Visual Art
After Hours: Self-Portraits in the Print Room s.” I" H.» 3 ipm im- (l'IIltllIIII'.' tallIi IIIK' \nll} “lilIimI \‘Il I’mlll.ill mIqulimn Illll‘i'k'll (llI‘Iii'll Igunls .l lmul ml IIIx' I’Iml Rmmln lm \It'\‘. pillllx. (IIA'J-Illi“ .lIliI Iilmmlmc \L‘II [‘lilll.lll\ Curator’s Tour: Our Highland Home \\k'\I Ill \I.lI. I.‘ 5pm 2-1 iLM \\ilIi \ll\.lllll‘l I'\l'll \‘IllHl \IIIJI‘II ml IIlk' c‘inIIiillmn ‘.'l'.\'\ IIl|\ lmlil
I ROYAL MUSEUM LECTURE THEATRE
3( Il.lllII‘\'l\ \llvcl 3 I" I3I" \Imll $.11 I'Mm *pm. \im iimmn *pm. My
I‘M”. \[im Inn'
The Arts and Crafts Movement in Scotland Im- .“y’ \I.u. 3pm Li \nnvllc (Liilllllmx.«It-111ml Iullm'l til lIIc \tlimml ml \Il II|\IHI_‘- l lll\L'l\lI_\ ml \l \mllmu. t‘l\\‘\ .lIl mlimllutlimn lm lIic .ut'IiIlu'lx .IIllI lI\'\l_‘.'Ill'I\ .lI my limit ml IIll\ lllH\L'lllL'llI limm IN)“ WIN Ilmmkilij: lllI\|\.lI‘I\'
I TALBOT RICE GALLERY
l imvmlx ml I.lii1l»lii_~_‘Ii.SmulIi Illulgc. hill 33W Illk' \il IIIJIII ‘pln, Louise Schmid Ilm 3-1 \lm Sal " \Ili} \UIH\I1H\\ limm Muss I‘lilll .lI'Il\I I mulw \LIHHHI v. IlIl \k'llk'\. 'I‘Ilc \mnmm' .llliI ‘\Ii|k \lills‘. L'\[‘IHI'III;_' lIlc \\\ lllllllk‘l .l\ Illt' .llt‘llt'luml [Hmm'cl' \Il.llIlllf.‘ IIk'\\ It‘lllIUth and Hit ll.lIlll\','lllllIlllt' «It'lmlu \ \UlllllI |ll\I.lII.lIlUll I\_\ IIdIUIlI \'mlim ilk't'lilllpillilLN lIll\ x'\IllI‘lIlUll. 'ii UH" '
I WESTON LINK \JHHHJI(LHK1}illStHHJHd.IhC \Imllnil. (i3~I (filill
Who Painted ‘The Skating Minister’? Inc 3‘) HM. I3.~l$pm. I'Iuk Slcphcn I.Im}«I. \clilml \‘lllilllil .il lhc I’millnil (I.lIIk'l}. lIk'Il\\'I\ .l t'mnll'mwrslail Iu'lulc mn lIic lIllI‘lth .illilhulimn ml lhc it'mmt‘ llllilka'. I‘k'llk'\k'lI lm be h} Sir Ilcnl} RJL'I‘llIll, I Ill_\\I MN \i\ sure. IIll\ l\ smur (Iiunu' lm Iimi \\Il}
Private Galleries
I AMBER ROOME
35/3" (‘uinhnlnmI Sll'cvl. 5‘3 “53. Michael Craik O... '1 lm l7 .\l;uz Smlm mhihilimn ml \xmi‘k |\_\ lIll\ emerging: .ll'll\I “lime lumlings lulu" .ut‘hllu‘lurul [‘IlUlUjfldei} .l\ IIlL‘ll \mmt'c .ASI
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I CAMEO CINEMA BAR
is Illllllk' Slim-l. 338 IN I
Michael Koerner l‘nlil \lmn .1 ..\pr. .\ l'.lllf_‘\‘ ml lmplt‘x mplmlul I\_\ lIll\ urlisl. int'lmlmg lIlL' lIlMlPl‘t‘Jlilllk'k‘ ml lIic rmI \qmm-I and Iim\\ \‘lllll‘\ll_\ tum gcl IIlL‘ lelcl ml us.
I DOGGERFISHER
l I (Lulu-Ill Sqiml'c. 558 “I ll), \M‘d I'Il'l |I.im (\pm. 8.” 11mm 5pm.
Liquid Soft Lightning Touch
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I I2
3.1,\le‘clmmli_\ I’I.1t‘c.55.\ “3‘3
\Imn I-‘n IIIJIII hpm; Sal Ilium 4pm. Craigie Aitchison l'nul Sui 3h .\l;u: I‘.\IilI‘lIlUll ml' \cl'ccnpl‘lnls. 196' Eli-\in '0 SEE
I INGLEBY GALLERY
h ('.u'llmn I'ci'mu‘. 55h 444 I. Inc Sal lltim 5pm.
Who’s Afraid of Red, Yellow and Blue? Illll I" .\I‘.ll‘ Sal I4 \Ill). Ilium 5pm. I-rcc. .-\ mith \IlU“ ml umclulcd .ll'[l\l\ l'rmm the [K and ['8 uhmsc mirk l\ unilth I1) a passion lmi' cmlmur. 'I'hc} include I);i\ id :\u\lcn. Inn Ichnpmrl. Iillmmrlh Kcll}. (lillum IllllL‘\. \\'mn\lmn Rmclh and l)iI\\_\n Smilh. Ni V. SHOV.
108 THE LIST ‘ ' ’.'::'
I INSTITUT FRANCAIS D’ECOSSE
I I RJIMIHII‘II ('u'stclll. 33‘ < ‘N‘
\Imn \\\.tI A I‘ll " “Lam < lupin. Il’m nmmn ‘ “mm. \.11 ‘t “Mm 3pm Marcel Proust l liIlI \n In \l.l: I)mtumcnl.il} pmxlcr ulnhillmn
I ITALIAN CULTURAL INSTITUTE \3 \ILI‘IVIII \llu'l. NW 33 ‘3 \Imi: I r: IIIJIII Ipm \\ 3 film lmmagini Prime Hm I" \l‘u \n C\Iill‘lIlHll ml (Harm Hm I\_\ (ilH\.lIllll Ilium Fotocellule I “III I ll \ \pl law .' \ljxlc lll.lf,‘.l/Ill\' I‘Ik‘\L'llI\ [Ill\ (\IllI‘lilI'Zi mzi lilt- l.m'm.ilimn ml mulls Imlil phmlmgmphms (imnIllm (1m 1. I my] (I.lll_;'IlH_ (InnIlm (iiiI‘I‘l .lIIlI \Imil.i I\)I\\I k'\[lI|‘Ik' lIic IIlL‘lllL'
I MERZ
N" IIIUleJIlIHll Slit-cl. **\ \"W \M'll \.il limmn hpm
New Works l llIlI \u I” \l.u \mn (LiIanu-II [‘IL'\k'llI\ .l \k'llk'\ ml Illg'IlI} ymlmlllt'il lilmnmplinlx ' "" i
I RED DOOR GALLERY
~13 Vlt'lmlIJ \llccl. I" 13*; \Imn \.ll
I31 Ill 4. illpm. \un nmmn *pm
Citizen l‘lilil \\\'II I \I.i} \.ilmI .lll\\iilI\ lll\|\llt‘lI Ii} lIlL‘ human \‘HlllIlIlHll Ill IIk' 3l\l (“Ill”) im‘lmlmg plimlmgmplnt‘ lk'.lIl\lIl. Ilj._‘lll.lll\\' uml .II‘\II.I\'I \xmik
I ROXY ART HOUSE
3 Rm\hlii';_'|i I’llm'. “VI 3‘” UH“, IMII} IIum 5pm
Awareness of Space l'nnl Sun 3"
Henri Guadier-Brzeska
\I.:: I’,~.:::'.' \ .5 I: l::_;...;: lam» :t"\i \- 1
Rick's Sticks l “9 \ \l.: H
I SCOTTISH GALLERY
Ih Ill.”th \Mx" ‘*\ '3'"! \Imtt I" I‘M?” hp'tl \.'.' I".:" Lgi"
Alison MCGIII I 71';,\\;\'. W \I.:: \g» ;\.izltlill;i\ lam: x "i\;‘ :5 i "x I\’\\\ l!.i\cI .10..:Ilt '.\.I:.\.' 'mmi \I\(lin 'w \lz/mm l l.:1’l_lmlmrlzlim \uv. \ch \c‘..:llli. I‘\.1Il‘lI‘lII\III.1'~‘~.11‘
Henri Gaudier-Brzeska l mu, \\;\: w \I.II \llmII \l'IIlIIlCI\I.II \lxm'.‘. m? I‘Ji‘x'l lirlll \lllplzilc ‘\\ m'zg ml 3:1; ::.m\' \lt'lililtAllI stalllirmlx ml :Iiu t'.:!.‘. .‘W! tuiillll} IIK‘ tam III,ch .1: :51; m! 312' I I.lll\I\'l\ ill I"I* II::\ l\ .z I.lI\‘ Jump 3m we .mlI lil.i}l\' mm gmlt Imw ll pic“-
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I SLEEPER
Ix’vmtIi .IIIlI IIIiII \ltIcht'» h II.lIIi.l'.‘..‘.\ \IIU‘CI. 33* \li‘. Hm; I ll 3 ‘pii. Takashi Suzuki I llllI I :1 I“ \I.lI \p'u. \xmik
I ST LEONARD’S GALLERY
“I \l I l'mimnI's IIlII. NV "‘"l'
Earth Mother/Mother Earth Hm I ' \I.il I‘ll IR \pl (twilmt MIIII‘IIIH', ]‘.llllIlllj.'\ .1th l‘IlHIilz'l.:[‘Il\ tx'Ix'I‘IJIIII‘.‘ IIIk' wnwml lcllilll} ml spun-3 I1‘\II\III‘.'HIIIII\' ICIIIJIK' Ilf.'lll\‘ .lIl\I lIic lulliill} ml lIn' I.mlI
‘Male Nude, Standing’, 1914. This sturdy figure was sketched just one
year before Gaudier-Brzeska was killed at Neuville St Vaast. The pioneering sculptor moved from Paris to London in 1911 and associated with members of the Vorticist movement such as Wyndham Lewis and Ezra Pound, before signing up with the French army at the outbreak of war. This is a small show of drawings and sculpture.
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I STUDIO ONE GALLERY “ H ‘ \l l-
I TRAVERSE THEATRE
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Thread Barel " \.' ‘ \1“ l'
I THE BONGO CLUB
\lwq. ll 1 ill ~l~t
TAKE2: Modernising the Image \Im: ‘\ \I.-' lx '- If' l '1 I’M” \ x
‘I§"\l~ in”; “H 1‘“ The Art of the Abdominal Showmen I :.t'3 I‘ l. " \I.:l \ \i‘IICtIli‘Il m? ti;-
I TOTAL KUNST @ FOREST
I WASPS STUDIOS
I’ullh-TILIII \Hi I!" A II.::: I’MI' \l\uII\:;lI.‘c I.“ 1“"
Group Show I :lliI \m * \;'
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Outside the Cities
I CRAWFORD ARTS CENTRE
"* \mllIi \llucl. \l \lilIlu‘Ax "I \ *2 l #' I" \Imn \.:l Ill.le ‘l‘lll \llll ‘ ‘;\;1. Iron Seditious Delicious: A Taste of Art III I\ \I.:l \II'II " \I.1‘. \llllukI »I!|".t lmtllxillt' ml] lIlc scillil lint" .lIIlI rs; 'II .l\I‘\'\I\ HI Ii‘i‘iI .111\I INHII .f\ ll ll'I.l'l'\ Ii' InuI} III..l'.'\‘ \lliw 111‘ IIIII; I 1mm: II‘lIIllIIHll mllc ml lIiu ’.‘.lllll\‘l\ ml IIll' Icintmmll I‘IM'I-v"l.:l‘Il. ;~l:/c W";
I DUNDEE CONTEMPORARY ARTS
I‘,‘ \clllcl‘mlt: llI W3 ‘Hl‘N'Hl Il \\aI \.:l \\ \lII; Ill ‘IMHI ‘ ‘Ill‘fl. IIIII .\ ll: IH “Mill ‘I‘YZ:
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HI l'.:!I". tilllu'pIHJI .:ll I).lIl I lI.1Il.III. 'IImlilcx lml \mcrih: I‘llil» ' .lImI II.:.'I \ '\Illi;‘HI\I CI .:I I\’ I -I.:I,' IIl‘IiIIIlL'\ I‘VI \xm.:;~llmlm:i.I IIlIIl\I
I DUNCAN OF JORDANSTONE COLLEGE OF ART AND DESIGN
l lll'.\‘l\lI:. ml lhilanc I ‘ I’ulei I<m.uI.
HI “3 W‘U‘I \Imli IIIIII.1IIII'I‘III,\.:I I‘llzm 1 “will
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