An item of "Breaking News". Will appear on the Breaking News page and the front page.
From the moment you step into the room, you know from the sounds and the amount of objects crammed into the space that this is going to be an entertaining and amusing experience, writes Rhys Fullerton.
Ross Sinclair’s 20 Years of Real Life is part of GENERATION, a series of exhibitions celebrating 25 years of contemporary art in Scotland. It is showing in the City Observatory on Calton Hill.
Barony Street Residents Association (BSRA) has reacted with alarm to demolition of a boundary wall separating the communal garden tucked behind tenements on the north side of their street from a small development site on Barony Place.
A new two-bedroom dwelling (Refs 99/01132/FULL; 99/001132/VARY) is being erected on the former car parking spaces, waste ground and lean-to garage there.
After politically themed cupcakes from Cuckoo's Bakery and politically themed cushion covers from a local soft furnisher, it’s now time for me to wade into the debate on Independence.
That’s right, I’m going to tackle the biggest question being asked in Scotland today, and by the time you’ve finished reading this, you’ll be left with more questions than ever.
Marie-Michelle Deschamps has created a new installation and sound-work called Don’t trip over the wire ... ! for the Collective Gallery, writes Rhys Fullerton.
It’s part of The Satellites Programme – a scheme for the development of emergent artists based in Scotland who are at pivotal points in their careers. Deschamps, who graduated from The Glasgow School of Art, has only recently started practising in sound.
A work donated by the ‘Anonymous Book Sculptor’ raised over £2,000 at auction in the Macmillan Art Exhibition and Sale earlier this week. Proceeds go to Macmillan Cancer Support.
It will remain free to view in Bonham’s 22 Queen Street showroom (Venue 216) until the show closes at 4.00pm tomorrow.
The work is fashioned from a copy of Newman and Leeds’ The Textbook of British Butterflies and Moths, first published in 1913.
At a time of year when one can easily feel overwhelmed by the volume of marketing hoopla surrounding cultural events in the capital, it comes as a pleasure to find the modest virtues of patience and quiet concentration in an exhibition on Howe Street.
Working Collective artists Marion Barron, Sheila Chapman, Trevor Davies and Ruth Thomas return to the basement Edinburgh Ski Club with new works, following the success of last year’s inaugural group show New Lines in the same venue.
Broughton-based commedian Craig Hill demonstrated a number of ways to use a brush this lunchtime.
The technique shown on the right was probably the most practical, despite a conspicuous lack of rubbish nearby needing to be swept.
Hill had joined Council street-cleansing task force staff Stuart Hamilton and Kevin Manson to promote the fourth year of CEC’s scheme to better manage flyposting in the city.
‘Concept’ plans for the demolition of 52–52a Annandale Street and their replacement by flats went on display this afternoon for public consultation.
The ideas have been worked up by planners Jones Lang LaSalle and architects Covell Matthews for the Glasgow-based developer Westpoint Homes.
Some 120 bedrooms in 60 flats are proposed with five storeys (including a penthouse) above ground-floor level. There are 47 car parking spaces intended on-site, and five on-street visitor spaces.
Doug Simpson has contacted us asking for Spurtle readers’ help in solving a local mystery.
He is a Broughton Place-based photographer working on a project involving small (150 x 200 mm) enamelled signs like the ones shown here.
They are attached to the walls and railings of buildings around central Edinburgh and Leith, with a few in the Broughton area.
The ones pictured on this page appear in Abercromby Place, Dublin Street Lane, Hart Street, and on Leith Walk Primary School.
Spurtle had high hopes of The Alternative Edinburgh Walking Tour on Saturday.
With five minutes to go before the scheduled start, we’d asked the guide what it was about the tour which made it alternative.
‘Well,’ he replied, ‘it doesn’t really go anywhere. And we don’t set out to inform or entertain.’
Payment was to be by voluntary donation – audience members giving as much or as little as they wished.