx Min \Iraic an mIchl m I Iant'c and I It‘utII \IIIIIIIC . E ' lEE MARCEL PROUST \Inn 3I lcl‘ \aI 3h
\I.:I Dinning-luau pancI mlnl‘nrnn '
I ISTITUTO ITALIANO DI CULTURA
.53 \ILI‘IM‘II \III‘I'I. hhh 33 i3 \Inn I'll ‘I Wain Ipm .\ 3 5pm
lmmagini Prime: Engravings By Giocanni Turria Hm I“ I't‘l‘ \M-d U \lar Ix’u'cnl \\nII\\ Int‘luding nmIIt’ llllt'll‘lt'ltllIUIl\ and unagmarx pnIIIalh plux cngIa\ lllj3\ InI lllt' Ilalian cdiIInn nI I d“ In \Inigan\ pncmx 'II 3;» I. ‘
I OVERSEAS HOUSE
IIHI I’rintcx \III‘L‘I.
Urban Nature I‘nul Sal I” I ch \ t'nIIu'IInn nI Iluu' wan \\nik In
I nndnn IMIII .thl \darn I)I\. \‘UH‘IIIIf.’ llll‘dll Ining. u‘nut'd nu lllt' Iaxl Ind \xlicu' Irv \\IIII\\ and II\t'\ \klllI Ill\ IannIx
I RED DOOR GALLERY
I3 \It'lnIIa \IIu'I. ~17“ 1355 \Inn Sal I3 NI 5 Winn. \Im nnnn 5pm Urban Collection I nuI \Inll 3.\ l't‘l‘ ‘\ (I‘llk'k'llllll nI unrk nplnimg \t'\t'lill Izdinliuigh hawd .IIIIxI' pcrxpn'liwx nI lllt‘ mndcrn I'll}. lllt' [rcnplt' \\IIU Iiw IIIL‘IL' illltl IIII‘ HI\|CI'I\ .IIIII \II.IIK‘\ lll.Il Inim nur Inhan cm nnmncnl EXCII «Haw ,I 71):;I I
I STUDIO ONE GALLERY
II) SlaIInId ~Slim-I. 33h 5M3 .\Inn I'll ‘I. Warn (rpm; Sal ‘I Warn 5 Winn; Sun nnnn 5pm
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Mode Sal 3h I‘cli Sun 37 Mar. I’amlmgx and dIgIIaI prmlx Ii} \anmr BaIIaIIL'L'.
I TORRANCE GALLERY
Vi I)IIIIII;I\ SIICL'I. 550 (i WWI. .\I()[l I'll IIam (rpm; Sal III: Mam -Ipm.
Tom Watt I'nIII Sal 5 Mar. Rt'k't'lll painlingx mt‘ludmg IIIIIIINL'ilPt'\ and Iiguraliw \Iudicx.
Delicate patterns licked into the sand by the sea's ebb and flow on South Harris. Close up photographs of the natural and often ephemeral shapes and forms of nature are the subject of this series of photographs. White has spent much time working on Wester Ross, South Harris and several of the inner Hebridean islands. I Fr,”“«"ot.::<= IJII‘IT- F' J ,’:I'
I /' Fell—.3 Mar 200‘) THE LIST 107