Today is a milestone in Broughton’s recent cultural history.
When its doors close at 6pm this evening, it will be the end of Edinburgh Printmakers’ three decades at 23 Union Street.
Workshop, retail and gallery spaces will transfer to a new, bigger and better facility at Castle Mills in Fountainbridge. We wish all concerned an unstressful voyage and successful reberth in spring 2019.
Judging by the content of social media over recent weeks, we’re all going to hell in a handcart.
Edinburgh citizens are railing about the pros and cons of ever increasing tourism, the privatisation of public space, the ruin of residential amenity. It’s beginning to feel a lot like Christmas, with everyone bickering with everyone else in confined spaces.
Paperwork 5 is the fifth, annual, joint exhibition by three artists with quite different but complementary styles.
It’s an independently minded collaboration marked by thoughtful attention and skilled application. Mounted in a Howe Street basement, it remains a space for quiet consideration, a satisfying respite from the clamour uphill.
We like this striking collage of Broughton Street shopfronts, available as a greetings card from Concrete Wardrobe at No 50a.
It is the work of nomadic Polish photographer Daniel Dabrowski, who has recently been based in Edinburgh.
His atmospheric images of the capital can be found at [http://daniellauda.com].
The world may be falling apart about our ears, but some people are trying to stick it together again one piece at a time.
Spurtle’s unusual optimism has been prompted by the appearance of at least two intricately tessellated designs in Broughton.
The first was spotted on Monday, situated low down on the western wall of the Rodney Street Tunnel. We estimate the flowering poppies (?) comprise around 500 individual pieces, and the work seems to serve no other purpose than to bring colour and delight into the dark.
In that, it succeeds admirably.
X-RAY FINDS A QUEEN
A research project by the National Galleries of Scotland and the Courtauld Institute of Art has revealed a hitherto unknown and unfinished portrait of Mary, Queen of Scots.
The image lies beneath one, dating from 1589, by Adrian Vanson, of the Lord Chancellor of Scotland Sir John Maitland, 1st Lord Maitland of Thirlestane.