Scottish Art News Issue 15 by Scottish Art News

A R T SCOTTISH ART NEWS

ISSUE 15 SPRING 2011 £3

WILL MACLEAN: COLLECTED WORKS 1970–2010 GLENFIDDICH ARTISTS IN RESIDENCE COLLECTION CHRISTINE BORLAND: CAST FROM NATURE V&A AT DUNDEE

Matthew Sandager, Sky Barrels (detail) 2010. Image courtesy of the artist.

REFLECTING GLENFIDDICH A selection of works from the Glenfiddich Artists in Residence Collection 25 January – 26 February 2011 sponsored by Glenfiddich 13 Berkeley Street, Mayfair, London W1J 8DU 020 7042 5730 │ www.flemingcollection.com Open: Tuesday – Saturday 10-5.30pm Admission Free Green Park 1

Celebrating over 150 years of the RSA JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) CHILDS HEAD (DETAIL) Sold for £42,000 1st December 2010

Scottish paintings sell best in Scotland. Our sale of Fine Paintings on 2nd June will include a special focus on the artists of the Royal Scottish Academy. As the leading and most experienced sellers of Scottish paintings in Scotland, we invite you to include selected works in this sale. For valuations and advice please contact Nick Curnow on 0131 557 8844 or email nick.curnow@lyonandturnbull.com

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THE FLEMING COLLECTION The Fleming Collection is supported by The Fleming-Wyfold Art Foundation. Registered charity no: 1080197

LONDON

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The sale will be held in our Edinburgh Saleroom at 33 Broughton Place, Edinburgh EH1 3RR at 11am Forthcoming Painting Sales | Paintings Thur 10th February | Scottish Contemporary Wed 20th April For sale details, viewing times and fully illustrated catalogues please visit www.lyonandturnbull.com Scottish Art News 2

THESCOTTISHGALLERY CONTEMPORARY ART SINCE 1842

Image: S.J. Peploe, Mother and Child, conte & oil on paper, 20.5 x 15.5 cms

Forthcoming Painting Exhibitions

Scottish Art News

5 - 29 January

Peter Howson New Acquisitions 2 - 26 February

Alexander Fraser Damian Callan 2 March - 2 April

Geoff Uglow 6 - 30 April

John Brown 4 May - 1 June

Perpetua Pope S.J. Peploe 6 June - 2 July

Earl Haig Memorial Exhibition 16 Dundas Street Edinburgh EH3 6HZ tel. 0131 558 1200 mail@scottish-gallery.co.uk www.scottish-gallery.co.uk

ENTERTAIN YOUR CLIENTS IN EXQUISITE SURROUNDINGS BOOK NOW TO HIRE THE GALLERY FOR Client Breakfasts, Evening Receptions and Dinners

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An additional gallery space will open allowing greater capacity and Conference Facilities

Fine Scottish Paintings An Invitation to Consign We are currently inviting entries for our forthcoming Fine Scottish Paintings Sales on 21 April and 16 August 2011 Enquiries Chris Brickley 0131 240 2297 chris.brickley@bonhams.com

THE FLEMING COLLECTION 13 Berkeley Street, Mayfair, London W1J 8DU 020 7042 5784 | gallery@flemingcollection.com | www.flemingcollection.com

Illustrated: George Leslie Hunter (Scottish, 1877-1931) The belle, St Paul de Vence (detail) Estimate: £30,000 - £50,000

Bonhams 22 Queen Street Edinburgh EH2 1JX 0131 225 2266 www.bonhams.com/scottishpictures

Scottish Art News 4

CONTENTS

The Fleming Collection

Scottish Art News

8 Will Maclean: An Artist of the Gàidhealtachd

30 Scottish Art News round-up 34 Picture in Focus: Adam de Colone, George Seton, 8th Lord Seton and 3rd Earl of Winton, with his sons George and Alexander (1625)

As an exhibition of work by Will Maclean opens at The Fleming Collection in 2011, Selina Skipwith, Keeper of Art, gives an introduction to the artist’s work which is followed by an extract from an essay by Murdo Macdonald, Professor of History of Scottish Art at the University of Dundee, written for a new publication on the artist’s work.

16 Reflecting Glenfiddich: A selection of works from the Glenfiddich Artists in Residence Collection

For this issue’s ‘Picture in Focus’, David Taylor, Senior Curator at the Scottish National Portrait Gallery, discusses a new acquisition to the Gallery’s Collection.

38 Celebrating a new acquisition at The Hunterian

Programme Curator at Glenfiddich Distillery, Andy Fairgrieve, charts the development of Glenfiddich Distillery’s acclaimed annual Artist in Residence Scheme, which has attracted 70 artists from 26 different countries since its inception.

The Hunterian Art Gallery has been awarded a painting by John Runciman (1744-1768/9) under the Acceptance in Lieu Scheme, as Anne Dulau Beveridge, Curator at the Hunterian Art Gallery explains.

The winner of one of Britain’s largest independently funded art prizes will be announced at The Fleming Collection in 2011. Selina Skipwith, Keeper of Art, The Fleming Collection, looks at the work of the four shortlisted artists.

Cast From Nature is Christine Borland’s first solo exhibition of new work in Glasgow for sixteen years. A series of public castings during the exhibition position the work somewhere between a filmed performance and a scientific demonstration. by Katie Baker

26 The Aspect Prize

42 Christine Borland: Cast from Nature

Christine Borland A Treasury of Human Inheritance (detail) 2002 Photo: courtesy of Christine Borland

Regulars 52 Art Market Round-up by Will Bennett 54 Books 56 Preview 2011 The pick of art to see in 2011 Claire Barclay: Shadow Spans, Whitechapel Gallery Window to the West: The Rediscovery of Highland Art, City Art Centre

48 V&A at Dundee

The Glasgow Boys: Drawing Inspiration, Duff House Country Gallery

Evelyn Gladstone takes a look at the shortlisted designs by some of the world’s leading architects submitted for the international architectural competition for the V&A at Dundee building – a new £45m outpost of the Victoria and Albert Museum planned for Dundee waterfront and scheduled to open in late 2014.

Martin Creed/Christopher Orr, Hauser & Wirth

Unsettled Objects, Gallery of Modern Art (GoMA) Graphite, Gallery North

64 Listings 66 The Fleming Collection News and Exhibitions 70 Events

The Fleming Collection is widely recognised as the finest collection of Scottish Art in private hands and was originally conceived as a corporate collection in 1968 for Robert Fleming Holdings Ltd in the City of London. Since 2000 the collection has belonged to The Fleming-Wyfold Art Foundation which aims to promote Scottish Art to a wider audience. The collection consists of works by many of Scotland’s most prominent artists, from 1770 to the present day, including works by early nineteenth-century artists, the Glasgow Boys, the Scottish Colourists, the Edinburgh School and many contemporary Scottish names. Regular exhibitions drawn from the Collection as well as loans from public and private collections of Scottish art can be viewed in the specially designed gallery. The Fleming Collection | 13 Berkeley Street | London | W1J 8DU tel: +44 (0) 20 7042 5730 www.flemingcollection.com | gallery@flemingcollection.com Opening Hours: Tues – Sat 10am–5.30pm Admission Free

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EDITOR’S NOTE

To subscribe to Scottish Art News please complete the subscription form on p.72 of this magazine. Alternatively, contact The Fleming Collection.

The 2010 Comprehensive Spending Review’s proposals for

T: 0207 042 5730 E: admin@scottishartnews.co.uk, or complete

unprecedented levels of cuts across the arts means we start the new

a subscription form online at

year with a great degree of uncertainty with many museums waiting

www.flemingcollection.com/scottishartnews.php

to have their budgets set. It seems that more than ever, messages

Scottish Art News is published biannually by

of advocacy as well as finding new ways to support the arts are

The Fleming Collection, London. Publication dates: January and June.

imperative to minimise the impact of such austerity measures. Over 100 leading artists joined the campaign against the cuts, launched

To advertise and/or list in Scottish Art News please contact:

by, and expertly summarised in an animation by artist David

Evelyn Gladstone | T: 020 7042 5784

Shrigley (http://tinyurl.com/33xevk4). Despite these unsettled times

E: evelyn.gladstone@flemingcollection.com

the desire to see art remains as strong as ever. In 2010 the Glasgow Boys exhibition at Kelvingrove Art Gallery and Museum in Glasgow

Behind Scottish Art News at The Fleming Collection:

set a new record for the number of visitors to an art exhibition there,

Editor: Briony Anderson

and there were 20,000 visitors during the first two weeks of the

Editorial Assistant: Emma Baker

exhibition at the Royal Academy in London.

Editorial Advisor: Katie Baker

Picture research: Evelyn Gladstone

In this issue we focus on the work of Will Maclean and

19–23 January 2011

the way in which his work is rooted in highland culture, layered with references, both historical and literary. Remaining north, Andy

Revised design concept by Flit (London) and Briony Anderson

Fairgrieve reflects on ten years of the Artist’s Residency Programme

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at Glenfiddich Whisky Distillery in Speyside (surely the kind of residency one would want as an artist!), revealing a collection of work that has become interwoven with the particulars of the area. Artist Christine Borland undertook a residency at Glenfiddich Distillery in 2004, producing work there which was informed by

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her fascination in the black discolouration of buildings and trees

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around the distillery caused by a fungus produced when the alcohol from the whisky evaporates during maturation. Borland’s ongoing

Scottish Art News Issue 15 is kindly sponsored by:

investigation into the relationship between art and science is

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examined by Katie Baker as Borland’s solo exhibition Cast in Nature opens in Glasgow in 2010/11.

www.londonartfair.co.uk

Both the National Portrait Gallery and the Hunterian Art

Gallery are recent recipients of paintings through the Acceptance

in Lieu Scheme, which allows people to transfer works of art and

copied or transmitted in any form or by any means without the written permission of the

other heritage objects into public ownership in full or part payment

publisher. Scottish Art News accepts no responsibility for loss or damage of unsolicited

of their inheritance tax. The Scheme is currently the most important

material submitted for publication. Scottish Art News is published by The Fleming Collection

means of acquiring significant works of art and cultural objects for

but is not the voice of the gallery or The Fleming-Wyfold Art Foundation.

public ownership. Curators from both museums reveal their new acquisitions.

All images copyright of the artist or artist’s estate unless otherwise stated.

As with the content it is important that the design of

working closely with designers Flit London to develop this. Finally, I wish to thank all the contributors and advertisers in this edition of Scottish Art News and in particular Lyon and Turnbull, Scotland’s oldest established auction house, for their continued support and generous sponsorship that has made this magazine possible.

Cover Image

Scottish Art News is kept up-to-date, and I am grateful to have been Alison Watt with one of her works produced during her residency at Glenfiddich Distillery in 2005. Her work will be on display in the exhibition Reflecting Glenfiddich at The Fleming Collection in 2011 Photo: John Paul Photography

(Briony Anderson)

Scottish Art News 8

Will Maclean An Artist of the Gàidhealtachd

Selina Skipwith on Will Maclean, the focus of a major exhibition at The Fleming Collection in 2011

he Fleming Collection is delighted to be hosting a major retrospective of the work of Will Maclean. Maclean is internationally recognised as a foremost exponent of box construction art. Using found objects which he deconstructs and reconstructs in a display of visual thinking that is compelling, Maclean has developed a unique visual and poetic language. Reductive and honed, his metaphorical art is based on the histories and mythologies of those who live and work by the sea. His deep interest in highland culture reaches out to universal themes of navigation, emigration, whaling and fishing, and global exploration. There is always strong narrative contained in these fascinating works, though immediate interpretations can be elusive. Maclean was born in Inverness, the son of a harbour master. Planning to follow in his father’s footsteps, he spent two years at HMS Conroy and at sea as a midshipman, but a failed eye-test forced him ashore. From 1961 to 1965 he trained at Gray’s School of Art in Aberdeen, spending the summer of 1964 at Hospitalfield, Arbroath. A travelling scholarship enabled him to visit France, Italy and Greece in 1966-67. He stayed for three months at the British School in Rome, where he developed an interest in archaeology, which is reflected in his art. He spent another period of time at sea in 1968 as a ring-net fisherman, which led to a major bursary in 1973 to study ring-net herring fishing. The resulting Ring-Net Project, a body of over 400 drawings, was exhibited at the Third Eye Centre, Glasgow, from where it toured, and in 1986 to the Scottish National Gallery of Modern Art, Edinburgh, where it entered the permanent collection. In 1981 he was appointed lecturer at the Duncan of Jordanstone College of Art and Design, University of Dundee, where he remained for fifteen fruitful years, becoming Professor of Fine Art in 1994 and in 2004-2006, Senior Research Fellow and now Emeritus Professor. He was elected Royal Scottish Academician in 1991 and in 1997 he designed and as part of the team, won the Scottish Natural Heritage Supreme Award for three Memorial Cairns in Lewis. In 1999 he was awarded an Honorary Doctorate by the University of St Andrews, winning the Scottish Arts Council Creative Scotland Award in the same year. The British Library and Tate Artists Lives Sound

Night fishing

He spent another period of time at sea in 1968 as a ring-net fisherman, which led to a major bursary in 1973 to study ring-net herring fishing

Archive made a valuable recorded interview with him in 2005, the year he was awarded an MBE for services to Education and the Arts. Maclean has exhibited widely in Britain since 1967. In 1999 his exhibition Cardinal Points was hosted by the Museum of North Dakota, Grand Forks, North Dakota USA before touring to Canada to McMaster Museum of Art, Hamilton, Ontario, and Art Gallery of Newfoundland and Labrador, St. Johns. Group exhibitions include Worlds in a Box, Edinburgh City Art Centre and Whitechapel Gallery, London (1994-95); and Contemporary British Art in Print, Scottish National Gallery of Modern Art, Edinburgh (1995) which featured A Night of Islands, a set of ten etchings published in 1991. A major work was acquired for the new Scottish Parliament building and commissioned sculptures and collaborative works can be seen in Skye, Lewis and elsewhere in Scotland. He lives and works in Tayport, Fife with his wife, the artist Marian Leven. The Fleming Collection owns five works by Maclean including Red Ley Marker, Ephemeris and Toolbox Fisher Shaman which will be on show. Selina Skipwith is Keeper of Art at The Fleming Collection.

Will Maclean, Toolbox Fisher Shaman, 2003, mixed media, The Fleming-Wyfold Art Foundation

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The following is an extract from an essay by Murdo McDonald written for a new publication on the work of Will Maclean being published to accompany the exhibition at The Fleming Collection

riting about the art of Will Maclean, Sorley MacLean noted that ‘Never has a common ground between art and poetry been more necessary than it is today, but that necessity is timeless and universal.’ 1 A work made in 1984 exemplifies that common ground. Bard McIntyre’s Box might seem to refer to that great composer of Gaelic songs, Duncan Bàn MacIntyre, whose life around Glen Etive and Glen Orchy gave him the raw material for some of the finest of all descriptions of the Highlands. But the bard to whom Will Maclean refers is in fact a much earlier poet, an intriguing figure who wrote a surreal satire recorded in the Book of the Dean of Lismore in the sixteenth century. ‘Who was it brought that ship / Afloat upon that angry loch, / Where changes often come?’ The poem is one of unanswered questions and uneasy issues and it bears on both gender and religion. Its focus is a ship full of women and there is a clear power in that boat that the poet finds difficult to accept, even if he (and I presume it was written by a man) is honest enough to identify it. The point here is that this poem is normally only in the realm of the Celtic scholar, but Will Maclean digs it out and makes it available to all of us. That is what good art does. It makes the hidden evident. Not easy, just evident. We come away from Maclean’s work thoughtful. Maclean’s art has always challenged the viewer through informed reflection on history and culture. In the mid 1990s the issue of the control of the land was the focus of his award-winning series of memorial cairns in Lewis, commissioned by local communities to mark key points in the land struggles of the late nineteenth and early twentieth centuries. 2 Documentary material relating to these cairns can be seen in the present exhibition. The importance of these major community commissioned sculptures was recognised in a Civic Trust award in 1997.3 At the time of writing there are three of these memorials – at Balallan, Aignish and Gress – with a further one projected. Sorley MacLean and Will Maclean share a fundamental understanding of such issues. Sorley MacLean spoke not just for himself but for his people, 11

and indeed not just for his fellow Gaelic speakers, but for Scotland as a whole in its international setting. In his art Will Maclean does something very similar. But a crucial difference between these two MacLeans is that while Sorley was brought up a Gaelic speaker, Will Maclean’s right to his own language was denied to him. That was all too common for a child growing up in the 1940s. Thus where Sorley’s poetry recognises the threat to Gaelic, Will Maclean’s art is driven by an awareness of his own loss of the language. However, for both of them that loss whether threatened or actual is no mere local difficulty, it is resonant with the problem of cultural impoverishment throughout the world. That is manifested wherever one looks not just through loss of language but through loss of skills and loss of knowledge. What passes for ‘knowledge’ in a globalized economy is more and more a matter of bureaucratic franchise and less and less a matter of individual thought and judgment. The need to reconnect with the real knowledge that comes through human communication – with all its tacit assumptions and ambiguities – becomes ever more pressing. Or, to put it another way, the need for art like that of Will Maclean is clear.

OPPOSITE Bard McIntyre’s Box , 1984 Mixed Media Construction, 61x46x7 cm Scottish National Gallery of Modern Art Image courtesy of the artist and Art First THIS PAGE Ephemeris, 1998, mixed media construction The Fleming-Wyfold Art Foundation

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It is interesting to note that at the same time as Maclean’s exhibition takes place at The Fleming Collection his work is also to be seen in an exhibition at the City Art Centre in Edinburgh, part of the Window to the West project. Complementing what can be seen in London is Maclean’s entire Night of Islands, a print series made in response to Gaelic poetry. 4 Also in Edinburgh are a number of works from The Fleming Collection itself. Among them is John Watson Nicol’s painting of emigration Lochaber No More, a painting that Will Maclean has referred to directly in his own work. That draws attention to another key aspect of his practice, the ability to create a visual conversation with artists of other eras in order to illuminate history, language and place. He has done that not only with respect to Nicol, but also with respect to the great Gaelic speaker who laid the foundations for modern art in Scotland, William McTaggart.

Where Sorley’s poetry recognises the threat to Gaelic, Will Maclean’s art is driven by an awareness of his own loss of the language

1 MacLean, S., introduction to Macmillan, D., 1992, Symbols of Survival: The Art of Will Maclean, Edinburgh: Mainstream. 2 With masonry by James Crawford. See Macmillan Symbols of Survival. For the historical context see Buchanan, J., 1996, The Lewis Land Struggle: Na Gaisgich, Stornoway: Acair. 3 For commentary on the cultural context of these monuments see Riach, A., & Moffat, A., 2008, Arts of Resistance: Poets, Portraits and Landscapes of Modern Scotland, Edinburgh: Luath; 82-83. The architectural context is given by Meirs, M., 2008, The Western Seaboard, Edinburgh: The Rutland Press. 4 Maclean, W., 1991, A Night of Islands, London: Paragon Press; also Maclean, W., 2001, Will Maclean: Cardinal Points, Grand Forks: North Dakota Museum of Art.

Murdo Macdonald is Professor of History of Scottish Art at the University of Dundee. His doctoral thesis (University of Edinburgh, 1986) explored the relationships between art and science. He was editor of Edinburgh Review from 1990-1994. He is author of ‘Scottish Art’ in Thames and Hudson’s World of Art series. His current research focus is as principal investigator of an Arts and Humanities Research Council funded project ‘Window to the West/ Uinneag dhan Àird an Iar: Towards a Redefinition of the Visual within Gaelic Scotland’. This is a collaboration between the Visual Research Centre of Duncan of Jordanstone College of Art and Design at the University of Dundee and Sabhal Mòr Ostaig, the Gaelic College in the Isle of Skye. It explores the inter-relationships of contemporary art, Gaelic language and culture, and art history. A further research interest is in the generalist ideas of the cultural activist and ecologist Patrick Geddes. He is currently also engaged in research into art and Robert Burns, in particular in relation to statues and monuments relating to the poet. He was made an Honorary Member of the Royal Scottish Academy in 2009. 13

Alignment Receiver Calanais, 1994/2008 Painted wood, bone and lead, 45x77x11 cm Courtesy the artist and Art First Carn Aignis, 1996

Will Maclean: Collected Works 1970–2010 8 March – 4 June 2011 The Fleming Collection 13 Berkeley Street, London W1J 8DU Tel: 020 7042 5730 www flemingcollection.com Tuesday – Saturday 10am–5.30pm Admission Free The exhibition will be accompanied by a new publication published by The Fleming Wyfold-Art Foundation: Will Maclean: Collected Works 1970–2010, including a foreword by Professor Duncan Macmillan, and essays by Professor Murdo McDonald and Sandy Moffat.

WILL MACLEAN: Lead and Line 5 May – 10 June 2011 Art First 21 Eastcastle Street London W1W 8DD Tel: 020 7734 0386 www.artfirst.co.uk ‘This body of work continues the principal themes that inform my work; The North Atlantic Islands, and a culture redolent of seaboard and maritime traditions and mythologies. Recent voyages to St Kilda, Iceland and the Faeroes have substantially influenced these new drawings, constructions and sculptures.’ (Will Maclean)

Window to the West: The Rediscovery of Highland Art until 6 March 2011 City Arts Centre 2 Market Street Edinburgh EH1 1DE Tel: 0131 529 3993 www.edinburghmuseums.org.uk

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FLEMINGS John Houston OBE RSA RSW (1930-2008) Poppies and Roses © The Artist’s Estate, FWAF

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THE FLEMING COLLECTION WE WISH TO THANK THE FOLLOWING FOR SUPPORTING OUR EXHIBITION PROGRAMME

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For information on ways to support the gallery contact Lucia Lindsay, Deputy Keeper of Art

THE FLEMING COLLECTION 13 Berkeley Street, Mayfair, London W1J 8DU 020 7042 5784 | gallery@flemingcollection.com | www.flemingcollection.com

Scottish Art News 16

REFLECTING GLENFIDDICH A selection of works from the Glenfiddich Artists in Residence Collection by Andy Fairgrieve

Damian Moppett, The Brollachan, 2010 Expanding foam, plaster over wood frame and fencing wire Photo: John Paul Photography

utumn has always been my favourite season, and this year (2010) has not failed to provide one last spectacular blaze of colour before winter sets in. All around, the countryside of Speyside is awash with burnished golds and fired coppers, very much the palette that one might expect of Scotland’s Whisky Country, so named because in Speyside you are never too far from a distillery. Over half of Scotland’s distilleries are located in this part of the world and as such, the industry is of prime importance to the local economy. The River Spey may provide the region with its backbone but whisky is its life blood. Each year, the area plays host to hundreds of thousands of visitors from the UK and abroad. The abundance of romantic castles, heather-topped mountains and misty glens, along with the opportunity to sample a dram of Scotland’s national drink, combine to provide well-baited lure to those seeking an ‘authentic, traditional, highland’ experience. There can be no doubt that this ‘heather and weather’ image continues to provide a good selling-point for Scotland around the world. Yet for some it can be a disincentive, conjuring up the image of a country stuck in time, looking back but never forward. To counter-balance this perception, the past decade has witnessed the rise – and fall – of a number of high-level initiatives, from organisations such as ‘Scotland The Brand’, set up to market the nation across the globe (which went into liquidation) to slogans promoting Scotland, for example, as ‘the best small country in the world’. The aim has been to acknowledge and remain proud of Scotland’s strengths while presenting a more 17

Kenny Hunter, The Lion of Kabul, 2002 Photo: Alan Dimmock

Kenny Hunter Photo: John Paul Photography

contemporary face to the rest of the world. Over a roughly similar time scale much the same concerns have been faced by the Scotch whisky industry, which in the past had often appropriated many of the same ‘heather and weather’ touch points to promote its brands. Undeniably, Scotch whisky has a strong heritage, demanding dedication, time, craftsmanship and skill for its creation. In a sense Scotch whisky has gone beyond simply being an alcoholic beverage to become an icon of ‘Scottishness’ which brings with it a sense of attached cultural importance. The values that underpin the very identity of Scotch whisky are constant, however as the social and cultural values of consumers change, the question arises as to how these constants can be recommunicated. For the independently family owned distillers, William Grant and Sons, one response was the development of an arts programme to be hosted at its Glenfiddich Distillery. Remarkable journeys often start from the most humble destinations. Legend has it that just over ten years or so ago, while visiting the headquarters of another business, Mr Charles Gordon, then Chairman of William Grant and Sons, was impressed by the collection of art displayed in their offices. He mentioned to his nephew Peter Gordon, our current chairman, that William Grant and Sons

Dave Dyment A Drink to Us (When We’re Both Dead) 2008 Wooden casket in linen cover box Photo: John Paul Photography

might find some benefit in also having its own corporate collection. To meet this objective many might have opted to acquire existing pieces through purchase – the most straightforward and quickest way of amassing a body of work. But as a company, William Grant and Sons has never

The values that underpin the very identity of Scotch whisky are constant, however as the social and cultural values of consumers change, the question arises as to how these constants can be recommunicated. For the independently family owned distillers, William Grant and Sons, one response was the development of an arts programme to be hosted at its Glenfiddich Distillery

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Michael Kienzer, Cars, 2002 Photo: John Paul Photography

been one of the herd and after widespread consultation with individuals and organisations already involved in the art world, including Arts and Business Scotland (who went on to generously provide half the start-up costs in the first year) the residency model was adopted as a way forward. Having artists living and working at the distillery would bring a number of benefits. Firstly it gave a business reason to invest in the site’s housing stock, which at the time was in need of upgrading. The provision of an on-site gallery, housed in the Visitor Centre’s old gift shop, allowing for new works to be exhibited, would bring its own dynamic to the distillery, adding value to the overall visitor experience. Above all, with the residency brief stating that artists should produce work related to their experience at Glenfiddich and leave at least one piece of newly created work behind, the collection would have a more personal connection to the company than a selection of purchased works could ever provide. Other arts sponsorships within the drinks industry do exist, with Absolut and Beck’s springing to mind. However, where the Glenfiddich model stands apart is in the potential for direct interaction and meaningful engagement 19

between artist and host offered through the three-month residencies. Further fine-tuning to the programme allowed it to become international, reflecting Glenfiddich’s global popularity, and thought was also given to the nature of the work to be produced. This was not to be a programme where the aim was to reinforce worn-out clichés, but was intended from the outset to be challenging, fresh, and bring about the creation of a new set of associations that would speak not just about Glenfiddich, but also the image of Scotland at the start of the 21st century. With housing stock renovated, the aforementioned start-up funds from Arts and Business Scotland in place, and myself and local arts consultant, Claudia Zeiske, recruited to oversee the programme, the first artists arrived in the summer of 2002. If there were any notions that they might produce conventional works they were firmly dispelled when Michael Kienzer’s Cars, a Rover car sitting on top of a Ford, bound by ‘FRAGILE’ packing tape, was sited at the front of Glenfiddich Stillhouse No. 2. The first year was very much a trial; it had to be ascertained if the distillery could successfully accommodate the programme, both physically and spiritually. For the artists themselves, coming from other

countries and more often than not urban environments, there would be cultural and social adjustments to be made. Early works such as Cars certainly provided the challenges that the programme was designed to create. Yet from the outset the management of the distillery were willing to adopt a ‘let’s give it a go attitude’ that allowed the programme to quickly establish itself. To monitor public opinion a visitor survey was provided which showed that the sponsorship was viewed in a positive light by the majority of respondents. Most importantly, although the type of work encountered on entering the exhibition space was somewhat unexpected, the overall response was one of pleasant surprise. Thankfully the programme, the distillery and even the artists managed to survive that first year and the experience provided valuable lessons, highlighting areas for improvement. Each year since, this learning process has continued, allowing the programme to expand and develop. In 2005 its international scope was widened beyond Europe to become truly global in reach, and alongside the visual arts, other art forms including music and poetry were also incorporated. The number of artists spending their summers at Glenfiddich has increased to eight per year, with the total award received by each artist, comprising personal fees, production budget, accommodation and travel, now worth in excess of £12,000. The selection process continues to be by invitation only and is facilitated through a growing network of overseas curators, galleries and arts organisations. These relationships mean the programme’s activities are no longer confined to the distillery. Recent years have seen several subsequent exhibitions staged by artists once they have returned to their home countries, most notably in Asia and North America, which in turn has helped disseminate knowledge of the Glenfiddich residencies to a wider audience. So far almost 70 artists from 26 different countries have completed residencies at Glenfiddich and the volume of work they have collectively created is only surpassed by its variety. The space and unique location that the residency provides has resulted in a variety of work, ranging from that of a distinctly personal nature such as Roderick Buchanan’s family tree, Weegie Castle Dwellers (2003), to projects that incorporate the environment as a back drop to expand an existing series of works such as Christine Borland’s The Velocity of Drops and Ross Sinclair’s Real Life (both 2004). Of course, the potential to interact with the complex process of making single malt Scotch whisky has also been investigated, as Stefanie Bourne’s Subjective Production (2004) and Dave Dyment’s A Drink To Us (When We’re Both Dead) (2008) both show. Glenfiddich offers many more avenues of exploration: the ingenuity of William

If there were any notions that they might produce conventional works they were firmly dispelled when Michael Kienzer’s Cars, a Rover car sitting on top of a Ford, bound by ‘FRAGILE’ packing tape, was sited at the front of Glenfiddich Stillhouse No. 2

FROM TOP Alex Frost, Blind Drawing (birds and salt dough jugs) 2009 Enamel and temporary tattoo on paper Photo: John Paul Photography Alex Frost, Blind Drawing (roses and salt dough jugs) 2009 Enamel and temporary tattoo on paper Photo: John Paul Photography

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Alison Watt, 2005 Photo: John Paul Photography

Scottish Art News 22

The collection it was designed to create now contains an impressive backlog of works that have arguably shaped a new vernacular of associations and representations for Glenfiddich

Grant himself is celebrated in Robert Bremner’s 2006 work Single Source of Inspiration, while local myths and historical characters have been vividly brought to life by Damian Moppett’s The Brollachan (2010), and Qi Xing’s As if James Macpherson had ever played a fiddle for a white stag (2009). In 2005 the simple romance of a red rose being exchanged as rent for nearby Balvenie Castle was all the inspiration Alison Watt required to put aside her favoured monochromes to produce works in the most vibrant of scarlets. After nine years the programme shows no sign of losing its vibrancy and has earned a reputation for its non-prescriptive and supportive approach. The collection it was designed to create now contains an impressive backlog of works that have arguably shaped a new vernacular of associations and representations for Glenfiddich. Yet to date there has been no major collective showing of any of these works outside Scotland. It should come as no surprise that a whisky company would wait so long before feeling its spirit was finally ready to be released to the outside world. But for Glenfiddich that time has finally arrived. And so, to herald the tenth year of Artists in Residence at Glenfiddich, a number of works have been specially selected for exhibition at The Fleming Collection in London in 2011, allowing a whole new audience to appreciate the spirit of creativity that has made its home at Glenfiddich. Andy Fairgrieve is curator and co-ordinator for the Glenfiddich Artist in Residence programme and has worked for William Grant and Sons since the programme began in 2002.

THIS PAGE Qi Xing, As if James Macpherson had ever played fiddle for a white stag , 2009 Oil on canvas, 190x241 cm Photo: John Paul Photography

Roderick Buchanan Weegie Castle Dwellers, 2003 Photo: John Paul Photography

Reflecting Glenfiddich: A selection of works from the Glenfiddich Artists in Residence Collection 25 January – 26 February 2011 The Fleming Collection 13 Berkeley Street, London W1J 8DU Tel: 020 7042 5730 www.flemingcollection.com Tuesday – Saturday 10am–5.30pm Admission Free

OPPOSITE Michael Sanzone William Grant 496, 2008 Cask wood, 123x122 cm Photo: John Paul Photography

Scottish Art News 24

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Image: Andrew Mackenzie Transmission 2, 2006 oil on primed paper Purchased 2007 The Fleming-Wyfold Art Foundation

We will be holding an exhibition of Anne Redpath’s works to coincide with the publication of the new edition of Patrick Bourne’s biography of the artist. We would be pleased to hear from you if you have paintings by Redpath you wish to sell. ANNE REDPATH OBE ARA RSA 1895-1965 Cagnes, circa 1934 Oil on panel 26 x 24 inches Scottish Art News 26

THE ASPECT

Frances Law, Encircle, 2010 Oil on canvas, 76cmx76 cm

PRIZE The Aspect Prize is a showcase for contemporary painting in Scotland, open to all artists, established and emerging, Scottish, or living and working in Scotland. The winner of the Aspect Prize, one of Britain’s largest independently funded art prizes, will be announced at The Fleming Collection in 2011. Selina Skipwith, Keeper of Art at The Fleming Collection puts the four shortlisted artists – Steven Lindsay, Adam Kennedy, Frances Law and Rowena Comrie – in the spotlight.

he Aspect Prize was founded in 2003 in conjunction with Paisley Art Institute to raise the profile of artists who have not had a commercial solo exhibition in London for the last six years (there is no age limit). It is supported principally by Aspect Capital and is one of the largest prizes for painting in the UK with a total prize fund of £30,000. All of the works submitted through an open submission were exhibited at the eighth annual Aspect Prize exhibition at the Paisley Art Institute in summer 2010, and from this, four painters were selected to exhibit their submission, along with additional works, in the finalist’s exhibition at The Fleming Collection in London in early 2011. The four finalists have received £5,000 with the eventual overall winner – to be announced at the London exhibition – receiving an additional £10,000. The Fleming Collection will select a work by the winning artist for their permanent collection. In January 2010 it was won by Patricia Cain, from Glasgow, who has since been awarded the Threadneedle Prize for her large-scale industrial drawing Building the Riverside Museum. The 2010/11 Aspect Prize judging panel comprise 27

Over the past 25 years, archaeology, memory and intuition have formed the basis of Frances Law’s artistic enquiry. From her large expressive figurative paintings of the early 90s to her more recent ethereal shell works, her work has undergone a series of transformations, each renewal revitalising her research and generating deeply provocative imagery. She won the Scottish National Art Prize in 2008 and lives in Kirriemuir, Angus.

Adam Kennedy River Clyde Ship Study 2, 2010, mixed media on paper, 73x53 cm

Glasgow-born and based artist Adam Kennedy graduated from Edinburgh College of Art in 2009. His work ranges from site specific installations and sculpture influenced by the history of airline travel to drawings and paintings reflective of his childhood fixation with transport and growing up next to the River Clyde. The UK shipbuilding industry is the impetus for his work for the Aspect Prize.

Rowena Comrie, Leeward, 2010 Oil on canvas, 180x180 cm

Steven Lindsay, The Rabbit girl 2010, oil on canvas, 25.4x25.4 cm

artist Charles Jamieson, Chairman and prize co-founder; Michael Adam, prize co-founder, entrepreneur and art collector; Bill Smith, Trustee, The Fleming-Wyfold Art Foundation and Former Keeper of Art; Patricia Cain, artist and last year’s winner of the Aspect Prize; and Anthony Todd, co-founder and Chief Executive Officer of Aspect Capital. This year the four artists selected by the panel are Steven Lindsay, Adam Kennedy, and Frances Law and Rowena Comrie. The Aspect Prize is supported by Aspect Capital Limited | www.theaspectprize.com

The Aspect Prize 11 – 20 January 2011 The Fleming Collection 13 Berkeley Street, London W1J 8DU Tel: 020 7042 5730 www.flemingcollection.com Tuesday – Saturday 10am–5.30pm Admission Free

After graduating from Glasgow School of Art Paisley-based Steven Lindsay signed to Virgin Records, EMI Music Publishers and Warner Bros USA as a recording artist. He has a traditional approach to painting and most of his work is figurative. Influences range from Vermeer to Lucian Freud and Whistler to the Scottish Colourists. He works as a freelance Art/Creative Director, Artist and Composer.

The final of the four finalists, Glasgow-based Rowena Comrie left art school fully immersed in the aesthetic of abstract art, but has since developed certain qualities of abstract painting into figurative and landscape painting. The paintings she has submitted for The Aspect Prize are examples of the largescale oils that have always formed the foundation of her work. Other projects have included an abstracted twenty-foot map of Scotland painted on tarmac for the BBC.

Scottish Art News 28

needs Good good art needs design. good design.

This magazine was designed by Flit London. Why not talk to us about your design needs? www.flitlondon.co.uk

Fine art by fine printers

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Scottish Art News 30

SCOTTISH ART NEWS ROUND-UP Phase 1 The Glasgow School of Art redevelopment View at Dusk showing light from the Studios in the Mackintosh and the new building © The Glasgow School of Art/ Steven Holl Architects

Building which houses the Students’ Union. The Phase 1 building is the first element of the GSA’s wider estates strategy, which will consolidate its currently scattered, inefficient and predominantly unfitfor-purpose campus along Renfrew Street. The exterior of the building will be coated in a thin skin of matte Edinburgh College of Art and the University of Edinburgh have

glass referencing Mackintosh’s stone skin on the 1909 building. The

been in talks over a potential merger, which could, argues ECA’s

material will soften the light on the Mackintosh building ensuring

Art Principal, Professor Ian Howard, result in ‘enhanced teaching,

the studios continue to benefit from the quality of light as envisaged

research and creative endeavour’. It would potentially allow the

by Mackintosh. The Scottish Funding Council committed in

institutions to cut costs through the sharing of facilities and

principle funding up to £50m towards the Phase 1 building.

services amid continuing fears of funding cuts. However, staff,

www.gsa.ac.uk

Susan Philipsz Lowlands, 2008/2010 3-channel sound installation Duration 8 minutes 30 seconds Courtesy the artist, Tanya Bonakdar Gallery, New York and Isabella Bortolozzi Galerie, Berlin. Photo: Sam Drake and Lucy Dawkins, Tate Photography

students and supporters of ECA, founded in 1760, see the merger as more of a takeover by the much larger university which would cause irreparable damage to the culture and ethos of the college.

The Glasgow School of Art (GSA) is to open a new Centre for

Leading figures who have signed their names in a letter to education

Design Innovation at Forres in the Scottish Highlands with

secretary Mike Russell urging him to block the proposed merger

Highlands and Islands Enterprise (HIE) and will immediately start

include Richard Demarco, Alastair Salvesen, and artist Barbara Rae

working on collaborative projects with Highlands and Islands

for the creation of ESW’s Creative Laboratories, a world-class

studio spaces, refurbished fabrication workshops, new facilities

CBE, currently head of ECA’s alumni association. Officials insist that

partners – universities, public services and business. HIE, together

research and production facility at its Newhaven site. The Creative

and equipment. Under its new Director, Nuno Sacramento, the

no decision will be reached before a full consultation is carried out

with ERDF funding, will assist GSA to establish the Centre with a

Laboratories will provide a mix of indoor and open-air workspaces

Artists Residency Programme will resume in summer 2011. A new

and any union is unlikely to occur before 2012. www.eca.ac.uk

support package of up to £1.27m over the next three years. Professor

around a central courtyard. Together with the sculpture centre, the

publication setting out the modus operandi for SSW has been

Irene McAra-Mcwilliam, Head of the School of Design at GSA, and

Laboratories will create a vibrant cultural hub of benefit to the whole

launched, which discusses issues facing cultural organisations

Director of the new Centre, said ‘The partnership between HIE and

city. The addition of viewing areas and a cafe will open up the space

operating in rural environments as well as developments in

Plans for The Glasgow School of Art’s (GSA) redevelopment

GSA will have Design Innovation as its focus, and in particular how

to visitors. Designed by Sutherland Hussey Architects, the Creative

curatorial practice. ARTocracy: Art, Informal Space and Social

are progressing as the design for Phase 1 (the first element) of

to apply design innovation methods to enterprise and communities

Laboratories will be a unique new building situated alongside ESW’s

Consequence: a curatorial handbook in collaborative practice is

the redevelopment strategy was recently unveiled. Steven Holl

in the Highlands and Islands in order to generate economic growth

new sculpture centre. It is expected to open in 2013. ESW’s Creative

published by Jovis Verlag and is available from art book shops and

Architects (New York) in partnership with JM Architects (Glasgow)

and strengthen communities within a national and international

Laboratories beat off stiff competition for the prize from the Scottish

online from www.deveron-arts.com

and Arup Engineering were appointed following an international

context.’ www.hie.co.uk | www.gsa.ac.uk

Book Trust and Edinburgh College of Art.

www.ssw.org.uk

competition to design a new building for the Art School to

www.scottishcf.org/artsprize | www.edinburghsculpture.org

significantly enhance the teaching, learning and research facilities available to GSA students and staff as well as providing access to

Edinburgh Sculpture Workshop (ESW) has been named the

new publicly accessible spaces. The new building is set to open

winner of the £3m Arts Funding Prize for Edinburgh by The

The Scottish Sculpture Workshop (SSW), in Lumsden,

Turner Prize, walking away with the £25,000 award. She beat

in readiness for the 2013/2014 academic year and will replace the

Scottish Community Foundation. The anonymous donor funding

Aberdeenshire, has been celebrating the completion of a major

competition from the other shortlisted artists: Dexter Dalwood,

Foulis Building and Newbery Tower on Renfrew Street opposite

the prize has given the Foundation – a charity that specialises in

refurbishment, which has included some major changes to the

Angela de la Cruz, and the Otolith Group who each receive £5,000.

the Mackintosh building, and significantly refurbish the Assembly

supporting philanthropic giving – the green light to award £3m

structure and arrangement of the workshops, including new

For Tate Britain’s 2010 Turner Prize exhibition, Glasgow born Susan

Scottish artist Susan Philipsz was announced winner of the 2010

Scottish Art News 32

In the Autumn of 2011 the National

people to buy contemporary art. With a new chief executive Andrew

Galleries of Scotland will stage the

Dixon, Creative Scotland inherits the investment commitment of the

first of its Scottish Colourists Series

Scottish Arts Council and Scottish Screen with the majority of their

with a retrospective of the work

budget committed for 2010/11. The board met for the first time in

of F.C.B. Cadell. Francis Campbell

August 2010 and is working on the development of key priorities for

Boileau Cadell (1883-1937), one of

areas where it can make a difference throughout Scotland.

the four artists popularly known as

www.creativescotland.com

‘The Scottish Colourists’ was born in Edinburgh, where he lived for most of his life, studying in Paris

In December 2010 Creative Scotland announced ‘Creative Futures’,

and Munich. Cadell is celebrated for

a major artists’ residency programme. With almost 200 residencies

his stylish portrayals of Edinburgh

each year, ‘Creative Futures’ as a programme will be unrivalled in

New Town interiors and the

Europe. The National Centre for Gaelic Language and Culture on

elegant society that occupied them,

Skye, Sabhal Mòr Ostaig, will be one of the primary residency hosts.

his vibrantly coloured, daringly

Sabhal Mòr Ostaig is one of Creative Scotland’s key partners and

simplified still lifes of the 1920s and

will deliver a residency with particular emphasis on the Gaelic arts.

for his evocative landscapes of the

www.creativescotland.com

west of Scotland and the south of France. This is the first retrospective exhibition of his work mounted

In the months following last year’s Comprehensive Spending

at a public gallery since 1942 and

Review, fears for the public arts sector were realised on a scale

will consist of approximately 70

that threatened a 25% cut to government funding for museums

paintings, from public and private

and galleries across the country. In November 2010 the reality of

2011-12 leaves arts and culture relatively intact (Creative Scotland’s

collections. It will be accompanied by

the CSR revealed itself as less drastic than initially feared, with a

core fund of 35.5m has been preserved), the current plans stand to

a lavishly illustrated catalogue based

general 6.9% cut to arts organisations proposed for the first year.

last only for the next financial year. National Museums Scotland

on new research.

However vast plans for the restructuring and abolition of certain

are to face a cut of 4% from April while Historic Scotland will see

F. C. B. Cadell: The Scottish Colourist

administrative bodies, in tandem with hefty cuts to be implemented

a cut of 4.7% for this period. Gordon Rintoul, director of National

Dean Gallery (Scottish National

over the next four years, mark this as the beginning of a very lean

Museums Scotland has said, ‘We are, in effect, significantly worse

Gallery of Modern Art), Edinburgh/

period for the cultural sector. With the intention of improving

off than our London counterparts, shouldering a cash cut of 4.2%

Admission payable

transparency and accountability of public services, 19 of the 55

in year one by comparison with their 3% cash cut in year one.’ In

www.nationalgalleries.org

non-government public bodies, or Quangos, will be abolished or

essence therefore, while not presently facing a four year reduction

reformed. Both the UK Film Council and the Museums Libraries

plan, the threat of further more substantial cuts subsists, making

and Archives Council will be eradicated with their responsibilities

planning for the future extremely difficult.

absorbed into the remit of the British Film Institute (BFI) and Arts

www.artscouncil.org.uk

Museum in Alloway, Ayrshire, opened to the public in December

Council England (ACE) by April 2012. For these organisations this

www.museumsassociations.org/museums-journal

2010. At a cost of £21m it is the largest project the National Trust for

is more responsibility with less resources; the BFI has suffered a

Scotland has ever undertaken. The museum comprises the famous

15% reduction in funding while ACE is to shoulder a hefty 29.6% cut

The Robert Burns Birthplace

Burns cottage where the poet was born, the historic landmarks

to funding alongside a 50% administrative cut over the four year

Philipsz dislocated her 2008 sound sculpture Lowlands, from the

where he set his greatest work, the elegant monument and gardens

period. Spread out across the various museums and institutions that

underbelly of the Clyde Bridges to the white-walled gallery space.

created in his honour and a modern museum housing the world’s

currently benefit from ACE funding, this works out as an average of

Philipsz’s lone singing voice simultaneously projects over three-

most important collection of his life and works, housing 5,000

6.9% cut across the board, with a 15% limit to cuts over the next four

channels within the confines of the vacant gallery, individually

artefacts, manuscripts and items of memorabilia related to Burns.

years – any more than a 15% reduction to ‘frontline’ organisations

playing varying versions of the sixteenth-century Scottish lament

http://www.burnsmuseum.org.uk/

was deemed a risk too great if the government is to maintain free

Lowlands Away. In translating this work through relocation to a

admission to the nation’s museums. However the considerable

conventional art-display environment, the emotive power of song

reduction in revenue for Local Authorities, with as much as a

and our focus on words is amplified, while intensifying the intimate

In July 2010 Creative Scotland, Scotland’s new arts body was

proposed 7.1% cut per year, will have a substantial knock on effect

experience of listening to an untrained voice sing. Philipsz alerts us

launched after the merger of the Scottish Arts Council and Scottish

for the smaller council run and locally funded museums across the

to the concept of sound as physical and sculptural intervention; and

Screen. It has been four years in the making and is aimed at

country. The likelihood of closing down exhibition spaces, internal

with this work as last in the order of display at the Tate, her song

developing quality and excellence in arts and culture with a focus on

restructuring and recruitment freezes looms ominously on the

continues to echo as we leave, and haunt our memory for some time

making the arts accessible, as well as offering grants and bursaries.

horizon with many institutions preparing for the worst. In Scotland

after. www.tate.org.uk/britain/turnerprize/

The body will also provide interest free loans to make it easier for

the situation seems less certain. While the current budget draft for

OPPOSITE Frances Campbell Boileau Cadell (1883-1937) The Blue Fan, c.1928, oil on canvas Scottish National Gallery of Modern Art Bequeathed by Dr James T. Ritchie 1998 ABOVE Frances Campbell Boileau Cadell Portrait of a Lady in Black, oil on canvas Scottish National Gallery of Modern Art

Scottish Art News 34

PICTURE IN FOCUS: Adam de Colone, George Seton, 8th Lord Seton and 3rd Earl of Winton, (with his sons George, Lord Seton, and Alexander, 1st Viscount Kingston) 1625, oil on canvas Scottish National Portrait Gallery

David Taylor discusses a new acquisition to the Gallery’s Collection

PICTURE IN FOCUS

ames Adam de Colone’s superb triple portrait of George Seton, 3rd Earl of Winton, and his sons is a highlight of early Scottish painting, and an important addition to the national art collection after recently being accepted by HM Government in lieu of Inheritance Tax and allocated to the Scottish National Portrait Gallery. Little is currently known about the artist Adam de Colone. A small body of work survives (including five pictures in the Scottish National Portrait Gallery, with a further two on long-term loan), of which the majority are inscribed with the date and the sitters’ ages in distinctive lettering and numbering, and all produced in the short period between 1622 and 1628. Duncan Thomson, former Keeper of the Scottish National Portrait Gallery, first identified the artist, suggesting in his 1974 book The Life and Art of George Jamesone that Colone was the son of Adrian Vanson, James VI’s Netherlandish court painter. De Colone would paint the king, at least twice, after his accession to the English throne in 1603, being paid £60 in London on 4 July 1623 for two full length portraits. He was in Scotland in 1625 when the Scots Privy Council granted him a passport to enable him to travel to the ‘Low Cuntreyis of Flanders’ to undertake business. However, dated portraits of Scottish sitters suggest de Colone put off travelling to the continent until 1628, and the fact that no portraits of either Scottish or English sitters are known to exist from after this 35

date, suggests he did not return to either country. Lord Winton, a powerful and influential politician, who served three Stuart monarchs, was one of de Colone’s most important patrons. Following the fashion for commissioning portraits to display personal status, family connections and political allegiances, it was natural that he would turn to de Colone, the finest portrait painter in Scotland in the 1620s. Likewise, with Scotland’s recent history of Netherlandish-dominated portraiture (Vanson’s predecessor as court painter was Arnold Bronckorst, another Netherlandish artist) and the current continuation of interest in portraits based on Netherlandish prototypes, Winton’s choice of de Colone (who had presumably trained in the Low Countries) as his portraitist was a clear cultural statement on his personal taste and status. He seems to have commissioned de Colone on a number of occasions – at least two portraits survive of the Countess of Winton, and his account books include two records in 1628 of payments to ‘Adame the painter’ for four other portraits, including one portrait of himself which he gave to his sister, Lady Isabel Seton. De Colone painted three portraits of Winton, two were produced in 1625 – the present group portrait and a single, head-and-shoulders length portrait, presumably based on the same sitting – and the third in 1628. The present portrait shows Winton with his two sons, George, Scottish Art News 36

Frans Pourbus the Elder, George, 5th Lord Seton and his Family 1572, oil on panel, National Gallery of Scotland

Lord Seton, and Alexander, the future 1st Viscount Kingston, by his first wife, Lady Anne Hay. Despite the rather detached look on Winton’s face this portrait is a particularly touching depiction of a family group, and while he dominates the canvas, his open arms lead the viewer’s eye down to his two sons, whom he protectively holds on to, almost drawing the younger boy under his cloak. The artist elicits an emotive response to the portrait by portraying an act of tenderness between the children, with the smiling younger son, who carefully holds up a carnation in his right hand, putting his left hand on the breeches of his older brother, as if he is trying to catch his attention in order to present him with the flower. The selfconsciously unsure older boy is portrayed in a pose type that was usually reserved for portraits of grown men, indicating that at age twelve the young Lord Seton was on the cusp of adulthood. Roughly equidistant between his gloved left hand, holding a hat, and his un-gloved right hand, pulling at the strings of his lace collar, we can see the hilt of his sword, indicating the protective role for him as future head of the family, and emphasising his position as his father’s heir. Although the portrait depicts the personal relationship between Winton and his sons, it appears to deliberately reference an older picture, possibly with a 37

Adam de Colone, Anne Hay, Countess of Winton, 1625, Oil on canvas, Scottish National Portrait Gallery

Following the fashion for commissioning portraits to display personal status, family connections and political allegiances, it was natural that he would turn to de Colone, the finest portrait painter in Scotland in the 1620s

Alexander Keirincx, Seton Palace and the Forth Estuary, c.1639 Oil on panel, Scottish National Portrait Gallery

variety of intentions. Winton’s paternal grandfather George, 5th Lord Seton, was painted with his daughter and four sons in 1572 by Frans Pourbus the Elder (National Gallery of Scotland), who depicted him standing with his arms around his two youngest sons, his hands placed protectively on their shoulders. De Colone’s portrait echoes the poses in the older work, indicating that Winton probably wanted to emulate the Pourbus picture, no doubt a treasured possession, and blatantly allude to his family history. Also, Pourbus painted Seton with a prominent crucifix hanging from a black ribbon around his neck, and the youngest son holding an open bible showing a painted depiction of the crucifixion. Winton, like his grandfather, was Catholic, and referencing this particular portrait might have been a deliberate nod to the family’s religious continuity as well as a reminder of family iconography. Winton’s portrait was painted in the year that Charles I awarded him the temporary presidency of the Scots Privy Council. Eight years later, in 1633, Winton sat on the council committee that organised the king’s Scottish coronation, and during Charles I’s visit to Scotland he and the court stayed with Winton at his principal residency Seton Palace, one of the most spectacular Scottish Renaissance houses, where he would have seen the family portraits by

both Pourbus and de Colone. It was in commemoration of this visit that the king commissioned the Flemish painter Alexander Kierincx to paint the palace as part of a set of ten views of towns and buildings connected with his 1633 journey to Edinburgh. It is fascinating to think what Charles I, a monarch who was so involved in his own iconography, would have thought when he saw the portrait of Winton and his sons. De Colone’s fine depiction of the king’s loyal servant, as a rich and powerful courtier at the height of his career, dressed in his finest clothes and closely grouped with his beloved heirs, no doubt appealed to Charles’s connoisseurial tastes. As well as dating the picture, and giving the three sitters’ ages, de Colone included fringed red curtains, pulled back to reveal the family, which was a popular compositional device that he used in many of his portraits. These were probably intended to be seen as trompe l’oeil versions of the curtains that were often employed in the seventeenth century to protect paintings, which in turn emphasises how precious both the work of art and the subject matter were to the earl. David A.H.B. Taylor is Senior Curator at the Scottish National Portrait Gallery.

Scottish Art News 38

CELEBRATING A NEW ACQUISITION AT THE HUNTERIAN, UNIVERSITY OF GLASGOW

John Runciman, Hagar and the Angel, c.1766, oil on panel © Hunterian Museum & Art Gallery, University of Glasgow

n the spring of 2010 The Hunterian was awarded Hagar and the Angel or Hagar and Ishmael by John Runciman (1744-1768/9) under the Acceptance in Lieu scheme whereby works of art, buildings, land and items of historical interest can be gifted to the nation in part payment of Inheritance Tax. Hagar and the Angel has joined a number of prints, drawings and oil studies by John and Alexander Runciman (1736-1785) in The Hunterian collections. Trained as decorative painters in Edinburgh, the Runciman brothers left Scotland in 1767 to study in Italy where they became familiar in Rome with the circle of international artists including Gavin Hamilton (1723-1798) and James Barry (1741-1806). Among the first Scottish artists dedicated to painting History in the modern manner and talented enough to succeed, they were two of the most able and versatile figures in Scottish art in the eighteenth century. John died of consumption within a year of his arrival and Alexander returned to Edinburgh in 1769 and went on to become Master of the Trustees’ Academy. 39

Alexander Runciman, Temple of the Sibyl at Tivoli, c.1770, oil sketch © Hunterian Museum & Art Gallery, University of Glasgow

The small oil panel illustrates well the Runcimans’ ambition as history painters, which marks an important step in the development of Scottish painting and is a most welcome addition to The Hunterian’s collection of Scottish art from the mid to late eighteenth century and early nineteenth century. The Hunterian’s earliest paintings of that type are Gavin Hamilton’s Abdication of Mary Queen of Scots, dated 1765 and illustrating the contemporary growing fashion for subjects taken from modern history, and his Farewell to Andromache dated 1775-80, a key example of the European neoclassical movement. By contrast, Hagar and the Angel belongs to a group of biblical subjects in which John Runciman’s romantic and spontaneous background hints at a very different approach, one more akin to the work of James Barry or Henri Fuseli (1741-1825).

among these, buying thirteen Dutch and Flemish paintings including two important oil sketches of this type, The Entombment by Rembrandt, and a biblical head study by Rubens. Other notable Dutch and Flemish art collectors included Sir John Clerk of Eldin (an amateur etcher represented in the Hunterian by fifteen drawings and 80 prints of his own and a Rubens pen drawing from his collection); John Glassford, one of the Foulis Academy’s most important patrons; and Lord Cardross, later 11th Earl of Buchan, who himself studied art at the Foulis Academy. Among the works gathered by Robert and Andrew Foulis, founders of the eponymous Academy (1754-1775), were a number of Dutch and Flemish paintings and prints and one religious painting each by Coypel and Poussin on the subject of Abraham’s relations with Sarah and Hagar.

Paying homage in part to Dutch and Flemish seventeenth-century art and Rembrandt in particular, Runciman’s panel is an early indicator of the developing taste among contemporary Scottish collectors for such treatment. Our founder William Hunter (1718-1783) was

John Runciman’s biblical subjects, a group to which Hagar and the Angel belongs, were painted in the 1760s at the same time as the Foulis Academy in Glasgow conversely was actively encouraging ‘essays in original history painting’ in its students. The catalogue of ‘pictures,

drawings, prints, statues and busts in Plaister of Paris, done at the Academy …’ published in the early 1760s included a number of copies, drawings and prints by pupils dealing with Old Testament subjects. The Academy’s most successful pupil, David Allan (1744-1796), represented at the Hunterian in paintings and prints, arrived in Rome coincidentally with the Runciman brothers and had much in common with them, from an affiliation to Gavin Hamilton to his aspirations as a history painter. They were all interested in the traditions and past of their own country, an influence which would later lead Alexander Runciman and David Allan to the poems of Ossian and the pastorals of Allan Ramsay. Filling a gap in the Hunterian collection, Hagar and the Angel adds significantly to The Hunterian’s ability to convey the burgeoning breadth and diversity of mid to late eighteenth-century Scottish art, and to introduce fascinating comparisons between Scotland’s two eighteenth-century art academies, the Trustees’ Academy in Edinburgh and the Foulis Academy in Glasgow.

To celebrate this gift, Hagar and the Angel will Scottish Art News 40

OPPOSITE FROM TOP Rembrandt, The Entombment, c.1630, oil on panel Gavin Hamilton, Hector’s Farewell to Andromache c.1775-80, oil on canvas THIS PAGE David Allan, ‘Were your bein rooms as thinly stock’d as mine’, The Gentle Shepherd act 1, scene 1 1788, aquatint and etching All images © Hunterian Museum & Art Gallery, University of Glasgow

appear as the centrepiece of The Hunterian’s holding of works by the Runciman brothers in an ‘in focus’ small exhibition from February to May 2011. Their romantic and spontaneous approach will be contrasted with that of other important mid to late eighteenth-century Scottish artists, such as Gavin Hamilton and David Allan. Anne Dulau Beveridge is Curator at the Hunterian Art Gallery, Glasgow.

New Acquisition: John Runciman’s Hagar and the Angel 19 February – 15 May 2011 Hunterian Art Gallery 82 Hillhead Street University of Glasgow Glasgow G12 8QQ www.glasgow.ac.uk/hunterian Tel: 0141 330 5431 Monday – Saturday 9.30 am– 5pm Admission free

Scottish Art News 42

Borland recasts â&#x20AC;&#x2DC;From Natureâ&#x20AC;&#x2122; as part of her ongoing investigation into the relationship between art and medicine. By Katie Baker

CHRISTINE BORLAND

From Nature (detail) Credited to Sir John Goodsir, F.R.C.S, courtesy of the Anatomical Museum, University of Edinburgh Photo: courtesy of Christine Borland

Scottish Art News 44

hristine Borland is set to have her first solo show in Glasgow for sixteen years, nearly two decades since her seminal 1994 exhibition From Life at Tramway first brought her to critical attention. In the intervening years the former Turner Prize nominee has established a reputation as an esteemed international artist working in the arena of science and medicine. From Life exhibited the careful, forensic reconstruction of the head of an unknown woman. Since then she has often continued to seek out in her work the cracks through which the forgotten have fallen. Now Borland has returned to the city with one more overlooked contributor to our pursuit of knowledge. Born in Scotland in 1965, Borland is another successful graduate of Glasgow School of Art and the renowned Environmental Art Department. Her interest in medical science began there with visits to Glasgow University’s Hunterian museum and its anatomical collection. As an artist often cited as part of the YBA generation, Borland was not alone in her use of pathology and medicine as source material, yet she has always eschewed the overtly shocking and macabre for that of a more clinical contemplation and restrained aesthetic. Throughout her practice Borland has taken a forensic type approach to her subject matter, investigating it with the same type of cool-headed rigour that might be demanded of the many scientific professionals that she works with. Earlier works have included the exposure of a modern day trade in human body parts, through a carefully documented facial reconstruction of skulls bought from a mail order supplier. For the Turner Prize, traces of the bones of a giant man and dwarf woman were made with dust and shadow, a dignified presentation of skeletons that had been otherwise kept as anatomical ‘trophies’. It is a world away from that of a grinning Hirst photographed beside a decapitated head 45

or Mat Collishaw’s large-scale photograph of a gaping bullet wound to the head. Time and again Borland has looked for the human face lost in the name of scientific progress and discovery. Through diligent research she uncovered Henrietta Lacks, the deceased woman Borland discovered to be the previously unknown originator of the standard ‘HeLa’ cells used in labs all over the world. Other work has highlighted the work of the anonymous women who coloured the botanical prints of a sixteenth-century bible of medicinal herbs. Her latest show, Cast From Nature, takes as its starting point a fibreglass sculpture belonging to the Royal College of Surgeons, Edinburgh, made from the unidentified body of a flayed and dissected man. It follows a three-month residency at Glasgow Sculpture Studios during which Borland tracked down what is assumed to be the sculpture’s original plaster cast.

Throughout her practice Borland has taken a forensic type approach to her subject matter, investigating it with the same type of coolheaded rigour that might be demanded of the many scientific professionals that she works with

FROM LEFT: Casting in progress: Christine Borland and her assistant at work Close up of Christine Borland at work as streamed live on one of the screens in the specially created lecture theatre Double screen live streaming in the lecture theatre. Camera 1 focuses on From Nature, Camera 2 gives a wide shot of the room where the casting is taking place showing Christine Borland at work Photos: Ruth Clark

Created by nineteenth-century surgeon and Professor of Anatomy, John Goodsir, the cast was taken from a dissection he himself performed at a significant time in the history of anatomy when much of the previous century’s knowledge was being broadly consolidated. Whatever the erudite origins of its creation, the sculpture largely exists now as more of a rarefied aesthetic object or historical curiosity. It has long since lost its scientific and educational value, supplanted by advances in technology that Borland has witnessed at close hand. Her recent research, working closely with medical students, has led to an interest in the role of simulation in teaching medicine. An increased use of role play and acting to teach communication skills has been accompanied by technological innovations that allow students to practice treatment on hi-fidelity manikins. In some universities anatomy is now taught solely through interactive computer generated resources, removing the need for dissection from the curriculum. This simultaneous encouragement of greater empathy and relating skills, at the same time as the students are distanced from some of the more visceral aspects of medical education has been the impetus for Borland’s most recent work. Last year she

used the heads of six low-tech medical manikins, which she cast in plaster and placed under glass domes. Filming the process as they cooled, the heads disappear into the mist of water vapour, to slowly emerge again as the condensation turns into water droplets running down the glass. The usual clinical, detached relationship to these objects was disturbed just enough to reintroduce a more human engagement. It is a process that Borland hopes to continue exploring in Cast From Nature. Having recovered the cast, she now intends to create a new mould from which to recast, creating a new plaster cast of the sculpture in a process that the public will be able to come and watch. A viewing arena has been created in the main gallery into which the process will be streamed live as it is happening in a studio next door. This performance aspect is new to Borland’s work, although she is keen to keep the focus on the recasting rather than on her. By mediating the performance through CCTV and keeping her appearance in the footage to a minimum the intention is to ask viewers to engage intimately with the original sculpture and the anonymous man behind it. There is a voyeuristic impulse being evoked here, particularly with the viewing galley’s echoes of the Scottish Art News 46

Christine Borland, SimMan (detail), 2002 Photo: courtesy of Christine Borland

ABOVE Christine Borland, SimBodies & Me (detail) 2010 BELOW Christine Borland, Medicine Cabinet (detail), 2006. Photos: courtesy of Christine Borland

Borland’s choice of subject matter, with its connections to the greyer aspects of science, is entirely in keeping with her previous work that has likewise sought out the shadows and fault lines of clinical data and investigations

eighteenth-century public anatomy theatres of Padua and Bologna, where the line between education and spectacle was distinctly blurred. So too today, dissection is a popular subject of entertainment, with simulated autopsies performed nightly in people’s living rooms through the ubiquity of television detective dramas and forensic crime programmes. Yet the distancing effect of CCTV in Borland’s work is a reminder of how much more, despite our increased knowledge, our experiences are mediated, taking on an inevitable sense of unreality to them. The alienating impact of the CCTV echoes that of the technology in medical schools and the difficulties Borland discovered the medical 47

students and tutors had in engaging with the manikins on a meaningful level. Coincidentally the show opens at the same time as a new film on Burke and Hare, the notorious Edinburgh serial killers who murdered people to provide much needed cadavers to the medical school. Their infamy is the haunting flip side to the illustrious reputation the city held in the field of anatomy. That this story should still hold imaginative appeal hints at the uneasy and ambivalent relationship we have with dissection. The very nature of the history of anatomy is one that is reliant on what would, outside of science, be considered an act of violation, pointing to

a still deeply held taboo surrounding the desecration of the body after death. Borland’s choice of subject matter, with its connections to the greyer aspects of science, is entirely in keeping with her previous work that has likewise sought out the shadows and fault lines of clinical data and investigations. Borland draws out the subjectivities and aesthetics in science, blurring the traditional dichotomy between art and science and working in the spaces where the two cross over. Yet her work goes further than illuminating the connections between these two conventionally disparate disciplines. Borland’s practice questions the ethics and politics of our knowledge and the institutions that shape them. There is a reparative quality to her work, whether that be a blanket from a shooting range lovingly mended, an identity recovered, or, in this case, the recuperation of the human being behind the artefact. However, for all that the work maintains a respectful, even tender, treatment of those lost identities, it walks a fine line between restoring dignity and further reducing them to another object – of art as well as science. Borland’s work is a reminder of the human being all too easily lost in the pursuit of scientific discovery, but it is no less sparing of the question of ethics in art too. Cast

From Nature confronts us with a man who has become both an object of science and an object of art – the latter twice over, as he becomes the focal point of Borland’s work. There is no getting away from this, nor does the work try to. The man behind the original sculpture begins to emerge only to be in danger of starting to disappear again under our gaze. Yet in the process, perhaps, Borland will, as ever, be able to make him just that little bit more real. Katie Baker is an artist and writer based in London.

Christine Borland: Cast From Nature 25 November 2010 – 26 March 2011 Glasgow Sculpture Studios 145 Kelvinhaugh Street, Glasgow, G3 8PX www.glasgowsculpturestudios.org Tel: 0141 204 1740 Thursdays, Fridays and Saturdays 12.00 – 5.00pm or by appointment Admission free

Scottish Art News 48

AT DUNDE

The REX design team for the V&A project includes Magnusson Klemencic Associates (USA), DCI (USA), Buro Happlod (USA), Bureau Bas Smets (Belgium), Lord Cultural Resources (USA) and Urban Splash Group (UK).

The Sutherland Hussey V&A design team includes 3DReid Architects (Scotland), AECOM

As the V&A at Dundee is scheduled to open in late 2014, Evelyn Gladstone takes a look at the six designs for the building shortlisted from 120 design concepts submitted for the international architectural competition to design the first dedicated museum for the V&A outside London and what will be the largest museum of contemporary design in Scotland.

he city of Dundee has come to the fore with an ambitious design project for an outpost of The Victoria and Albert Museum in London. The waterfront project, set for completion in late 2014, aims to transform the city into a global tourist destination with a futuristicdesigned museum on the River Tay. Its main function will be to ‘showcase Scottish design talent, provide a UK base for major international touring exhibitions, and promote a wider understanding and application of design.’ The building itself will be designed by the winner of an international competition which was launched in 2010. The six finalists selected from a shortlist of 120 applicants were Delugan Meissel Associated Architects, Kengo Kuma & Associates, REX, Snøhetta, Steven Holl Architects and Sutherland Hussey Architects. The winning designs were included in an exhibition at Abertay University, which was visited by over 13,000 people whose comments were factored into the choice for the final design. The competition brief outlined a focus on current climate concerns, emphasising that the design should be adaptable for climate change and considerate of the local environment, while minimising energy use, pollution and the risk of flooding. The design had to include a cafe, shop, staff accommodation, offices, educational zone and four gallery spaces. A dedicated gallery space will focus on twentieth and 21st-century design and the impact Scotland has on international design. The V&A will also exhibit their major touring exhibitions as well as those from other international museums and galleries. To complement the showcase of design there will be an area known as ‘Design in Action’ allowing visitors to interact with design. The winner of the competition, which was

(Scotland), Moreham & Brotchie (Scotland), Gross Max (Scotland) and KSLD (Scotland).

The Snøhetta multidisciplinary team for the V&A project includes Gareth Hoskins Architects (UK), Lord Cultural Resources (Canada), Davis Langdon (Scotland), Adams Kara Taylor (UK) and the BDSP Partnership (UK).

The design team led by Delugan Meissl includes Wenzel+Wenzel (Germany), Werner Sobek (Germany) and Büro Kiefer (Germany).

The design team led by Steven Holl includes jmarchitects (Scotland), Guy Nordenson & Associates (USA), ARUP (Scotland), Thomas & Adamson (Scotland), Michael van Valkenburgh Associates (USA) and Transsolar Energietechnik (Germany).

Scottish Art News 50

Kengo Kuma’s team for the V&A project includes cre8architecture (Scotland), ARUP (UK), Optimised Environments Ltd (Scotland) and CBA (Scotland).

Japanese architect Kengo Kuma & Associates’ asymmetrical design beat five rivals to win the competition to design the new building on the banks of the Tay

Japanese architect Kengo Kuma & Associates’s asymmetrical design beat five rivals to win the competition to design the new building on the banks of the Tay.

announced in November 2010 after a ten-week wait following final submissions, was Japanese architect Kengo Kuma & Associates. The design, which incorporates two inverted pyramids with an arch linking the two together has been compared to Frank Gehry’s Guggenheim building in Bilbao. The design unanimously won the competition through its sensitivity to both the city and river. The judges were impressed by the ‘one off’ nature of the design rather than being a ‘production line number’. The building will reflect the water on which it will be built by its series of windows inserted lengthways into the stone-clad exterior, naturally linking the exterior with interior. ‘The Kengo Kuma design gives us something which is bold and ambitious but buildable and practical. It is a beautiful stone building which elegantly meets the requirements we laid out in the brief. This is a harmonious and integrated response to this unique site, which enhances the overall Waterfront Project’ said Mike Galloway, Director of City Development for Dundee City Council and member of the judging panel. The site for the building is being made available through the Dundee Central Waterfront Partnership, a

joint venture between Dundee City Council and Scottish Enterprise, which is revitalising the prime area of land linking the city centre with the River Tay. The project’s backers, a consortium including the city council and Dundee’s two universities, have said they face a tough challenge to secure the £45m needed to finance the building. The Scottish government has pledged that they will make sufficient resources available for the project to proceed and the plan would see another third of the money obtained from private investment, with the remainder coming from other sources such as lottery funding. A significant portion of the £15m of private investment has already been pledged to the project. Government backing would mean only Heritage and Big Lottery funding would be needed before the museum could be given the green light, allowing the centre to open as planned in 2014. Work is projected to start onsite in 2012. www.vandaatdundee.com

The design, which incorporates two inverted pyramids with an arch linking the two together has been compared to Frank Gehry’s Guggenheim building in Bilbao

Evelyn Gladstone is Gallery Assistant at The Fleming Collection.

Scottish Art News 52

2010 Art Market Round-up

by Will Bennett

London was a happy hunting ground for lovers of the Glasgow Boys in the final months of 2010. The Royal Academy staged a major exhibition of their paintings which had previously been on display in Glasgow while The Fleming Collection was first out of the starting blocks with works from its own holdings reinforced by ten pictures from a rarely seen private collection.

The public flocked to see these works but therein lies a

problem for the commercial sector of the art world. Many of the best pictures by Sir James Guthrie, Sir John Lavery, Edward Arthur Walton, Arthur Melville, Joseph Crawhall, Edward Atkinson Hornel and other members of this loosely-knit group are now in museums or in private collections from which they are unlikely to emerge. Collectors are still

Various propeties Sir John Lavery, R.A. R.S.A. R.H.A. (1856-1941) Marguerite’s Prayer, Faust Act III, Scene I £12,000–18,000 GBP, Lot Sold, Sotheby’s Hammer Price with Buyer’s Premium: £30,000 GBP

prepared to pay good money for the right paintings but they are not

£15,000, sparked a duel between a would-be owner in the room and a

easy to find, and in a market that is increasingly quality-driven that

private collector who had left a commission bid. The latter triumphed,

can make things very difficult indeed.

paying £37,250. Archibald Thorburn’s meticulously observed pictures

of game birds also performed well. The shooting and fishing fraternity

Sotheby’s sale of Scottish pictures in London on 29

September illustrated the problem perfectly. Deciding, correctly,

is traditionally well-healed which may account for such strong prices.

that the Glasgow Boys were the flavour of that month and several to

follow, the auction house began its catalogue with a short history of

Bonhams has kept faith with sales in Edinburgh and in August this

the group followed by some twenty paintings and drawings. Only a

paid off. The paintings section of a wider sale of Scottish works of art

quarter of them sold. John Quinton Pringle’s Man with Tobacco Pouch,

totalled £1.3 million, towards the top end of an estimate of £958,000

a rare example of the artist’s work to come to market, went for a lower

to £1.4 million. As at Sotheby’s a handful of paintings accounted

estimate £73,250 to a British private collector bidding in the half-empty

for almost 40 per cent of the sale total, with the Colourists and

room and Lavery’s Marguerite’s Prayer, Faust Act III, Scene I produced

Redpath leading the way. George Leslie Hunter’s Still Life, estimated

a flurry of interest before being bought by a telephone bidder for

at £100,000 to £150,000, was bought by a Scottish private collector

£30,000, far above its £12,000 to £18,000 estimate. Most of the rest

for £144,000 and Redpath’s Still Life with Michaelmas Daisies left its

died a very public death serving as a reminder that all the marketing in

£30,000 to £50,000 estimate far behind selling for £134,000. Overall

the world cannot hide the fact that even fine artists had their off days.

94 per cent of the 135 lots sold with twentieth-century pictures

producing the best performance and the total was more than three

Having got off to this poor start, the Sotheby’s sale never

While Sotheby’s has moved its Scottish art sales to London,

really recovered. Only 42.5 per cent of the 153 lots sold for a total of

times the sum produced by the equivalent sale in 2009. Realistic

just under £1.5 million, far less than the £2.4 million that the auction

estimates helped and it seems that selling Scottish pictures north of

house had predicted. As is invariably the case, the Scottish Colourists

the border still works better than transporting them all the way down

produced the top prices of the day with a London-based dealer buying

to London.

Samuel John Peploe’s Still Life of Roses in a Blue and White Vase for

£265,250 and John Duncan Fergusson’s A Montmartre Nightclub for

the Glasgow Boys and big names such as Peploe, Cadell and Redpath

£181,250, the hammer prices in each case being on or below the low

are no guarantee of success. Buyers are looking for quality and they

estimate. Several other Colourist pictures failed to sell, including

are looking for very specific things – Colourist still lifes for example.

another Peploe Still Life of Pink Roses in a Glass Vase, estimated too

Nothing illustrated this better than Thorburn’s pictures of grouse and

high at £250,000 to £350,000. The same selective attitude was

blackcock whose prices flew higher than the birds themselves.

ABOVE FROM LEFT Anne Redpath, OBE. RSA. ARA. LLD. ARWS. ROI. RBA. (1895-1965) Still life with Michaelmas Daisies, 43 x 52.8cm signed ‘Anne Redpath.’ (lower left), oil on panel £30,000-50,000. Sold for £134,400, Bonhams. Provenance: A gift from the artist to the vendor’s father in 1937

Property from a private collection Samuel John Peploe, R.S.A. (1871-1935) Still Life of Roses in a Blue and White Vase £250,000–350,000 GBP. Lot Sold, Sotheby’s Hammer Price with Buyer’s Premium: £265,250 GBP

The truth is that labels such as the Scottish Colourists and

displayed towards Anne Redpath, three of whose pictures failed to sell while a fourth Poppies went to a British dealer bidding on the

Will Bennett is the former Art Sales Correspondent of the Daily

phone for £103,250, the third highest price of the auction.

Telegraph who now works for the marketing and public relations

consultants Cawdell Douglas.

Amid all this doom and gloom one niche market did very

nicely indeed. Although Scottish Victorian pictures have struggled in the market for years, James Archer’s 1857 painting Robert Kerss, Gamekeeper and Fisherman at Mounteviot, estimated at £10,000 to

Scottish Art News 54

Books

most fully realised form in the subsequent decades. Among the works of the less recognised British faction, many ‘definitive’ Surrealist works are also included, such as Magritte’s La Représentation and Duchamp’s Fountain. This book provides a comprehensive survey into the stunning pictorial effects of their prints. Rae is adamant – ‘I’ve

of British and continental Surrealism, and makes an engaging read

always said I’m not a landscape painter.’ It is in her printmaking where

for anyone interested in this highly important movement and its

we can fully appreciate how Rae – with the encouraging support of the

repercussions. (Helen Dyson is an intern at The Fleming Collection.)

various expert printmakers with whom she has collaborated over the years – has the desire and the skill to transform her observed subject into a visionary experience. Miraculously in Barbara Rae’s hands the practice of printmaking becomes a kind of alchemy in which forms appear to vibrate with innate energy and textured colours glow with their own intense spiritual luminosity.

This new publication does full justice to Barbara Rae’s

uniquely successful approach to contemporary printmaking. Andrew Lambirth provides a lucid and informative commentary to a cornucopia Barbara Rae Prints

of sumptuous illustrations from all the different stages of the artist’s

Another World:

Andrew Lambirth and

work. So if you are not fortunate enough to own a Barbara Rae print

Dali, Magritte, Miro and the Surrealists

Gareth Wardell

then buying this book is the next best thing – and if, on the other hand,

Patrick Elliot

Royal Academy of Arts

you are blessed with such prints on your walls, this book will certainly

National Galleries of Scotland

2010

enlighten your collection.

Paperback £12.95

£35.00

(Bill Hare is a writer, curator and teacher based in Edinburgh.) Produced to accompany the exhibition of the same name, this

Rax Me That Buik:

To understand and appreciate fully the nature and achievement

Also new by

concise and informative book contains individual entries on over

Highlights of the Collections of the National Galleries of Scotland

of Barbara Rae’s work it must always be kept in mind that she has

Andrew Lambirth:

150 key Surrealist works. The Surrealists produced some of the most

Iain Gordon Brown

consistently remained an artist/explorer throughout her career.

startling and innovative art of the twentieth century and the Scottish

Scala

As Garth Wardell succinctly puts it in his introduction to this new

National Gallery of Modern Art (SNGMA) is lucky to possess a

Paperback £16.95

publication to Rae’s prints, ‘she promotes discovery.’ This manifests

collection that is remarkable for both its quantity and quality. It was

itself in two distinct ways. Firstly, there is her relentless search for

this collection which formed the backbone of 2010’s highly successful

Edinburgh’s National Library of Scotland is home to a fascinatingly

her inspiring subject-matter which will take her to some of the most

landmark exhibition at the Dean Gallery, providing a comprehensive

diverse collection of treasures, ranging from medieval illuminated

isolated and remote terrains on the globe. Secondly, and equally

and in-depth survey of the Surrealist movement.

manuscripts to ornate Bibles and stunning architectural drawings.

importantly, Rae is forever developing and experimenting in her

This charming book guides us through highlights of the library’s

studios and workshops with new approaches and techniques in her

which offers a general introduction to Surrealism, setting it in a firm

holdings, all selected on the merit of being particularly fascinating,

dedicated pursuit for new, ever more intense effects in her paintings

historical context and tracing its origins from the preceding Dada

unique or historically significant. It focuses solely on the ‘Scottish’

and prints. Always demanding more from her art she never works to

movement. The second is a discussion of the history of the

content of the library’s holdings and while some of the featured

a preconceived formula, but is forever pushing herself in her desire for

SNGMA’s holding of Surrealist works, which exists largely through

objects are internationally significant, there are many quirky, less

The book begins with two engaging essays, the first of

something different and unexpected which will open new horizons to

Margaret Mellis

the acquisition of two significant collections. In 1995 the gallery

well-known objects included too.

her creative imagination. This exploratory approach to printmaking

Andrew Lambirth

purchased part of the collection that had belonged to English

goes right back to her student days at Edinburgh College of Art in

Lund Humphries

Surrealist Roland Penrose, and in the same year was also fortunate

quite why the National Library of Scotland is regarded as one of the

1960s, where, with little formal training, she ‘was just layering things

£40.00

enough to be bequeathed Gabrielle Keiller’s superb collection.

finest in Europe. It also benefits from excellent colour illustrations and

lively analysis of each featured object. The content, like the book’s

over and over and hoping that something was going to come out

With colour illustrations and detailed discussions of each

Thoughtfully structured and cohesive, the book reminds us

of it.’ What crucially came out of this was a fruitful dialogue and

Margaret Mellis (1914-2009) was an artist who worked in a variety

work, the book gives an excellent overview of a wide selection of

time frame, is broad and includes maps, letters, books, drawings,

continuous collaboration between Rae’s open and flexible approach

of media – painting, collage, relief and sculpture. Relatively little has

the unsettling, compelling and absurd works that characterised

prints and posters. Bursting with intriguing and unique works, this

to both her painting and her printmaking. As with that earlier artist/

been written about her and this book is the first comprehensive

the Surrealists’ output. Most of the works featured belong to the

book is a delight for anyone with an interest in Scottish history,

explorer Turner, the complex relationship between Rae’s painting

monograph on the artist, incorporating groundbreaking new research.

SNGMA, but the content of both the book and exhibition are

literature or visual arts. (Helen Dyson)

and printmaking is so close and interdependent that it is sometimes

She began her career in Edinburgh and the book guides the reader

strengthened by well chosen loans from private collections and other

difficult to separate and distinguish them. Furthermore, this link

through her large-scale abstract paintings of the 1960s to the series

galleries. Artists featured in the publication include lesser known

to Turner is not only to do with technique, but is also found in the

of constructions made from driftwood which she began in 1980.

British Surrealists such as Edward Wadsworth and John Armstrong,

similarity of approach to the subject/content of their work. Although

Margaret Mellis combines insightful analysis with a wealth of visual

as well those whose names are synonymous with the movement,

both draw their initial inspiration from the natural world it is the

material making it essential reading for anyone interested in Modern

Dali, Magritte and Duchamp among others. The book’s entries chart

abstract aspects and poetic potential of their subject which they turn

British Art.

the development of Surrealism from its beginnings in the 1920s to its

Scottish Art News 56

PREVIEW 2011 57

Claire Barclay: Shadow Spans – Bloomberg Commission until 20 May 2011 Whitechapel Gallery, 77-82 Whitechapel High Street London E1 7QX Tel: 020 7522 7888 www.whitechapelgallery.org Born in Paisley and based in Glasgow, Claire Barclay’s reputation has gathered momentum in recent years. The subject of a solo show at the Camden Arts Centre in 2008, and participant in Tate’s Art Now programme in 2004, her latest year-long commission for the Whitechapel Gallery puts Barclay at the forefront of a new wave of sculptors working today. With an artistic heritage that draws upon minimalist and post-minimalist sculpture of the mid-1960’s – the work of Eva Hesse particularly springs to mind – Barclay’s minimal aesthetic combines the hand-made with the mass-manufactured. Precariously balanced between order and chaos, Barclay is best known for her manipulation of what we consider familiar, continually challenging the viewer to reconcile craft and machine-made, purity and the abject, meaning and ambiguity.

Involved in a dialectical relationship with the location in

which her installations are displayed, Barclay’s work is dependent on the setting and history of the space intended to house her work. As tailored responses to each exhibition environment, every artwork is completed in situ, turning the gallery during the last moments of making and installing, into a custom studio. In tandem with The Bloomberg Commission therefore, a programme that invites international artists to produce work that engages with the historic space of Gallery 2, a converted reading room acquired from the recently incorporated Whitechapel Library, Barclay is a logical choice. As only the second in a series of year-long artists’ commissions, Barclay follows former Turner Prize nominee Goshka Macuga’s allusion to a key historical Whitechapel moment by referencing the 1939 display of Picasso’s Guernica in The Nature of the Beast (2009–10). In contrast, Shadow Spans, on show until May 2011, formally and aesthetically subsumes the east London architecture and location of the ex-reading room to create a series of structural installations that perhaps superficially fit the Bloomberg brief on an overly literal level. Nonetheless, Shadow Spans is far from literal, in fact, as the physical experience of the work itself attests, it is our relationship to language, association, and meaning that Barclay plays upon and interrupts.

Sprawled across the Commission Gallery of the

refurbished and expanded Whitechapel, Shadow Spans appears as an artfully assembled mass of collapsing door and window-like frames. Fabric resembling curtains drape over and spill onto the grey concrete floor, while shiny gold door handles and objects resembling keys dangle, attached to highly glossed grey or black painted wooden panels. Objects that register as hats lie scattered across the floor and metal grating reminiscent of bird cages house miniature The Bloomberg Commission: Claire Barclay: Shadow Spans, 2010 Photo: Patrick Lears Courtesy the Whitechapel Gallery

terracotta pots or fingers cut from black leather gloves. We realise these apparently functional objects are in reality totally redundant; Scottish Art News 58

responsiveness that will form the foundation for a programme of contemporary dance scheduled to interact with the space created by Shadow Spans in March and April this year. Featuring a number of dance companies, including the Royal Ballet, this series of interpretive pieces promises to reanimate Barclay’s installation, with each performance generating an original dialogue facilitated through movement and responsive visual action. This additional layer of spatial and visual interpretation posits the entire operation as a machine-like assemblage, a Deleuzian ‘Body without Organs’, fusing the living organic and inert object in a synthesis of sculpture, installation, architecture and dance. D. Y. Cameron (1865–1945) The Waning Light The National Gallery of Scotland

Emma Baker is an intern at The Fleming Collection who recently graduated with an MA in Art History from the Courtauld Institute of Art, London. Open: Tuesday – Wednesday, Friday – Sunday 11am–6pm

The Glasgow Boys: Drawing Inspiration

Thursday 11am–9pm

until 13 February 2011

Admission Free

Duff House Country Gallery, Banff, Aberdeenshire

For a full programme of dance performances in March and April visit

AB45 3SX

www.whitechapelgallery.org

Tel: 01261 818181 www.duffhouse.org.uk Calum Colvin, Ossian, 2002, Digital print on canvas

This intimate exhibition on loan from the National Gallery of Scotland Will MacLean and Arthur Watson, Crannghal, Cast bronze on granite base, 2007, The sculpture is sited outside Sabhal Mòr Ostaig, The Scottish Gaelic College on the Isle of Skye. Photo: Murdo MacDonald

The Bloomberg Commission: Claire Barclay: Shadow Spans, 2010 Photo: Patrick Lears Courtesy the Whitechapel Gallery

focuses on the early careers of a small, loose-knit group of artists and cultural change, Window to the West draws attention to the need

associated with contemporary developments in Glaswegian painting

to restore an art history to the Scottish Gàidhealtachd. By creating

at the fin de siècle. The majority of this group hailed from Glasgow

a new appreciation of Gaelic culture through visual art, this show

and the west of Scotland, but some, most notably Arthur Melville

supports the aims of the Gaelic Language Act of 2005.

(1855–1904), came from the east. Comprising 30 watercolours,

drawings and sketches, alongside work by the major European artists

As a result of the artists residency programme at

hats cannot be worn, keys are not keys but shiny abstract forms,

Sabhal Mòr Ostaig, funded by the Scottish Arts Council (now

who inspired them, The Glasgow Boys: Drawing Inspiration seeks to

and curtains are walls – the bare brickwork printed fabric challenges

Creative Scotland) artists are being given the opportunity to speak

illuminate and provide insight into the artists’ working methods.

our perception of solidity. Barclay turns hard into soft, man-made

Gaelic again. In 2006 a major public sculpture, Crannghal, by Will

Scheduled to coincide with the landmark exhibition Pioneering

into craft. In another transformative turn, the inside of the gallery

Maclean and Arthur Watson was installed at Sabhal Mòr Ostaig.

Painters: The Glasgow Boys 1880–1900 at the Kelvingrove Art Gallery

has been turned outwards. Clean lines and panelled forms delineate

Its form evokes the vessel of Saint Columba, and by extension the

last summer, and running parallel with the Royal Academy’s version

spaces through which the viewer gazes through and wanders around;

transmission and development of Gaelic culture. A new version will

of this exhibition running until late January, Duff House offers a

it is as though we are looking in on some derelict or disturbed

be made for the exhibition.

complementary alternative to the finished canvas works shown in

room from a non-existent street view. Structures reminiscent of the

both Glasgow and London.

characteristically juxtaposed modern and Georgian architecture of

The Scottish Highlands have made notable contributions

to the art of Europe, from the establishment of a monastery in Iona in

east London underpin a certain sense of the voyeuristic. Barclay flirts

Window to the West: The Rediscovery of Highland Art

the sixth century through the West Highland School of Sculpture, to

Europe played a prominent role in shaping the Glasgow Boys’ style. A

with the uncanny; we are assuaged by the familiar only to be jarred

until 6 March 2011

the painter who did most to create the conditions for modern art in

fascination with the renowned and innovative atmospheric depictions

by the strange. There is a certain fetishistic appeal in the glossy

City Art Centre, 2 Market Street, Edinburgh EH1 1DE

Scotland in the late nineteenth century, William McTaggart. All those

of rural life by the French Barbizon School and The Hague from the

surface sheen of the wooden panels, while black leather gloves and

Tel: 0131 529 3993

artists spoke Gaelic and many artists engage with the language at

Netherlands is evident, while drawings by Anton Mauve and Jean-

the presence of phallic, yet limp, stuffed fabric objects hint at the

www.edinburghmuseums.org.uk

present. Gaelic informs not just highland culture, but Scottish culture

François Millet reveal how the artists were often inspired by similar

as a whole.

subject matter. There is emphasis on the great admiration shared by

sexual. Barclay’s arrangement of forms and choice of materials opens

This exhibition looks to highlight how influences from

out the playing field onto a Freudian game of free association, where

This winter the City Art Centre looks to the impact of the Gaelic

surreal, dreamlike slippages posit meaning as unstable, fluid, and

language on the history of art with a new major exhibition co-curated

Open:

the show boasts two of his most influential early etchings.

disconcerting.

by Murdo McDonald and Arthur Watson: Window to the West: The

Monday – Saturday 10am–5pm

Rediscovery of Highland Art. Running until the 6th March this year, this

Sunday 12pm–5pm

for the first time, including two newly acquired watercolours by

Shadow Spans. Barclay’s work might best be described as a visual

exhibition asks significant questions regarding the influence of Gaelic

Free admission

Arthur Melville, generously gifted to the National Gallery of Scotland

and physical intervention into the location and environment of

language on art, culture and the Highlands. Asking how memory and

in 2008. Other highlights include two tiny jewel-like watercolour

display. Indeed it is exactly this visual conversation and physical

history are represented, as well as how artists respond to geography

designs for stained glass windows by David Gauld, and James

Interpretation and translation are thus at the heart of

the Glasgow Boys for the work of James Abbott McNeil Whistler and Many of the works in this exhibition are on public display

Scottish Art News 60

Unsettled Objects

print entitled Plans and Records. Against a cross sectional diagram of

until 27 February 2011

a slave ship derived from an archival source, Fagen lists song titles

Gallery of Modern Art (GoMA)

with various allusions to slavery. This list is exclusive to Reggae artists

Royal Exchange Square, Glasgow G1 3AH

bar the inclusion of Robert Burns’s The Slave’s Lament. As the only

Tel: 0141 287 3050

white Scottish figure among this list of black reggae artists, Fagen

www.glasgowlife.org.uk

hints at various cross cultural comparisons and contrasts connecting Jamaican and Scottish lyricism. However as the song titles

Sir James Guthrie (1859–1930) Women Working in a Field The National Galleries of Scotland

Sharing the namesake of Lothar Baumgarten’s seminal artwork

themselves indicate, the roots of this cultural osmosis are somewhat

Unsettled Objects (1968-9), GoMA’s exhibition thematises the

unsettling. As a country, Scotland’s prosperity is primarily grounded

dominant issues of marginalisation, cultural displacement and

in the trading of human beings, with many of the major institutional

otherness present in Baumgarten’s slideshow installation. As

buildings, and even cities themselves, built upon the profits of slavery.

centre piece to Unsettled Objects (the exhibition), Unsettled Objects

On the flip side, for Jamaica much of its existing culture is testament

(the artwork) projects 80 pictures of display cabinets exhibiting

to Scottish colonialism; many districts in Jamaica are named after

ethnographic and anthropological artefacts taken at Oxford’s Pitt

Scottish towns, such as Glasgow itself, while the Gaelic surname

Rivers Museum. Overlaid with institutional critique, the installation

Campbell is said to be more ubiquitous in the Caribbean than it is in

highlights the fetishising propensities at the heart of museology:

Scotland today. By reminding us of the historical role Scotland played

objects taken out of context and showcased under shiny reflective

in the slavery trade, channelled through the life and work of Robert

glass are reclassified as objectified spectacles that when exhibited

Burns, Fagen scrutinises Scottish national pride and subverts it.

in this manner construct discourse on cultural alterity. Baumgarten

observes and identifies a simultaneous act of cultural erasure and

built off the back of slavery wealth, Fagen’s work within Unsettled

reappropriation fundamental to the methodology of ethnographic

Objects proves particularly thought provoking. Thus divulging from

display.

Baumgarten’s initial identification of the resignification of cultural

Purchased by GoMA in 2008 with the aid of the Art Fund,

Set within GoMA therefore, a building that was itself

objects, through the work of Fagen and company the notion arises

Paterson’s beautifully atmospheric watercolour Moniaive. A selection

Baumgarten’s Unsettled Objects acts as the point of departure from

that these artworks are unsettling objects in themselves. Testament

of Guthrie’s sketchbooks and annotated letters and sketches by

which an international host of artworks have been selected from

to correcting the memory loss of our collective consciousness,

Guthrie, E. A. Walton and Joseph Crawhall offer a personal and often

Glasgow Museums’ Collection. Pieces by Jenny Holzer and Emily

while alerting us to certain displacements of cultural identities, this

humorous glimpse into the artists’ private lives while revealing the

Jacir are displayed alongside Scottish contemporary works by Ross

exhibition is wide ranging, intelligently curated, and thoughtful in its

close friendships among the group.

Sinclair, Ian Hamilton Findlay and Graham Fagen, with works ranging

scope. (Emma Baker)

from sculpture, installation, photography to video. From the spoils of Open:

US Imperialism in Jacir’s From Texas With Love, to Graham Fagen’s

Open: Monday – Wednesday and Saturday 10am–5pm

1 November to 31 March: Thursday – Sunday 11am–4pm

dual enquiry into the cultural parallelisms shared between Jamaica

Thursday 10am–8pm, Friday and Sunday 11am–5pm

1 April to 31 October: 11am – 5pm Daily

and Scotland explored via the celebrated national poet Robert Burns,

Admission to exhibition: £4.20

this exhibition is by no means didactic for a show principally focused

D. Y. Cameron (1865–1945) The Waning Light (detail) The National Gallery of Scotland

on the miscarriage of human rights.

On show by Fagen are four prints purchased for the

collection in 2008, originally commissioned to mark the bicentenary of the abolition of the slave trading act. Initially exhibited in his solo show held at GoMA in 2007, Downpresser, these prints highlight Fagen’s engagement with aspects of Scottish heritage; Burn’s biography is utilised as a vehicle to explore the cultural links forged between Scotland and the Caribbean at the height of eighteenthcentury transatlantic slave trading. Three black and white prints entitled Nancy, Bell and Roselle depict the vessels on which Burns’ booked passage to Jamaica in 1786 with the intention of abandoning his failing efforts as a poet and perusing a career as a book keeper on a sugar plantation. However, this was a journey never made, as shortly before his departure Burns’ literary career began to garner success. Prompting us to dwell on the contingency of historical events, Burns’ brush with a career in the slavery industry somewhat complicates his reputation as an abolitionist figure and author of The

Unsettled Objects, Installation view, Gallery of Modern Art, Glasgow, 2010 Photo: Glasgow Life (Museums)

FROM TOP Graham Fagen, Nancy, 2006 Courtesy Glasgow Life (Museums)

Plans & Records, 2007 Courtesy Glasgow Life (Museums)

Slave’s Lament (1792), a notion which leads neatly onto Fagen’s fourth

Scottish Art News 62

Martin Creed: Mothers

21 January – 5 March 2011

furnishing fabrics. Using the reverse of the material, she painstakingly

Hauser & Wirth, London

repainted the pattern showing through, as well as the spaces in

23 Savile Row, London W1S 2ET

between, bringing attention to the structure as she distorted the

Tel: 0207 287 2300

homogeneity of the industrially-produced design. Through these

www.hauserwirth.com

considered disruptions Hopkins exposes both the construction of

Hopkins first became known for her careful repainting of

printed surfaces and our systems of information as well as the gaps In 2010 Hauser & Wirth (founded in Zurich in 1992 by Ursula Hauser

and empty places within them.

and Irwin and Manuela Wirth) added to its London gallery portfolio

(which includes 196A Piccadilly, 15 Old Bond Street and Outdoor

one that all the artists participating in Graphite have in common.

Sculpture programme in Southwood Garden, St James’s Church) by

Graphite, an allotrope of carbon that forms part of the composition

opening a new space at 23 Savile Row in Mayfair, London. The new

of stardust, is significant to the beginnings of life on earth. It is

gallery opened in October with the critically acclaimed exhibition

also most commonly known as the lead in pencils and the greater

Louise Bourgeois: The Fabric Works. In addition to representing over

content of charcoal. Taking its cue from Latvian artist Vija Celmins,

40 established and emerging artists Hauser & Wirth also represent

the exhibition hopes to explore the precise relationship between

Scottish artists Christopher Orr and Martin Creed.

graphite’s name as a chemical element and as a drawing material. It

is no coincidence that we talk of ‘drawing’ attention to something.

In January Creed will follow Louise Bourgeois, presenting

This meticulous, skilful approach to subject matter is

a new monumental sculpture made especially for the vast space,

While drawing itself may have been traditionally subordinated to

along with works that use a range of media including film and neon.

painting, no other word sums up quite as well the sense of thoughtful

This exhibition will briefly run alongside his installation in Southwood

examination. The works in this show promise to highlight drawing’s

Garden which consists of three steel beams balanced on top of each

particularity as an instrument for the articulation of ideas.

other (Work No. 700, 2007).

emerging and more established artists including Michael Mulvihill,

In Hauser & Wirth Zürich thirteen new paintings by

As well as Louise Hopkins, Graphite will feature both

Richard Forster, Jane Millican, Cath Campbell, Peter J Evans and Joe

Christopher Orr are on display. The small intense canvases depict

Woodhouse. (Katie Baker)

phantasmagoric landscapes populated by figures from an earlier time, with echoes of the Romantic landscapes of J.M.W. Turner and Caspar

Martin Creed Work No. 700, 2007 Steel I-beams Installation view: Hauser & Wirth Outdoor Sculpture, London, 2010 Photo: Peter Mallet

David Friedrich. Part figurative, part abstract, they continue Orr’s ongoing exploration of the language of painting. (Evelyn Gladstone)

Martin Creed: Mothers

Graphite

21 January – 5 March

28 January – 23 February 2011

Hauser & Wirth London

Gallery North

Savile Row

Squires Building, Sandyford Road, Northumbria University,

Open: Tuesday – Saturday

Newcastle Upon Tyne NE1 8ST

10am–6pm

Tel: 0191 2273105

FROM TOP Louise Hopkins, The mums (black and red) 2008 23.5 x 19cm, ink and correction fluid on magazine page Images courtesy of the artist and Mummery & Schnelle Gallery Louise Hopkins, Pitch, 2010 24.5 x 32.5cm, black watercolour on map

Open: Monday – Thursday 10am–5pm, Friday 10am–4.30pm

http://gn.northumbria.ac.uk/ Martin Creed

Christopher Orr

From 6 September 2010

Until 29 January

Gallery North, the exhibition space of Northumbria University’s

Hauser & Wirth Outdoor Sculpture

Hauser & Wirth Zürich

School of Arts and Social Sciences, begins 2011 with an exhibition

Southwood Garden

Albisriederstrasse 199A

of drawing that includes Glasgow-based artist and university

St James’s Church

CH-8047 Zurich

alumnus Louise Hopkins. Hopkins works with a range of found

197 Piccadilly

Open: Tuesday – Wednesday 12– 6pm

printed materials taken from the cultural ephemera of the everyday

London W1J 9LL

Thursday 12–8pm, Friday, 12–6pm

– from maps and comic books to graph paper and song-sheets. Her

Open: 10 am–6 pm daily

Saturday 11am–5pm

interventions into the material are as diverse as the visual terrain she disturbs, with multiple strategies that include over-painting and erasure. Through this varied series of mark making, chosen in response to the nature of her source, the familiar is rendered strange and disorientating. Countries bleed together, grids wobble and newspaper stories are all but swallowed up in black paint, reduced to the ‘ands’, ‘thes’ and ‘ofs’ that provide structure but no narrative.

Scottish Art News 64

LISTINGS ABERDEEN

5 – 16 April

the Aberdeenshire area

John Brown: Painting

Roger Billcliffe Gallery

148 New Bond Street W1S 2JT

10 Infirmary Street EH1 1LT

3 June – 21 June

Anne Finlay: Jewellery

Postcards: Over 200 original paintings

Tel: 020 7629 5116

Aberdeen Art Gallery

Tel: 0131 550 3660

EYE TWO

Joe Hogan: Baskets

on a small scale by gallery artists

faslondon.com

BP Portrait Award

dovecotstudios.com/

Printed Words: Contemporary printmaking

6 – 30 April

February

until 22 January

Rhueart Ullapool IV26 2TJ

until 12 February

Perpetua Pope: Painting

Norman Kirkham: March

Royal Academy of Arts

Diane Arbus: On Tour with the Art Fund

Tel: 01854 612 460

Printmaking from St Ives

Sarah Keith and Alison McConachie:

George Devlin: April

Pioneering Painters:

5 February – 9 April

rhueart.co.uk

18 February – 26 March

Textiles & glass

Gordon Mitchell: May

The Glasgow Boys 1880–1900

Edward Burra and his contemporaries

4 – 31 May

134 Blythswood Street G2 4EL

until 23 January

Nasty Piece of Stuff 27 January – 24 February

The Fruitmarket Gallery

1 April – 7 May

Earl Haig Memorial Exhibition: Painting

Tel: 0141 332 4027

Burlington House, Piccadilly W1J 0BD

Schoolhill AB10 1FQ

Childish Things: Fantasy and Ferocity in

Dali: 12 May – 18 June

Ed Kluz: Prints

billcliffegallery.com

Tel: 020 7300 8000

Tel: 0122 452 3700

recent art

34 Abercromby Place

Contained: Mixed Plates and boxes

aagm.co.uk

until 23 January

EH3 6QE

4 – 29 June

Jean Marc Bustamante

Tel: 0131 557 1020 / 558 9872

16 Dundas Street EH3 6HZ

4 February – 3 April

openeyegallery.co.uk

Tel: 0131 558 1200

The Fergusson Gallery

Claire Barclay : Shadow Spans

scottish-gallery.co.uk

Dancing as an Art: 100 Years of

until 20 May

Margaret Morris Movement 1910-2010

77-82 Whitechapel High St.

DUNDEE

45 Market Street EH1 1DF

royalacademy.org.uk PERTH Whitechapel Gallery

The McManus: Dundee’s Art Gallery

Tel: 0131 225 2383

Royal Scottish Academy

and Museum

fruitmarket.co.uk

RSA Annual 2011:

Talbot Rice Gallery

Until 12 February

London E1 7QX

Artists invited by Victoria Crowe

Rosemarie Trockel: Drawings, Collages

Marshall Place PH2 8NS

Tel: 020 7522 7888 whitechapelgallery.org

Consider the Lilies: A Second Look Until August

National Gallery Complex

28 April – 8 June

and Book Drafts

Tel: 01738 783 425

Albert Square DD1 1DA

The Young Vermeer: until 13 March

The Mound EH2 2EL

29 January – 30 April

pkc.gov.uk/museums

Tel: 0138 230 7200

Turner in January: until 31 January

Tel: 0131 225 6671

University of Edinburgh Old College

mcmanus.co.uk

The Artist Up Close: Portraits of Scottish

royalscottishacademy.org

South Bridge EH8 9YL

Perth Museum & Gallery

Tel: 0131 650 2210

Brilliance in Colour

Bonhams

trg.ed.ac.uk

26 February – February 2012

Fine Scottish Pictures

Designed to Dance: until 2 April

21 April

Fergusson’s Early Oils

22 Queen Street

9 April – 12 November

Edinburgh EH2 1JX

Artists from the National Galleries of EDINBURGH

Scotland Graphics Collection

Scottish National Gallery of Modern Art

AUCTIONS

10 February – 7 June

What you see is where you’re at: Part 3

Bourne Fine Art

The Mound EH2 2EL

Ongoing Displays

Works on Paper

Tel: 0131 624 6200

ARTISTS ROOMS: JEFF KOONS

4 – 26 March

nationalgalleries.org

February – June

Gallery of Modern Art

Movement, Light & Shadow

Tel: 0131 225 2266

75 Belford Road EH4 3DR

Unsettled Objects

Until 12 November

bonhams.com/scottishpictures

6 Dundas Street EH3 6HZ

GLASGOW

Tel: 0131 557 4050

Open Eye Gallery

Tel: 0131 624 6200

Until 1 March

78 George Street PH1 5LB

bournefineart.com

Painted Words: Open Eye Artists

nationalgalleries.org

Royal Exchange Square G1 3AH

Tel: 0173 863 2488

Lyon & Turnbull

Tel: 0141 248 2891

pkc.gov.uk/museums

Paintings: 10 February

LONDON

Scottish Paintings: 2 June, 11am

until 25 January

Scottish Contemporary: 20 April

City Art Centre

Willie Rodger RSA RSW

The Scottish Gallery

Window to the West: The Rediscovery

28 January – 15 February

New Acquisitions: Painting

of Highland Art

Jack Firth RSW: Retrospective

Peter Howson: Painting

Hunterian Art Gallery

until 6 March

18 February – 8 March

Claire Hillerby: Jewellery

John Runciman’s Hagar and the Angel

Art First

33 Broughton Place

2 Market Street EH1 1DE

Donald Provan: New paintings

William Kirk Retrospective

19 February – 15 May

Will Maclean: Lead and Line

Edinburgh EH1 3RR

Tel: 0131 529 3993

11 March – 29 March

5 – 29 January

John Cage: Every day is a Good Day

5 May – 10 June

Tel: 0131 557 8844

edinburghmuseums.org.uk

Elaine Pamphilon: New works

Alexander Fraser: Painting

19 February – 2 April

21 Eastcastle Street

lyonandturnbull.com

1 – 19 April

Damian Callan: Painting

82 Hillhead Street, University of Glasgow

London W1W 8DD

Dovecot Studios

Sylvia Von Hartmann

Fiaz Elson: Glass

G12 8QQ

Tel: 020 7734 0386

Perception:

Philip Reeves: 80th Birthday exhibition

2 – 26 February

Tel: 0141 330 5431

artfirst.co.uk

Artists working with Rhueart, Ullapool:

21 April – 10 May

Geoff Uglow: Painting

hunterian.gla.ac.uk

Helen Denerley, Katy Spong, James

David Martin: New paintings

Steven Appleby: Illustrations

Fine Art Society

Business Design Centre

Hawkins, Mhairi Killin, James Lumsden,

13 May – 31 May

Ruth Tomlinson:Jewellery

Alberto Morrocco

Islington, London N1

Peter White, Mary Bourne, Tobias Hodson

Northern Lights: Open Eye artists from

2 March – 2 April

26 January – 19 February

londonartfair.co.uk

glasgowmuseums.org

Scottish Design: 15 June, 11am

ART FAIRS London Art Fair: 19 – 23 January

Scottish Art News 66

THE FLEMING COLLECTION

EXHIBITIONS 2011

NEWS FROM

THE FLEMING COLLECTION

The Foundation is delighted to announce that in May 2011 a new gallery will open at The Fleming Collection in addition to the current gallery space. The first floor gallery in Berkeley Street was formerly used as offices linked to Ely House. It will be adapted giving additional exhibition space and improved facilities for educational and corporate events. As ever our exhibition diary offers a varied and busy programme. The Aspect Prize returns with an exhibition of paintings by the four current finalists. The winner will be announced on 11 January, the first day of the exhibition, all works are for sale. You will also find us at the London Art Fair, adjacent to the Art Projects area, from 18 – 23 January, where you can come and meet our staff and find out more about our plans. Also in January we are delighted to be working with Glenfiddich showcasing Glenfiddich Artists in Residence programme, which has established a reputation for producing radical contemporary art in the normally traditional surroundings of the Scotch whisky industry. Among the leading Scottish contemporary artists whose work will go on display in Reflecting Glenfiddich will be Kenny Hunter, Alison Watt, Ross Sinclair and Christine Borland. Our third exhibition of the year is major retrospective of the work of Will Maclean. The exhibition will include loans from a number of private and public collections including Aberdeen Art Gallery; Fitzwilliam Museum; Scottish National Gallery of Modern Art; McManus Galleries, Dundee; Inverness Museum and Art Gallery as well as new work and archival material from the artist. If you would like to be updated on our building progress and opening programme in May please subscribe to our free email bulletin by emailing your details to: gallery@flemingcollection.com.

Aspect Prize 11 – 20 January

The Scottish Summer Exhibition 14 June – 27 August

An exhibition of paintings by the finalists of this year’s Aspect Prize, one of the UK’s largest independently funded art prizes with a £30,000 prize fund for Scots born or based painters. The exhibition will showcase work by the finalists selected for the prestigious prize, which aims to support and promote up and coming Scottish painters. The Fleming Collection will select a work by the winning artist for their permanent collection. This year’s finalists are Frances Law, Steven Lindsay, Rowena Comrie and Adam John Kennedy.

Following the success of The Fleming Collection’s first ever selling exhibition last summer, the Foundation has invited a selected group of Scottish artists who are represented in the permanent collection as well as some emerging artists to submit work for The Scottish Summer Exhibition. A percentage of all sales will go to The Fleming-Wyfold Art Foundation.

(Sponsored by Aspect Capital Limited).

Reflecting Glenfiddich: A selection of works from the Glenfiddich Artists in Residence collection 25 January – 26 February The Glenfiddich Artists in Residence programme has become widely acclaimed in the art world for providing artists with an original setting, space and community in which to work. Selected artists live for three months at the distillery producing art inspired by its people, craftsmanship and surroundings. This exhibition at The Fleming Collection will contain a selection of works that have been created by a number of the artists over the past nine years including Kenny Hunter, Alison Watt, Alex Frost, Christine Borland, Ross Sinclair among others. (Sponsored by Glenfiddich). Will Maclean: Collected Works 1970–2010 8 March – 4 June This major retrospective of Will Maclean’s work will include loans from a number of private and public collections as well as new work and archival material from the artist. Born in Inverness in 1947, Maclean uses found objects in his work which he deconstructs and reconstructs. Based on the histories and mythologies of those who live and work by the sea, his deep interest in highland culture reaches out to universal themes of navigation, emigration, whaling and fishing, and global exploration.

John Burningham: An Illustrated Journey 13 September – 22 December This exhibition celebrates the rich and varied career of one of Britain’s most distinguished and best-loved illustrators. The exhibition will include Burningham’s iconic London Transport posters, illustrations and working drawings for his children and adult books as well as those for Chitty Chitty Bang Bang by Ian Fleming, animated films, and previously unseen archival material.

Visitor Information 13 Berkeley Street, London W1J 8DU Tel: 020 7042 5730 www.flemingcollection.com Tuesday – Saturday 10am–5.30pm Admission Free

Selina Skipwith, Keeper of Art, The Fleming Collection. The Fleming-Wyfold Art Foundation is a registered charity (Charity Commission Registration No. 1080197).

FROM TOP Will Maclean, Red Ley Marker, 1989, mixed media on board The Fleming-Wyfold Art Foundation On display in Will Maclean, Collected Works 1970-2010 Steven Lindsay, In Green, 2010 Oil on canvas, 101.6x76.2 cm On display in The Aspect Prize

Scottish Art News 68

WE INVITE YOU TO JOIN FRIENDS OF THE FLEMING COLLECTION ON A FOUR DAY CULTURAL TOUR OF ISTANBUL

FRIENDS OF THE FLEMING COLLECTION’S TOUR OF DRESDEN 2010

Friday 7th – Tuesday 11th October 2011

In October 2010 a group of 30 Friends of The Fleming Collection visited Dresden for a specially arranged five day cultural tour. Situated in a

IN CONJUNCTION WITH HERITAGE GROUP TRAVEL

valley on the River Elbe, Dresden has a long history as the capital and royal residence for the Electors and Kings of Saxony who furnished the city with cultural and artistic splendour. Tours of the collection of old master paintings (including many works by Rembrandt, Raphael, Vermeer and Canaletto) at the Baroque Zwinger Complex, the recently reopended Albertinimum Art Gallery with many works by the German Romantic painters, including Freidrich, the Grunes Gewolbe and Pillnitz Palace Gardens revealed the richness of Dresden’s collections. Outside the city visits were made to Messien and the porcelain workshops, Meissen Cathedral, and the Baroque style Moritzburg Palace, once a hunting lodge for Augustus the Strong.

The Friends were accompanied throughout by an outstanding guide who gave not only a greater insight into the places visited, but to

life in a former East German city and how Dresden has changed and developed since those times. The extensive rebuilding of the city since the destruction caused by the allied bombing of 1945 is perhaps most potent at The Frauenkirche. Now completely rebuilt, the church now stands more as a memorial to reconciliation.

Dresden proved to be a fascinating destination, rich in layers of history. From the Baroque architecture of the old town to the modern

art, old master collections, palaces, parks, river and forests, Dreseden proved to be another rewarding and informative destination for the Friends of The Fleming Collection.

A tour arranged exclusively for the Friends of the Fleming Collection by Heritage Group Travel Spread over two continents, Istanbul has played an important part in history for over 2000 years. Rich in its sights and atmosphere, the city has attracted visitors from all over the world, including artists from Northern Europe, such as Scottish artist Arthur Melville, who were lured by the exoticism of the East. This exclusively arranged tour will combine the historical and cultural sights of Istanbul, visiting palaces, mosques, cathedrals and Roman ruins. With rulers from both Christian and Islamic dynasties, different religions and cultures are evident side by side in buildings such as the Blue Mosque, a masterpiece of Ottoman architecture, and the Haghia Sophia, the Church of the Holy Wisdom, which is undoubtedly one of the greatest buildings in the world. The Topkapi Palace, built for the Ottoman Sultans in the fifteenth century and a wonderful example of Ottoman architecture sits next to the Roman Underground Cistern, a great underground chamber which is the largest and most beautiful Byzantine cistern of its kind. Highlights include: Topkapi Palce . Haghia Sophia . Blue Mosque . Grand Bazaar . Roman Underground Cistern . Bosphorus Boat Cruise . Dolmabahçe Palace . Church of St Saviour in Chora . Chora Museum . Spice Market . Mosque of Rustempasa . Golden Horn Bridge . Galata Tower . Mosque of Suleyman the Magnificent . Archaeological Museum Price: Includes flights, coach transfers, 3 dinners, 2 lunches, local specialist guide, all booking and entrance fees, private boat cruise on the Bosphorous Friends £1525 Non Friends £1725

Please book by end of March to avoid disappointment

For further information please contact The Fleming Collection Tel: 020 7042 5784 69

The Dresden Frauenkirche

Scottish Art News 70

Enjoy Scottish Art with Fleming Collection Membership

Events 2011 Lectures & Events at The Fleming Collection 13 Berkeley Street, London W1J 8DU

Membership enables you to enjoy the gallery and our exhibitions to the full. You’ll receive invitations to special viewings. You can shop for books and purchase tickets to lectures, tours and events at better value and receive bulletins and Scottish Art News.

External Visits & Events

Lecture: Van Gogh’s Twin: The Scottish Art

Private Tour of London Art Fair

Norman Ackroyd was born in Leeds in 1938

Dealer Alexander Reid

Tuesday 18 January, Tour 3–4.30pm

and is known for his atmospheric landscapes

Thursday 5 May

Meet promptly at Main Entrance

in watercolour on paper.

6.30pm Doors open, 7–8pm Lecture

Business Design Centre, Upper Street,

Tickets: £15; Friends, Philanthropic Friends,

Islington, London N1 0QH

Visit to The Government Art Collection

Corporate Members and Students £10;

Nearest underground Angel

Tuesday 17 May

Patrons free

Tickets: £20 Friends and Philanthropic

Drinks and tour 6–7.30pm

Friends only (Tickets limited to 20 places)

Location given with your ticket

The Fleming Collection is the only museum dedicated to showing Scottish art all year round. It provides Scottish museums and galleries with a platform to exhibit their paintings to a London audience as well as showcasing paintings from The Fleming Collection. The permanent collection comprises over 750 oils and watercolours from 1770 to the present day.

Friends studying some Joseph Crawhall prints at The Burrell Collection in Glasgow.

Tickets: £15 Friends, Philanthropic Friends and

In this talk based on her recent biography of Alexander Reid, Frances Fowle gives us an

The London Art Fair presents over 100

Corporate Members only

insight into a man who was often a stubborn

galleries showing work from Modern British

(All proceeds go to The Fleming Collection)

and difficult individual, as well as ‘a prince

and international contemporary artists.

among dealers’. A close friend of Whistler

This private tour gives the opportunity to

Friends will be given an introduction to the

and Van Gogh, Reid was one of the most

learn about Scottish painters with a curator

history and role of the GAC. The tour will

outstanding art dealers of his time. Based

from The Fleming Collection and to meet

include a chance to see the operational side

in Glasgow, he supported the Glasgow Boys

the art dealers that represent them. After

of the organisation – the workshop and the

and the Scottish Colourists and profoundly

this special preview guests are invited to

area where works are stored while awaiting

influenced taste in Scotland, especially

stay on afterwards and enjoy the evening

selection by ministers and ambassadors.

for Impressionist art. Frances Fowle is

private view.

Senior Curator at the National Gallery of Scotland and Senior Lecturer in History

Norman Ackroyd Studio Visit

of Art at the University of Edinburgh. Her

Tuesday 29 March, drinks and talk 6–7.30pm

recent publications include Impressionism

Location given with your ticket

and Scotland (2008) and Monet and French

Nearest underground: Bermondsey

Landscape (2006) and she co-curated Van

Tickets: £20; Friends, Philanthropic Friends

Gogh and Britain: Pioneer Collectors in 2006.

and Corporate Members £15; Patrons free

To book tickets tel 020 7042 5730 or email: gallery@flemingcollection.com You can also book online: www.flemingcollection.com

La Maison du Chateau, Burgundy – France

The Perfect Holiday: Ideal for Families, Groups, Wine and Painting Holidays

La Maison du Chateau is an idyllic 18th Century Manor House that sleeps 6-16+. It is set in its own 24 acre park with river, boat, fishing, heated pool and simple grass tennis court (hard court close by). This combined with our wonderful cook and charming maids mean a real holiday for you. There is also a secluded Gate House (sleeps 2-4) that is available to rent either separately or with the Manor House. Painting Holidays: La Maison du Chateau has proved to be the perfect venue for painting holidays. This part of Burgundy with its beautiful light, rolling country, rivers and canals, historic chateaux, abbeys and fortified towns is a superb location. We couple all this with delicious food and wines from the region and a really good house party atmosphere. (Non painting partners also welcome) 71

We rely on memberships and donations from our visitors and charitable foundations to help fund all our activities as The Fleming Collection receives no public funding.

If you would like to know more please visit our website: www.lamaisonduchateau.co.uk or telephone 01582 840 635

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Please note that CAF cheques are accepted for donations and Patrons membership only, not for tickets or Friends membership, they must be made payable to The Fleming-Wyfold Art Foundation.

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Signature: ___________________________________Date: ________________ Gift Aid notes: 1. You must pay an amount of UK income tax and/or capital gains tax at least equal to the tax that The Fleming-Wyfold Art Foundation (FWAF) reclaim on your subscription and donations in the tax year (currently 28p for every £1). 2. If in the future your circumstances change and you are no longer a UK taxpayer you should cancel your declaration. 3. Please notify FWAF should you change your name or address. 4. You can cancel the Gift Aid declaration by notifying FWAF. 5. FWAF’s reference number for the HM Revenue and Customs is XR76701.

Scottish Art News 72

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Back issues of Scottish Art News (Issues 3–14) can be ordered priced £1 plus p+p To order back issues call +44 (0) 20 7042 5730 or email admin@scottishartnews.co.uk

Shaman Board/Whale Wind Plotter 2010, mixed media on board, 152 x 63 x 7 cm

Scottish Art News

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Face of Scotland Martin Boyce The Discovery of Spain The Public Catalogue Foundation Edinburgh Art Festival

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Scottish Art News 74

Alberto Morrocco Works on Paper

The Fine Art Society . 26 January - 19 February 2011

The Fine Art Society 148 New Bond Street London W1S 2JT Telephone + 44 (0)20 7629 5116 Fax + 44 (0)20 7491 9454 www.faslondon.com

Bourne Fine Art

6 Dundas Street Edinburgh EH3 6HZ Telephone + 44 (0)131 557 4050 Fax + 44 (0)131 557 8382 www.bournefineart.com

ALBERTO MORROCCO

RSA RSW RP, 1917-1998 La Gianella, 1964 Watercolour, 15 x 19 inches