My art review: Gilda Snowden - Album: A Retrospective 1977-2010

I came to see Gilda's Snowden's retrospective primarily because I felt like I owed her something. This is not to say that I wouldn't have come to see all of her fabulous work all in one place, nor would she herself would ever suggest that anyone "owes" anyone, but sometimes what appears as hyperbole is actually justified. She is one of the most important people in Detroit.

This is my personal list of the most positive cheerLeaders in Detroit, all of them are artists:

Mary Fortuna

Chido Johnson

Andrew Thompson

Gilda Snowden

Jack Summers

And to imagine Detroit without any one of them would feel like such a great loss, this city is lucky to have all of them, really.

I am so thankful (we are coming up on Thanksgiving after all) to know that both Chido Johnson and Gilda Snowden rooted for me to be hired at CCS which ended up being one of the most surprising and fun work experiences ever.

The reason I bring all of this up beforehand, is because I feel like there is a funny thing that happens when any of these people support you and your work. You're supposed to feel like they're your peers and yet through their overflowing enthusiasm you become only more aware of the energy that they have that makes them so good at what they do. 

Thankfully Gilda's show brings her down from the pedestal I put her up on as she reveals her values throughout this show. She comes off not as "Gilda the educator" but as the ever curious lifelong learner. The broader message is that a diverse body of work comes not from pushing oneself to produce, but that one becomes productive the more one becomes curious about ones own life and ones surroundings; and you can do this as long as you would like.

Gilda Snowden's retrospective is one of the most hopeful gestures of what it means to live in Detroit. The exhibitions does not make one nostalgic as much as it tells a story of how one person makes priorities in their life so that they can hold onto visceral moments as best as they can.

Nostalgia generally is about being unhappy in the moment because of remembering things as being better in the past. The photography embedded in Gilda's work then counters this sensation of time. Black and white photographs of friends and relatives appear sharp and present, while recent photographs from the internet still have a trace of jpeg artifacts and then are overlaid with a gauzy treatment obscuring the color photographs of her and her daughter. 

It is unfortunate that I didn't bring my 50mm to show you the detail of these images cut out from a contact sheet, it's like a precursor to Gilda's full on commitment to Facebook updates.

The technological advance of sharing images and printing them is filtered by encaustic in order for it to have the possibility of the photos being treated as "real" memory as opposed to a "doctored" digital photograph. In the era of Instagram where colors mimic the feeling of old-fashioned cameras, I imagine that there are those who believe that content can be achieved through which filter you choose over what you aim your camera towards.

Her painted constructions also reference transforming thinking with your hands into something solid, like as if a hug could turn two people into a single child. The rope on its own would not be enough as an object, nor the separate pieces of wood, but they are joined together and marked up in non-smothering treatments of warm earth-toned wax. She doesn't claim that the colors are a conscious decision as much as an economic limitation, which I find hard to believe, because it just would not seem like "limits" would be in this woman's vocabulary. The earthy colors of her constructions are very appropriate as if the work she produces suggests that art is as natural as a tree grows, colors and stencils of dates are the bark.

I took all of these photos on my GoPro so my apologies if you are averse to fish-eye lenses.

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If you read the catalog, you find out that:

1. Gilda hates driving and therefore has walked everywhere.
2. She names artists (who unfortunately I don't know who they all are), but she expresses the importance of knowing ones context.
3. She explores personal histories and presents that not really knowing her relatives (because she's never met them) is as valid a reason for bringing them into the artwork as if she did know them.
4. She whips out her CCS educator badge in order to keep the police from keeping her from taking rubbings from manhole covers for her series "City Album".

I don't know if she'd agree with me with everything, but I took the liberty of matching up those sentiments so that you can see how contrary they are to common perceptions of living in the city. Many would say:

1. If you don't have a car you are screwed
   (Gilda might say: be tough* or get a chauffeur)
2. Detroit is like a cultural island
   (Gilda might say: you're never truly alone in your practice)
3. We need to talk about racial issues
   (Gilda might say: We need to be ok with looking inward too and the possibility of not knowing)
4. Fuck tha police
   (Gilda might say: Everyone likes to learn including the police AND The best teacher is a student.)

* [In the interview with Dick Goody she is asked about a younger version of herself that acted tough in order to not have anyone mess with her as she took the risk of taking long walks through dangerous parts of the city.  She would give advice to that younger version of herself to be tough on the inside.]

I think these might be my favorite pieces of hers and they're not listed on her website currently! They are titled "City Album" and they remind me of Jasper Johns, but now they'll always remind me of Gilda being stopped by the cops.

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The catalog is also interesting because it shows how firmly she is from an older generation of artists, abstract expressionists. Her work fits well in a traditional white-cube setting, it can go anywhere, which is something I would like to challenge her on. 

If you look through the catalog you will find a sculptural painting called "Inverness" that is for her Scottish husband, Boswell. In the digital representation of the work it is cut out of context and missing my favorite element of the piece which helps give its definition: it's shadow. 

"Inverness" is pictured on the wall next to the reception desk, I find the reference to Scotland as being really interesting considering that many of their archives in that country are mostly used by people trying to trace their family history and genealogy.

I'm harping on this because in "Still Life with Film Canisters" she focuses on making the shadow as present as the object itself. Like the missing shadow in the catalog, I believe that even more context could make her work even richer, context that may be accidentally edited out.

Contrast of all sorts as well is really wonderful in this show, which makes her exhibitions of a single body of work look like selling wholesale flowers out of plastic containers rather than the wild forest that is her studio.

Consider this scenario: The DIA puts up reproductions of artwork up around metro Detroit. Can you imagine if they purchased one of her "Bright Stars at Night" paintings and then put one up nearby where the East Side Riders put their bikes? There is energy to her chairs and those Bright Star paintings that make her tornadoes look docile. Perhaps this is not accidental either, could this express that the desire for power (what her chairs may represent) is a force that needs to be recognized and reckoned with that is far more dangerous than the inherent chaos of nature?

Imaginary Landscape is also depicted on ArtHopper.org, but I swear the image they have is too yellow, this piece ZINGS. Also I really love the couple of sentences that accompany her work, it's as if she's right there next to you while you look at the work.

This is the wording that she had next to the "Bright Stars at Night" piece: "A visual cacophony between the artificial illumination (neon, klieg lights) and the natural lights (moon and stars) in my downtown neighborhood: natural light cannot compete with man-made."

There are some people in metro Detroit that might be old enough to remember seeing the Milky Way without having to go to the Night Sky Park in Mackinaw City and there is value in questioning the technological prowess of all human endeavors. One very American aspect that comes through in her work and some of her words is that of American optimism: with positive thoughts, all is well. I would like to see Gilda also create darker themed works that continue to utilize her great sense of intuition and playfulness, because I feel that there is more criticality that she could have to offer. It seems that she pulls back from being too definitive about the fight between natural light and artificial illumination (There's a quote somewhere in the catalog that states that she considers both kinds of light are wonderful, or at least it has a different tone than the sentence next to her piece). But I would argue that it is important that one takes a stance on this issue and many others, even if it's just on the inside, because cheerleading is only as strong as solidarity, activism and resistance.

- Cedric Tai

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I would also like to put it out there that I am going to start putting together some small informal meetings of artists/writers based around the question "What makes good writing about art" as a way to meet other local artists/writers, communally share resources, and have some alternative formats to doing research and development. If you are interested, feel free to e-mail me.

This is my version of culture shock:

This is my version of culture shock:

Does anyone know what the American equivalent is for Herculite No. 2?

Why doesn't this reading discussion group have a pot of tea going?

There are so many babies everywhere. (new projects and spaces also count as babies)

I thought I remember driving my own car was kindof fun, why does 20 minutes seem like too long now?

Besides Vince C's blog is there seriously still no critical art writing in Detroit? Isn't there a ton of money kicking around right now for this sort of thing?


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In artmaking news, I am looking for if there is anyone that knows how to disassemble a large xerox copy machine and can help me make alterations?



Is there an equivalent to the U of M's Property Disposition or MSU's Surplus store closer to Detroit?

Finally an appropriate entry that I can post since being back in Detroit.

Before I express my plans for "What I'm going to do next", I've taken a hiatus from making art for a bit, and I'm just reflecting, there has been a nice journal entry for every day since we got back into the US, and this is the one for today.

I've had grand plans of doing so many things now that Rachel and I have been back, but I think I'm going to stop and relax. If anyone wants to hang out, I'm free, but I don't have the energy to do anything as of yet, which includes coming over to someone's place (unless I've invited myself over), I'm kindof in hermit mode.

These grand plans included: 

• Writing a thesis about a Detroit-Glasgow connection, but I've decided to work on it and publish that privately. 
• Updating this blog to rehash all of my favorite moments from the last two years and the lowest points that started to occur near the end when close friends began relying on e-mail as the only form of communication as our time in Glasgow was coming to an end...
• Posting a blog on glasgowmiracle.blogspot.com about how I just dropped off an 'artwork' that is an archive of important documents of the last two years into Glasgow School of Art's archives based on discussions with the other volunteers and the archivists that worked there on what they wish someone had left for them.

But I'm not doing any of that sh*t because first I have to worry about: Getting an appropriate part-time job, moving out of the Russell Industrial Center, paying to get my car patched up because it could get even worse, getting things back that I have strewn around town from drum sets to computers, getting settled into a new studio that I will be sharing with Rachel, getting a new website sorted that actually does justice to where my work currently is, finding an appropriate way to rebuild the work that I had established in Glasgow back in Detroit to replace the older work, and familiarising myself with the Detroit and friends that are here considering I feel like both me and Rachel have changed considerably since leaving for Glasgow...

I haven't said it yet but... Glasgow I miss you, friends who used to live in Detroit, I miss you, friends who haven't said welcome back yet, I miss you.

Tuesday, 10th of September.

I saw this image of a friend from Glasgow, and it made me think about the kind of images I make nowadays in art...

Ian M. as filtered through a lego app.

I've never stopped loving abstraction

Pixels are somehow a part of it all to me too, 

You see the parts (the process of making patterns), the whole (the illusion of content)

I was looking at a digital image one of my very first paintings when I learned how to paint with oil, and I put it on an online account where there are a lot of eyes, telling me if they liked it, that they liked my approach, but more specifically they would tell me if they liked what they saw. (It's called DeviantArt)

But I was the only person who appreciated this particular painting, and that's when I realised that I never thought about what other people saw (because it doesn't look like anything, you're eye searches for too long for a composition that never feels resolved), it was a painting that actually helped me retrace that moment of looking at a still life, and what's better is that I even wrote (a little apologetically) about how the piece was unfinished and  went to describe what was present on the table that I had been painting and the painting assignment that it came from. 

Titled: Still Life 3 Unfinished

I could remember cutting in with paint in one direction or another to create the illusion of depth, or of discrete objects and my eyes would dart re-creating, almost repainting the image and seeing that I had worked so hard to 'figure it out'. But what did I figure out? No one else could see this organisation of good paint let alone of an exciting exploration of form. I figured out how to make me remember that act of almost tracing the entire scene in front of me with my eyes. Like a dream that has no peripheral vision and auto-corrects to assume normativity in irrational circumstances, it was about the play of construction where there is a constant flow of it being built, rather than being able to deconstruct it. 

I could look at this image with pride and know that I had nailed an illusion, and secretly what this formed, was a pleasurable palate of vibrant colour textures and patterns that would not have come together that way if I had just attempted to invent it. There was a rigour to it, but there was also a sense of that bowling ball game where you try to roll it soft enough to make it go over a hill, but not so hard that it rolls over the next hill, that is if creating each mark made up the push of a hand… 

A lot of my paintings that are unfinished have much better compositions than my overworked monstrosities. 

What I guess I'm getting at is that there are three perhaps four things that are exciting in the lifespan of this art work or perhaps this type of approach to art, making abstract paintings, work that didn't begin with a concept, but the desire to create my own problems to solve. 

There is the joy of creativity (1), something for me, but there's also myself as the original audience, a sense of pride that comes after not just that painting but seeing how it was the first of so many many paintings (2). There is also an assumption that there is an abstraction for an audience to consider its emotive qualities either from finding and recognising content but to also seeing the paint for what it is. It takes time to figure it out and there's an expectation that it should be a rewarding search (3). This particular painting is not too rewarding after one sees what the things are, after all, the imagery I selected to paint is not particularly symbolic, suggestive or autobiographical, it's a study.

But I can look back to my first paintings and say to myself, this is the beginning of why I'm committed to making art. It started from somewhere that was about trying and how fun it was to try something fairly difficult and for me and it would continue to demand mastery if I was to join the ranks of 'actual painters'. From here I can remember that I had altered a painting palette thatI presented as a finished work, which meant that I was interested in questioning the beginning, the end, and framing of the language of painting or artwork in general. 

Titled "Open Palette" and I found an alternative title that I ended up using for my first solo exhibition: "Start Somewhere"

I remember the moment when I realised that the surface that one prepares to paint on is the stage where people will get themselves situated to see the show that you put on, not the process of what it took you to get to 'the work', but I sought the mutual appreciation of the process, because it was something I wanted to share, that feeling of being creative, not being celebrated for having done creative things, but it could be work, a creative act, to look at work and be partly responsible for the meaning that is evoked.

I remember being asked for that piece in an art trade and remember thinking how disappointed this person was in me that I hadn't kept it aside for them for a trade because I sold it I believe for something like 75 dollars at my senior thesis show. There was the collapsing of the journey into a monetary exchange and I said to myself that it's alright whatever artwork goes because I'm interested in the next piece that I make, and that's where I find myself now, thinking about the work that is to come ahead. 

Shoot ahead to my last "solo" show where all the work was installed by John Nicol and I was also using the palettes of other painters to create the works, this one was by Lauren Wells.

This is me revealing the backside of a painting also part of "Indirectly, Yours"

What artworks in grad school were like that abstract painting for me? The beginning of realising that I had the "knack" for making art? The piece that I might look back and think that I haven't taken care of it fully, creating holistic considerations to firmly place it into context where it could flourish and even grow? These are not just high expectations, this is a lot of the point of art, otherwise, let's face it, these pretty pictures are just part of interior decoration. 

Taking risks plays a big role here, but it might not be the absolute first priority.

Trusting one's own instincts, I've rediscovered that my signature on that online website (that is now well populated by high school drawings of anime, furries, digital paintings and nude photography, it seems there's no place for me that there once was in the cheerleading efforts that the site represented from strangers) that it was this: Creativity comes from trust. Trust your instincts, and never hope more than you work.

- Rita Mae Brown. 

That's a powerful quote about how art is about you and the importance or celebration of creativity as cheesy as that sounds. Art depends on you to be an inspirational human being in order for it to have a chance, it demands a work ethic that too is about constant self-development. In a sense, your best work is a by product of imagining better things, and that's why that quote is not actually about creativity or individuality, it's about making the best work possible. It's about getting yourself in proper shape because good work will take care of you in so many different ways, and nothing keeps good art chugging along, but you. Reciprocity between high-expectations and chance outcomes. It barely worked or perhaps it failed, and you go on to make it even more challenging for yourself because you want to. Flow. Waves. Being. 

Last week of "Indirectly Yours" starts Tuesday, ends Friday.

I made GIFS of me dancing around the work...

This is what I do when I'm invigilating for the show when I'm not writing up proposals or chatting with visitors.

It's been lovely having so many people visit the show (and sometimes multiple times!) John and I will be de-installing Friday evening and we're having an art giveaway for those who would like to give one of the plaster casts a good home.

This will take place Friday evening for people who contact me via phone but also Saturday from Noon - 2.

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I also just started to transcribe out of boredom a picture I took of a work of art by Peter Davies that I was unsure whether or not I understood the work... For some reason reading it one after another reminded me of Ross Little's artist talk when he was reading off catchy phrases to get a positive response from someone. Some things stick out, while mostly you're between imagining how effective it is and not knowing whether or not the author is sincere as the words just seem to flow to somewhere else...

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Why is British Art So Crap? There's a whole century of mediocrity and ineptitude. Why would anyone ever be interested. Take a look AT THE EVIDENCE, Pre-1990s its All rubbish

Michael Andrews Ayers Rock, Lynn Chadwick suffering man sculptures, Leon Kossof dirty swimming pools, Patrick Proctor please behave, Eduardo Paolozzi I was a rich man's plaything, Stanley Spencer religious fundamentalist, Derek Boshier Ku Klux Klan,

John Bellany too much boozing, Andrej Jackowski too much/too little acid, Alan Davie Mad Old Hippie, Art and Language crap conceptualism, Terry Atkinson the same, Paul Nash war what is it good for, John Nash shadow of his brother, David Nash family tree, Scotitsh 80's Figuration-

Celtic Authenticity Bullshit - Steven Campbell, Stephen Conroy, Ken Currie, Peter Howson, Adrian Wisniewszki all got lucky on the shirt tails of transavantgaurdia, Tess Jaray what can I say, Ian Hamilton Finlay it's all a battle at Little Sparta, Sean Scully not really British or even living here, David Hockney

started off well but all the other shit ruined it, Tony Bevan what on earth is in that paint, Craigie Aitchison he'd crucify me, Rosefinn Kelcey a bit steamy, Richard Wilson oil schlick, Sylvia Ziranek for obvious reasons, Bobby Baker cookery as art, Anne Bean, Peter Fink, Paul

Burwell Bow Gamelan embarassing drum bashing, Brian Catling VIDEO SEANCE, Kipper Kids scatological slapstick, anything associated with Robin Klassnick mail art etc, Caroline Bergvall nonsensical boring poetry performances, Bloomsbury they all shagged each

other Vanessa Bell have a bath, Duncan Grant do the Charleston, Clive Bell significant form, Henry Lamb new England art club, all crap, camden Town group, Walter Richard Sickert Jack the Ripper apostle of mad art, Spencer Gore Rule Brittania, St Ives group a lot to answer for, Peter

Lanyon Cornish paste, Roger Hilton Oi Argh Argh, William Scott post Rothko abstractions from reality, Terry Frost poor mans Elsworth Kelly drawings, Bryan Winter wiggly lines, Patrick Heron blame Matisse, Barbara Hepsworth holes a hole (see Rachel Whiteread), Ben Nicholson flat reliefs, and the

constructive tendency such as Victor Pasmore turncoat, Claude Rogers he of the Euston Road School a Real Place and William Coldstream Original Slade Measurer, Adrian Heathmore 50s style abstraction see Helion and the constructionists Anthony Hill, Kenneth and Mary Martin double trouble, Naum Gabo played with kinetics and perspex, so many

useless groups, Alfred Wallis crazy fisherman dude, Gwen John shagged Rodin, brother Augustus John most famous ever Welsh artist, Rodrigo Moynihan objective abstraction father of Danny the great writer, Therese Oulton very nasty ugly surfaces, 

John Virtue lost In the countryside, Victor Burgin what does consumption mean to you, John Latham throw the book at him, Stuart Brisley lock him up with his Xmas dinner to stare at it, Barry Flanagan piles (of shit) Graham Sutherland British surrealism, Sir

Roland Penrose the leader, John Piper Nostalgic Romanticism, Wyndham Lewis (Percy) mr avante grade blast Vorticism, David Bomberg hold on, CRW Nevinson their Futurist rival, Ivon Hitchens sweet, Prunella Clough enough, R B Kitaj calm down angry man, so called London group, Frank

Auerbach much paint wastage, Lucien Freud antisocial behaviour, Francis Bacon supposedly the star one, British pop art, Allen Jones he likes em on all fours, Richard Hamilton Independent group 11 commandments, Peter Blake Americana in the suburbs, remember brotherhood of ruralists, David Inshaw creepy English scenes, Patrick

Caulfield see Lichtenstein, Pauline Bety the only blonde in the world, Peter Phillips another 60's also ran, Gerard Laing Robert Indiana's assistant, Joe Tilson box pop, America stole Pop, Jeffrey Camp is he, John Hoyland groovy in the 60's not now, Michael Moon Strip Paintings,

conceptualism fucked all that stuff over, Albert Irvin every office has one, Basil Beattie playing up, Bernard Cohen zany- capt. Shit eat your heart out, David Remfry stop I think I might puke, Edward Burra Low Life Scum, Beryl Cook fat slags, Eric Ravilious

greenhouse effect, Jacob Epstein sex and nudity, Eric Gill with a thrill, Cecil Collins I promised you a miracle, Ken Kiff wild child, Philip King tea la la, Richard Smith tailspin, Jeremy Moon died young, Bridget Riley HEADACHE images, Barrie Cook sort of spray gun version, Michael Kidner coloured in version, 

Peter Sedgley 2nd rate striped op, Michael Dillon Op structure, John Walker liked cheapness, Allan Charlton how and why, Alan Green like Ad Rheinhardt/Barnett Newman, William Green boring action paintings, Anthony Green a really big hit, Peter Joseph abstract significance through colour, 

Gillian Ayres give me Sam Francis any day, Kenneth Armitage hammerhead,s Eileen Agar assemblage, David Tremlett MESSED UP the walls, Susan Trangmar forest projectors. Tony Carter was at A. Reynolds, Leonard Mccomb fuck off gold leaf homo erotic figure that Wallinger

copied, Stephen Mckenna kitsch, Clive Barker chrome, William Holman Hunt Preraphaelite sexual corruption, Cathy de Monchaux talcum powder, Euan Uglow another Slade measurer, Adrian Stokes lot of still life, Jack Smith kitchen sink, Ivor Abrahams cock up, Maurice,

Cockrill Anthology suite, Norman Adams warrior angel, Sarah Raphael a little world turned upside down. Paule Vezelay really Marjorie Watson-Williams, David Mach killer sub, Richard Deacon bent wood, Tony Cragg SCRAP YARD, Anish Kapoor powder puff, Lisson/now object

sculptors, Bill Woodrow lost it, Adrian Berg what a drip, Frank Dobson clunky figures, Andy Goldsworthy sticks and stones, Chris Drury leaves and twigs, Jo Stockham used to be in lots of shows, Stephen Willats social comment, Ian Breakwell De La Warr dance, Howard Hodgkin too

many city breaks, William Tillyer poor mans version, Terry Setch skateboarders, Norman Ackroyd over atmospheric, William Turnbull primitive modernist, A footnote to colorfield - John McLean, Geoff Ridgen, John Golding, Gary Wragg tai chi, Alan Gouk ab ex via

French realism, Jock McFadyen inner city, David Tress gritty Landscape, Conroy Maddox see Magritte etc, Tom Phillips collects postcards, Glyn Williams the professor, Elizabeth Frink existentialist bohemian, Helen Chadwick Schlocolate fountain, David Medalla bubble machine, John Goto socialist conceptualist

montage, Mary Kelly post partum document, Gilbert and George Bum Holes, Langlands and Bell rhymes with hell, Avis Newman poor show, John Murphy barking, Maria Chevska give us a break,Sonia Boyce blankets from afro hair wigs, Alison Wilding

house of cards, Simo n C all ery dreary, Grenville Da vey can where d d he 11 ' twont. a edon1 an road, Introverted performances., avid Leapman day glo, Rrchard Long \va.Jced n" 'll:J.Y' Hamish Fulton .... .....

way, Rashaeed ,.,. ••• ,., $-tcve c-,..... ;11n:tl•ll•rydo.·..-it:<', I an Jones iru .. d.~d:rtv:iiJ.t,Pe rry Roberts vanished ..,..,."'" big Chisenha1eshow, Kerry Trengrove tun ne lled out, Bruce Lacey t he womelliser, Paula Rego a st urbed fairy taleStchr 15 topher Le Brun

f ly in g h o rse s, Ma ggie Hambling r-.ca-ry 1e.dy1 Stephen -..ckrey one paintin g over .,,.the:r, '..·ibdl~-• u,.~d. rc, .l e:"" H'"" lt.•n nt ·t. .. r.d 1 , S an d ra Bl o w counterpoint to ¥~~hat .,.,ctly, Reg B u t ler poor ma ns D avid Smit h , Noel Forster ll .Jer patterllpaintl H enry

Mun all o'er grid pnintin p;, My les M....,.., more Slade measuring, J o hn Brat by see Alic e Heel, Eil een Cooper school of whatever, Stephen Farthing po:.intl~!!: painting, Ronald Moody Ja1."4 like 11,ure., J•hn W"llllam Waterhouse W:-'~

John Lessore !. dcr· a"1en tal S unday lunch, IIIIa rio Rossi t he end, David Troostwyk Monochrome har d e d g e" s ilhouettes • , :i:l '- ~li nuclear e;:ilil :!J ~~r;:))p!h.!l Kate Whiteford nasty green and reol Painted Installation•, B J h n crap photo r ea 1 . • ' t

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1 o ptics eter Kennar Wages of SinS Pat au man J c orny ower u rat ons, Be r nard M d

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s ,uanne Tre ister s u s taine d f a n t asist, Susan Hiller psychotropic su p e r nat u r a l wo r k- spooky, Leigh Bowery at s ome g rim esta tedown East EOI~~&, eauumln" •• m:: . ~:l~p ~~· -Davld Robillar~ afriend of Gilbert and ,.

, . in D V i d W ' f t h 111 • )II -.:,.,.Ia lore a rt, u; LoWT)' -~ , •.d·.c.-;ek rr. 1'1 .... u u. - tAo!tl, :ot-":- • rrro ~lck to fllooa, !1\I.>On De:-~'- M•art .... ot•• /-4).r:q~ - ·ns. Paul W\n.st anlc-y - I' lti~t.e. r1p -. l'i 'I H , at raw de,- , George wit h St'T ibbly wrttJnu , Zarrna B L photos on she tve• •bowt upbring e g, ~ t Peter R•nd•II.Page 3 ::. s Grac: e .s it sucks, Ken Howard stl.ldb studl o u ... , Ana. Ma.r a. pacheco claustrophobia, Bill Jae klm o ut of t he wood, Pa.ul Nea~u a b it

... \M Gormley dar k a ngel, William Furlong AUDIO ART, Vong Phaophanit Lao1.1a~ r lC .a VSII1ret~h Housh lary lrmi•n mysticism, J ohn Gi bbons ... . cho ~· Pt ure ' J•hOI Newlins t.nc- , £r\C. Ba inbrldge,_large sea 1 e fake fur sculptures, Ou s ta v M e tzger THREW

touc hy feely, Dh1 11 Mist ry 1,,r: tj'purc at, r:,,.-, wlf o ot W illiam T urnbull , Michael Kenny Wounded by love, Wilhemina Barnes-Graham more soppy St Ives abstraction from nature, ?."l l.J: p Sutton there la 1 ... pnc t 1n the .. ·nods , KoithArutt •.u.w.,.n , JohnWNkln

ACID ho pe washed h~~ han.u, Henry ' I¥ trust fund, Wt n 1 fr e d N1cholson feminine views of nature, Henri Gaudier BRESZKA -the idiot~ . Robyn Denny he got

tl ' ltutl c, J• "" S' "' " s arsc e he re, Joan Eardley gorbals diehards, James Abbot McNeill Whistler lavish lifestyle dandy and wit, Charles Rennie McKintosh designed Glasgow, Henri Gaudier Breszka - the idiot, Nicholas g'ree n monsters, Cerl 1\ic ~;'l(d.~ see Braque, Malcolm Mi>rley _m .,.,,y, Li l iane: Lljn Cl')'a tl l ll all a, Monica

"'~'Jl!l h P lu mb · ma l abs tractaons, Frank Bowhng a.r..m • • 1 f

R a u s ehe nberg a ll .-.; :::.~• Jo n · grooveso~ e mlnl • . Bob La w outlines, Keith Mdow improve<~ reproductions, "~lD\J\J~ MorriS over 0 De Chtrlco, Ed wo.1'd Wadsworth more CRAP Brit

• r • M K ve r own hideous patntlngs, Ja ..... M ...... ~oo b~d Agn es Martr n&, ..

ld g iving . , la n c ee .,.rill check this out and Robe rt MacBryde the other one, Celia Paul transcendental portraits, i·Shan hierenber@, appalling S\lb • Fro~o~d fi~ltion

surrealism, Robert Colquhuon TH E FO RT U NE teller -Magnus vo• ··· ;:t~ ny Car• ..... .... dumber Ha mad Butt polson gas i n glass t ubes, CnrdWcighL Uepham Junction, lan Stephenson horrible speckled paint effect

Seems that OCR recognizable text only goes so far...

My upcoming events at the Centre for Contemporary Art (Glasgow)

The 2HB Launch for vol 16 & 17 is today starting at 7:30

And also there will be a solo show by Cedric Tai and a solo show by John Nicol, July 5th