www.|ist.co.uk/visualart
\.iltnj_'l.iplllt' llldl‘ Hl (il.:\;'II\‘- \\ [Mill wt llit' t"‘.llll‘lllllll. lilii ('iililnliwun niltixl i. l’liillippi' l<k'liilkk'l-‘-l\/ ‘L'k'HL'lJl‘llt‘l \itlllii'ldllllt'l and (“HUI l<k"\'\ "-‘-lllk'l' 'J-lll L'|'~t' pt‘itiiiinatixt' l.tll_\ l‘d‘k'll «in lllL'll k".l‘t'llk‘ll\t'\ «it my t ilj. .tl ‘piii on Sun 3 Ha ' '
Edinburgh
I CITY ART CENTRE
3 \l.iil.t'l \lit‘t'l. ‘3" W"; \lHll \il lll.iiii <piii
Scissors Paper Stone: Contemporary Edinburgh Crafts l'nlil \il l” l.tll. Ill.iiii Hun l'lt'k' \ \lII)\\\.l\t' ml llll' milk til l iliiil\iilj_'li\ tigill .'illi\l\
Ten Decades 0. Jill] I'lt‘t' \t‘t' lt'\|k'\‘. Seeing Dragons in the Clouds l'nlil \ul l.‘ l.iii l-ii't' \n t-\liilnliiin iil t'iinlt'inpoiai} .Illl\l\ inxpiit'il It} lHlllltl iiluu‘lx April} inf.) tt't liniilnyitul .tlltl t‘i.ill \ltlllx llit'} ll.tll\lllllll \‘.ll.tl tlit'} li.i\t' lniinil
Invisible Ideas - Donald Urquhart: Drawings 1977-2007 54” l I)“ S.” It» l't-li. lllaiii *[ini l‘lt't' Solo t'\liiluliiin li_\ l-ilinliuigll lxiwtl .‘llll\l l)iiii;ilil l‘itlnliait l’iiinai’il) .i Ilt'\\ boil} (ll \xiiilt \xilli tll;l\\lll}_‘ ill ll\ t'itit' 'll ‘il ll i‘.'.
l iilil \il l”
I COLLECTIVE GALLERY
33 3X (‘iit'kliuin Slim-l. 33ll l3till
l'nt' Sal niiiin 5pm. Mon Sal
0. Kllani ipin. l'i‘t't'
Jason Nelson l'iiiil xiii 33 Du; noon 5pm l'lt't' St't' pit-xiv“. page N"
I DEAN GALLERY
73 lit-lliii'tl Riiiitl. (ill (i3lll) ltlaiii Spin Tom Phillips: A Humument ooooo l'nnl Sun (\ .lgin. St't‘ pn‘lnit' viiption. piigc 03.
Back to the Future: Sir Basil Spence, 1907-1976 l‘iiiil Sun In l'ch. I-i‘i'c. 'l'lit- lll'\l niaini i‘t‘li‘iixpt-t'lixt' iil Scotland's inml icnimnt'tl niiitlt'in urchin-cl, 'l'liix t't-lt'lii'aliiin ol Siit'nt't‘\ brilliant and tll\\'l\t‘ txiit‘t'i. viiint'iiling: \\llll lllL‘ t't‘lllk'llill} iil lnx built. “I” lit- lllt‘ lll'\l National (igillcllm ill St‘illlantl \lttm tlL'Mtlt‘tl \Hlt'l} lU ;ll\‘llllt‘\'llll't‘.
I EDINBURGH COLLEGE OF ART SCULPTURE COURT
7—1 l.;iui'i\lnn l’lucc. 33| (illllll. \liin lllll lllani Spin; l'i‘l lllani 4pm; Sat
Illani 3pm
Edinburgh College of Art Masters of Design Exhibition 'l‘liii n \Vt-tl l3 “LT l't't‘t‘ St't‘ lllL‘ l‘t'\l “Ulla ll'Ulll lllL‘ \CllUUl\ iil animation. llllll & 'l'V. graphic ilmign. illuxti‘aliiin. photograph}. liii‘inlui't' tk piiiilut'l tltwign. glam. inlt'i'iiii ilt-xigii. luwllt'i') and lc\lilc\.
l Mil i‘l MNl‘l ll ‘ :Sli
I EDINBURGH PRINTMAKERS 3i l'iniin Sli'ct't. 55" 3-1“) lut' Sat lllain (\I‘lll. l'l‘t‘t'.
Winter Exhibition 2007 l'inil Sat 22 Du. llliiin tipin l-i't-c. l'.\lllll‘lll'_‘._‘ll l’i‘inliniikci'x' l.ii';_'c\l anil lllH\l cclccliv annual int'inlwi’x' L‘\ll|l‘lll\‘ll. \\llll \\itl’l\\ lUl \.llt‘
I FRUITMARKET GALLERY 45 \lal'lu‘t Stlt‘t't. 335 3‘83 \liin Sat llani (\pin. Sun noun 5pm.
llluin "pin
Roman Signer .00. l'iinl Sun 2“
Jan. l'i‘cc. Su‘ in W“. page N“
INTERVIEW
Carol Rhodes, known for her landscapes painted from a vertiginous aerial perspective, talks to Alexander Kennedy about her new exhibition at the Scottish National Gallery of Modern Art
Alexander Kennedy Can you share some of the ltlalt‘ themes and formal concerns you deal With in this show?
Carol Rhodes The show is a selection from almost 15 years' work. Some of the paintings precede the aerial View that I've mostly been working Wllll. And in some of the latest paintings I come in closer to the ground. But for me. as much as for Visitors. I hope the themes Will emerge from seeing the work together. I don't have one SUDJQCI or area of interest; there is more variety than one might think. The work can be about lots of different things. even though it might all be ‘Iandscape'. AK Why did you decide to take such a high. aerial perspective in your work?
OR The first aerial landscape -- from 1994 — is in the show. Before that there were Single image paintings of, say. a tent. or a caravan. A couple of those are in the exhibition also. People have talked a lot about the meaning ot the high viewpoint — the essays in the publication for this exhibition discuss this. for instance. I'd inst say that this perspective in itself doesn't guarantee an interesting painting or that certain meanings are necessarily conveyed or contained. There has to be a lot more geing on to make the aerial view interesting or meaningful. I may not paint aerial views forever!
AK Some of the canvases recall gashes and orifices on the human body
CR Of course I am aware of those assooations in the work. After a while. the term ‘the body' became such a cliche in art theory that one slightly cringes to hear it used now. But again. one of the essays in the publication does discuss this aspect of my paintings in detail. and very persuasively. It's one aspect among many. An artist can never fully know what the meanings are that she or he is creating: but at the same time you try to control and direct and understand yOur meanings. It‘s too easy to Just say ‘my work means whatever the viewer wants it to mean'.
I Scottish National Gallery of Modern Art. Edinburgh. Sat 7 Dec-Sun 24 Feb.
Visual Art
:«2 l (2 3n? ,‘ll ll‘/ i‘il.t 3i )i‘ . iii ') ? :i-lil ‘lllll/
.'\iiiiii iiiiiii
i:lltll "’1 ll/ . i:'l(llll.lli'-'.‘ 5". l)l")'l'l|2l. ll B'il']ll (illi'i t’i .'\l",'l|lllil','l.‘ll'vll l llil ;; l‘irzigiiiii; I) : :i-Jii llluair iijiiiil lili: )i'l'H l) . il‘lll I'rw 2|l:2ry 1’: '3ilv'2r illllllllll‘] i’lii)i:i)«li‘ l})ll‘/
l':.<i.llr.
.-' giil‘iiiziiiii «ii {in-ll work by gin) ii:iliiiilli:ii..2 ‘illltl-‘Elll ; iii ll.) Bl'lil v2. .'\;)§)ll Bil .'\ii‘; lllll Vi iiiil lIiiiiiiiiiiiiiuaiioii .ii: Iiiliiiiiiii'iili liollcil: (ll: .'\ll..
W m. I‘llulllll '. ililll .i.lil our-2h i ; 2 innovative work 3 3w 'l: Mi ,3;
tiizl il l siijil ii’ ;.
“dilution Thurs 6 - Wed 12 December Mon - Thurs 103m - 8pm // Fri - Sun 108m - 5pm
Till! : Edinburgh College of Art, Lauriston Place, Edinburgh EH3 90F
" mi :'01312216000
celebrai:
19079607 22;; .ll .9: