visual art
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One of the pleasures of living near Edinburgh is being able to see the major Festival-time exhibitions once the biggest crowds have gone. Although family circumstances are not the most conducive, I had the opportunity yesterday to see “Picasso on Paper” at the Dean Gallery. And I’m extremely glad I went. As the title implies,
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If you missed David Martin’s recent exhibition at the RSA, don’t despair, because there are images of the work from the show (including the “studio wall” collage) on his blog. I managed to get along to the RSA for a quick visit just before the exhibition ended. What struck me about the work was its
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I managed to scoot up to the Ingleby Gallery on Thursday to catch Alison Watt‘s installation “Dark Light” on its last day. Her shift from white canvases to black is logical: a further step in the stripping down that is represented by her progression from full-blown portraits to paintings of fabric to paintings of purely
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David Taylor at Diary of an Arts Pastor has a very good post on the stoushie about the
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Something else I had to miss because of Eilish’s sense of timing was the opening of the new show by painter David Martin: “The Cusp of Change: A Journey Through the Middle East“. This is Dave’s RSA show of work arising out of his Salvesen scholarship. There’s a lot of stuff from it appearing daily
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I’ve mentioned the painter Alison Watt before. There’s an interview with her in today’s Sunday Herald, which is worth reading. I’ve been entranced by her work since I saw her solo exhibition at the Scottish National Gallery of Modern Art in 2000, and her new piece at the Ingleby Gallery in Edinburgh certainly sounds interesting.
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The Spring programme for the Poetry Association of Scotland came through the door this morning. The blurb for my reading with Gerrie Fellows on 7 February proclaims us: “Two poets who describe the modern world with an ironic yet lyrical voice.” Other events in the season include a reading by Robert Crawford, Douglas Dunn lecturing
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Not that I’m given to watching Sunday morning TV, but I happened to see the art historian Brian Sewell pontificating disdainfully about modern art in churches on BBC 1 this morning. I assume the item, which was part of the Heaven & Earth show, was a brief televisual extension of his BBC Radio 3 show
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Yesterday’s opening of illuminate went well. Just about the right number of people came to make it feel busy without being crowded. The mulled wine, mince pies and lebkuchen went down a treat and everyone enjoyed the exhibts (some of the children who came particularly enjoyed standing in front of the video projector). Photographs were
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We spent most of today setting up the illuminate exhibition I plugged in the previous post. Tiring work, but it’s looking good. There are still a couple of things to install before tomorrow’s opening, but I think everyone involved is very pleased with how it looks and hangs together.
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This Christmas exhibition will include three poems of mine presented as a triptych. Readers of Tonguefire will be familiar with two of them–“His Wading Light” and “A Voice is Heard in Ramah”–but the third, which is called “Down Darkness Wide”, is new and takes a different view of the story. Interestingly, although the word triptych
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Dave Martin, who’s mentioned in this post, is about to embark on a year-long art project beginning with a trip from Egypt, through the Levant and into Eastern Europe and culminating in a show at the Royal Scottish Academy in 2007. You can follow his progress here.
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My friend and collaborator, the painter David Martin, has recently won a major Scottish art prize: the Alastair Salvesen travel scholarship. You can the work for his most recent exhibition at his sketchblog along with poems I wrote to accompany it.
Amy Jo Philip 