{"id":53706,"date":"2025-01-14T10:04:59","date_gmt":"2025-01-14T10:04:59","guid":{"rendered":"https:\/\/artmag.co.uk\/?p=53706"},"modified":"2025-01-14T10:09:45","modified_gmt":"2025-01-14T10:09:45","slug":"art-worth-seeing","status":"publish","type":"post","link":"https:\/\/artmag.co.uk\/art-worth-seeing\/","title":{"rendered":"Art worth seeing"},"content":{"rendered":"\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/JMW-Turner-1775-1851-Edinburgh-from-below-Arthurs-Seat-1801.-National-Gallery-of-Ireland-Collection.-Turner-in-January-Irelands-Vaughan-Bequest-1024x639.jpg\" alt=\"\" class=\"wp-image-53714 lazyload\"\/><noscript><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"639\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/JMW-Turner-1775-1851-Edinburgh-from-below-Arthurs-Seat-1801.-National-Gallery-of-Ireland-Collection.-Turner-in-January-Irelands-Vaughan-Bequest-1024x639.jpg\" alt=\"\" class=\"wp-image-53714 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/JMW-Turner-1775-1851-Edinburgh-from-below-Arthurs-Seat-1801.-National-Gallery-of-Ireland-Collection.-Turner-in-January-Irelands-Vaughan-Bequest-1024x639.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/JMW-Turner-1775-1851-Edinburgh-from-below-Arthurs-Seat-1801.-National-Gallery-of-Ireland-Collection.-Turner-in-January-Irelands-Vaughan-Bequest-480x300.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/JMW-Turner-1775-1851-Edinburgh-from-below-Arthurs-Seat-1801.-National-Gallery-of-Ireland-Collection.-Turner-in-January-Irelands-Vaughan-Bequest-150x94.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/JMW-Turner-1775-1851-Edinburgh-from-below-Arthurs-Seat-1801.-National-Gallery-of-Ireland-Collection.-Turner-in-January-Irelands-Vaughan-Bequest-768x479.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/JMW-Turner-1775-1851-Edinburgh-from-below-Arthurs-Seat-1801.-National-Gallery-of-Ireland-Collection.-Turner-in-January-Irelands-Vaughan-Bequest.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>JMW Turner (1775-1851), &#8216;Edinburgh from below Arthur\u2019s Seat&#8217;, 1801. National Gallery of Ireland Collection. Turner in January\/ Ireland\u2019s Vaughan Bequest<\/em><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Ann-Oram-RSW_Dahlias-and-Cosmos-copy-1024x790.jpg\" alt=\"\" class=\"wp-image-53720 lazyload\"\/><noscript><img decoding=\"async\" width=\"1024\" height=\"790\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Ann-Oram-RSW_Dahlias-and-Cosmos-copy-1024x790.jpg\" alt=\"\" class=\"wp-image-53720 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Ann-Oram-RSW_Dahlias-and-Cosmos-copy-1024x790.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Ann-Oram-RSW_Dahlias-and-Cosmos-copy-480x370.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Ann-Oram-RSW_Dahlias-and-Cosmos-copy-150x116.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Ann-Oram-RSW_Dahlias-and-Cosmos-copy-768x593.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Ann-Oram-RSW_Dahlias-and-Cosmos-copy.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Ann Oram RSW, &#8216;Dahlias and Cosmos<\/em>&#8216;<\/figcaption><\/figure>\n\n\n\n<p><strong>Watercolours at the RSA, Edinburgh<\/strong><\/p>\n\n\n\n<p>There\u2019s an all-new Turner in January show for 2025, which is the artist\u2019s 250th anniversary, as Scotland exchanges &#8211; for one year only &#8211; their Vaughan Bequest Turner watercolours with those given to the National Gallery of Ireland (RSA Building, 1-31 January, free). While you\u2019re enjoying these, you can also explore a showcase of more than 300 paintings drawn from the best contemporary work in watercolour and water-based media in the 144th Open Annual Exhibition of the Royal Scottish Society of Painters in Watercolour (RSA Upper Galleries, 11 January-5 February, free)<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Summer-night-Bet-Low-undated-Orkney-Islands-Council-1024x1289.jpg\" alt=\"\" class=\"wp-image-53717 lazyload\"\/><noscript><img decoding=\"async\" width=\"1024\" height=\"1289\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Summer-night-Bet-Low-undated-Orkney-Islands-Council-1024x1289.jpg\" alt=\"\" class=\"wp-image-53717 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Summer-night-Bet-Low-undated-Orkney-Islands-Council-1024x1289.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Summer-night-Bet-Low-undated-Orkney-Islands-Council-480x604.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Summer-night-Bet-Low-undated-Orkney-Islands-Council-119x150.jpg 119w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Summer-night-Bet-Low-undated-Orkney-Islands-Council-768x966.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Summer-night-Bet-Low-undated-Orkney-Islands-Council.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Bet Low, &#8216;Summer night&#8217;, Orkney Islands Council<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>Bet Low: An Island on Your Doorstep<\/strong>, Reid Gallery, Glasgow School of Art, 11 January &#8211; 8 February and Pier Arts Centre, Stromness, 1 March &#8211; 7 June, both free.<\/p>\n\n\n\n<p>There has been a resurgence of interest in the work of Scottish artist Bet Low since several of her paintings were included in Karla Black\u2019s exhibition at Inverleith House in 2010. Low, a contemporary of Joan Eardley at Glasgow School of Art, painted figurative works capturing post-war Glasgow and its people in a style influenced by the German expressionists before moving into abstraction, with paintings often inspired by the landscapes and seascapes of Orkney.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Hayley-Barker-Wingate-Window-2024.-Photograph-by-Paul-Salveson-1024x1273.jpg\" alt=\"\" class=\"wp-image-53718 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1273\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Hayley-Barker-Wingate-Window-2024.-Photograph-by-Paul-Salveson-1024x1273.jpg\" alt=\"\" class=\"wp-image-53718 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Hayley-Barker-Wingate-Window-2024.-Photograph-by-Paul-Salveson-1024x1273.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Hayley-Barker-Wingate-Window-2024.-Photograph-by-Paul-Salveson-480x597.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Hayley-Barker-Wingate-Window-2024.-Photograph-by-Paul-Salveson-121x150.jpg 121w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Hayley-Barker-Wingate-Window-2024.-Photograph-by-Paul-Salveson-768x955.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Hayley-Barker-Wingate-Window-2024.-Photograph-by-Paul-Salveson.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Hayley Barker, &#8216;Wingate Window&#8217;, 2024. Photograph by Paul Salveson<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>Wings of a Butterfly<\/strong>, Ingleby Gallery, Edinburgh, 1 February &#8211; 19 April, free.<\/p>\n\n\n\n<p>Ingleby starts the year with an innovative group show centring on French painter Pierre Bonnard, who wrote in his diary just before his death in 1947: \u201cI should like to present myself to the young painters of the year 2000 with the wings of a butterfly\u201d. Contemporary painters, including Andrew Cranston, Chantal Joffe and Hayley Barker explore how Bonnard speaks to them in the 21st century. The show also includes Philadelphia-based Aubrey Levinthal, who will have her first major UK show at the gallery in the summer (28 June &#8211; 28 August)<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/SJ-Peploe-Luxembourg-Gardens-c.1910.-Image-courtesy-of-the-Fleming-Collection.-Scottish-ColouristsRadical-Perspectives-exhibition-1024x1324.jpg\" alt=\"\" class=\"wp-image-53719 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1324\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/SJ-Peploe-Luxembourg-Gardens-c.1910.-Image-courtesy-of-the-Fleming-Collection.-Scottish-ColouristsRadical-Perspectives-exhibition-1024x1324.jpg\" alt=\"\" class=\"wp-image-53719 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/SJ-Peploe-Luxembourg-Gardens-c.1910.-Image-courtesy-of-the-Fleming-Collection.-Scottish-ColouristsRadical-Perspectives-exhibition-1024x1324.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/SJ-Peploe-Luxembourg-Gardens-c.1910.-Image-courtesy-of-the-Fleming-Collection.-Scottish-ColouristsRadical-Perspectives-exhibition-480x621.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/SJ-Peploe-Luxembourg-Gardens-c.1910.-Image-courtesy-of-the-Fleming-Collection.-Scottish-ColouristsRadical-Perspectives-exhibition-116x150.jpg 116w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/SJ-Peploe-Luxembourg-Gardens-c.1910.-Image-courtesy-of-the-Fleming-Collection.-Scottish-ColouristsRadical-Perspectives-exhibition-768x993.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/SJ-Peploe-Luxembourg-Gardens-c.1910.-Image-courtesy-of-the-Fleming-Collection.-Scottish-ColouristsRadical-Perspectives-exhibition-1188x1536.jpg 1188w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/SJ-Peploe-Luxembourg-Gardens-c.1910.-Image-courtesy-of-the-Fleming-Collection.-Scottish-ColouristsRadical-Perspectives-exhibition.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>S J Peploe, &#8216;Luxembourg Gardens&#8217;, c.1910. Image courtesy of the Fleming Collection. Scottish Colourists\/ Radical Perspectives exhibition<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>The Scottish Colourists: Radical Perspectives<\/strong>, 7 February &#8211; 28 June, Dovecot Studios, Edinburgh, tickets \u00a312 (\u00a310.50 concession).<\/p>\n\n\n\n<p>This landmark Scottish Colourists exhibition, created in collaboration with the Fleming Collection, presents the work of Peploe, Fergusson, Hunter and Cadell alongside their British and European contemporaries for the first time. The exhibition shines a fresh light on the Colourists, who forged their radical style in the decade before the outbreak of the First World War. Their paintings are shown here seen alongside the work of Matisse, Derain, Duncan and Vanessa Bell, Augustus John and others.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Janine-Antoni-2038-2000-\u00a9-Janine-Antoni_-Courtesy-of-the-artist-and-Luhring-Augustine-New-York-1024x1024.jpg\" alt=\"\" class=\"wp-image-53722 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Janine-Antoni-2038-2000-\u00a9-Janine-Antoni_-Courtesy-of-the-artist-and-Luhring-Augustine-New-York-1024x1024.jpg\" alt=\"\" class=\"wp-image-53722 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Janine-Antoni-2038-2000-\u00a9-Janine-Antoni_-Courtesy-of-the-artist-and-Luhring-Augustine-New-York-1024x1024.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Janine-Antoni-2038-2000-\u00a9-Janine-Antoni_-Courtesy-of-the-artist-and-Luhring-Augustine-New-York-480x480.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Janine-Antoni-2038-2000-\u00a9-Janine-Antoni_-Courtesy-of-the-artist-and-Luhring-Augustine-New-York-150x150.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Janine-Antoni-2038-2000-\u00a9-Janine-Antoni_-Courtesy-of-the-artist-and-Luhring-Augustine-New-York-768x768.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Janine-Antoni-2038-2000-\u00a9-Janine-Antoni_-Courtesy-of-the-artist-and-Luhring-Augustine-New-York.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Janine Antoni, &#8216;2038&#8217;, 2000 \u00a9 Janine Antoni. Courtesy of the artist and Luhring Augustine, New York<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>Acts of Creation: On Art and Motherhood<\/strong>, Dundee Contemporary Arts, 19 April &#8211; 13 July, free.<\/p>\n\n\n\n<p>Curated by Hettie Judah for Hayward Touring, this exhibition earned a five-star review from Laura Cumming in the Observer who described it as \u201criveting from first to last\u201d. The show arrives in Dundee this spring after outings in Bristol and Sheffield. Featuring more than 60 modern and contemporary women artists including Paula Rego, Chantal Joffe, Caroline Walker and Susan Hiller, it explores the subject of motherhood in all its creativity and complexity.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Jonathan-Baldock-with-Kiss-from-a-Rose-2023.-Courtesy-the-artist-and-Stephen-Friedman-Gallery.-Photo-\u00a9-Mark-Reeves-1024x1364.jpg\" alt=\"\" class=\"wp-image-53715 lazyload\" style=\"width:1200px;height:auto\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1364\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Jonathan-Baldock-with-Kiss-from-a-Rose-2023.-Courtesy-the-artist-and-Stephen-Friedman-Gallery.-Photo-\u00a9-Mark-Reeves-1024x1364.jpg\" alt=\"\" class=\"wp-image-53715 lazyload\" style=\"width:1200px;height:auto\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Jonathan-Baldock-with-Kiss-from-a-Rose-2023.-Courtesy-the-artist-and-Stephen-Friedman-Gallery.-Photo-\u00a9-Mark-Reeves-1024x1364.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Jonathan-Baldock-with-Kiss-from-a-Rose-2023.-Courtesy-the-artist-and-Stephen-Friedman-Gallery.-Photo-\u00a9-Mark-Reeves-480x640.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Jonathan-Baldock-with-Kiss-from-a-Rose-2023.-Courtesy-the-artist-and-Stephen-Friedman-Gallery.-Photo-\u00a9-Mark-Reeves-113x150.jpg 113w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Jonathan-Baldock-with-Kiss-from-a-Rose-2023.-Courtesy-the-artist-and-Stephen-Friedman-Gallery.-Photo-\u00a9-Mark-Reeves-768x1023.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Jonathan-Baldock-with-Kiss-from-a-Rose-2023.-Courtesy-the-artist-and-Stephen-Friedman-Gallery.-Photo-\u00a9-Mark-Reeves-1153x1536.jpg 1153w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Jonathan-Baldock-with-Kiss-from-a-Rose-2023.-Courtesy-the-artist-and-Stephen-Friedman-Gallery.-Photo-\u00a9-Mark-Reeves.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Jonathan Baldock with &#8216;Kiss from a Rose&#8217;, 2023. Courtesy the artist and Stephen Friedman Gallery. Photo \u00a9 Mark Reeves<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>Jonathan Baldock, Jupiter Artland<\/strong>, 10 May &#8211; 28 September, included with ticket to the sculpture park.<\/p>\n\n\n\n<p>London-based Jonathan Baldock works across sculpture, installation and performance, using clay, wood, metal and textiles such as linen, hessian and wool. He has an interest in myth and folklore as well as a taste for the macabre and a strong vein of wit. A new commission by Baldock in the Ballroom for the summer will be accompanied by earlier work at the Steadings Gallery until July. Thereafter, a new film by Guy Oliver &#8211; an artist with his own blend of social critique and dark humour &#8211; will move into the Steadings space (7 August &#8211; 28 September).<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/John-Bellany-Self-Portrait-with-a-Razor-Shell-1976-copyright-the-Estate-of-John-Bellany-1-1024x1275.jpg\" alt=\"\" class=\"wp-image-53712 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1275\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/John-Bellany-Self-Portrait-with-a-Razor-Shell-1976-copyright-the-Estate-of-John-Bellany-1-1024x1275.jpg\" alt=\"\" class=\"wp-image-53712 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/John-Bellany-Self-Portrait-with-a-Razor-Shell-1976-copyright-the-Estate-of-John-Bellany-1-1024x1275.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/John-Bellany-Self-Portrait-with-a-Razor-Shell-1976-copyright-the-Estate-of-John-Bellany-1-480x598.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/John-Bellany-Self-Portrait-with-a-Razor-Shell-1976-copyright-the-Estate-of-John-Bellany-1-120x150.jpg 120w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/John-Bellany-Self-Portrait-with-a-Razor-Shell-1976-copyright-the-Estate-of-John-Bellany-1-768x956.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/John-Bellany-Self-Portrait-with-a-Razor-Shell-1976-copyright-the-Estate-of-John-Bellany-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>John Bellany, &#8216;Self Portrait with a Razor Shell&#8217;, 1976, \u00a9 Estate of John Bellany<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>John Bellany: A Life in Self Portraiture<\/strong>, City Art Centre, Edinburgh, 31 May &#8211; 28 September, Tickets \u00a38 (\u00a36 concession).<\/p>\n\n\n\n<p>A major show of John Bellany\u2019s work in Scotland feels long overdue 11 years after the artist\u2019s death. This major summer exhibition at the City Art Centre focuses on self portraiture, which was an enduring theme throughout his long and colourful career. The show brings together more than 80 paintings, drawings and prints, from fantasy and allegory to the clear-eyed self-portraits made as his life hung in the balance at the time of his liver transplant. Open Eye Gallery will also stage a selling show of Bellany\u2019s work in spring (4 &#8211; 26 April).<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Andy-Goldsworthy-Cracked-Clay-2024-1-1-1024x574.jpg\" alt=\"\" class=\"wp-image-53711 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"574\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Andy-Goldsworthy-Cracked-Clay-2024-1-1-1024x574.jpg\" alt=\"\" class=\"wp-image-53711 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Andy-Goldsworthy-Cracked-Clay-2024-1-1-1024x574.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Andy-Goldsworthy-Cracked-Clay-2024-1-1-480x269.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Andy-Goldsworthy-Cracked-Clay-2024-1-1-150x84.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Andy-Goldsworthy-Cracked-Clay-2024-1-1-768x431.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Andy-Goldsworthy-Cracked-Clay-2024-1-1.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Andy Goldsworthy, &#8216;Cracked Clay&#8217;, 2024<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>Andy Goldsworthy: Fifty Years<\/strong>, National Galleries of Scotland: RSA Building, 26 July until 2 November 2025, tickets \u00a35-\u00a319.<\/p>\n\n\n\n<p>The big summer show at National Galleries of Scotland celebrates the 50-year career (so far) of Andy Goldsworthy, best-known for his sculptural works made from natural materials such as flowers, icicles, leaves, mud, pinecones, snow and stone. While his works are often ephemeral, captured only in photographs, he has also made permanent sculptures all over the world, and plans to make several major new works for this show. Rumour has it the floor is being strengthened &#8211; we wait with bated breath to see what for.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/For-IKEA-Magical-Patterns-exhibition-\u00a9-Inter-IKEA-Systems-B.V.-2024-1024x819.jpg\" alt=\"\" class=\"wp-image-53721 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"819\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/For-IKEA-Magical-Patterns-exhibition-\u00a9-Inter-IKEA-Systems-B.V.-2024-1024x819.jpg\" alt=\"\" class=\"wp-image-53721 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/For-IKEA-Magical-Patterns-exhibition-\u00a9-Inter-IKEA-Systems-B.V.-2024-1024x819.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/For-IKEA-Magical-Patterns-exhibition-\u00a9-Inter-IKEA-Systems-B.V.-2024-480x384.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/For-IKEA-Magical-Patterns-exhibition-\u00a9-Inter-IKEA-Systems-B.V.-2024-150x120.jpg 150w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/For-IKEA-Magical-Patterns-exhibition-\u00a9-Inter-IKEA-Systems-B.V.-2024-768x614.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/For-IKEA-Magical-Patterns-exhibition-\u00a9-Inter-IKEA-Systems-B.V.-2024.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>For IKEA Magical Patterns exhibition \u00a9 Inter IKEA Systems B.V. 2024<\/em><\/figcaption><\/figure>\n\n\n\n<p><strong>IKEA: Magical Patterns<\/strong>, 25 July 2025 \u2013 17 January 2026, Dovecot Studios, ticketed, prices TBC.<\/p>\n\n\n\n<p>It\u2019s possible the single biggest force in influencing domestic design in the last 50 years is IKEA. Since the 1960s, long before it arrived in the UK, the Swedish giant has been a nursery for experimental artists and designers, especially when it comes to fabrics and pattern design. This exhibition, created in partnership with the IKEA Museum (yes, it has one) looks at the rich history of its textiles, and its collaboration with 10-gruppen, a Swedish design collective founded in 1971, which helped put Swedish design on the map around the world.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" data-src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Claire-Barclay-Hearth-Feeling-1024x1365.jpg\" alt=\"\" class=\"wp-image-53716 lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1365\" src=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Claire-Barclay-Hearth-Feeling-1024x1365.jpg\" alt=\"\" class=\"wp-image-53716 lazyload\" srcset=\"https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Claire-Barclay-Hearth-Feeling-1024x1365.jpg 1024w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Claire-Barclay-Hearth-Feeling-480x640.jpg 480w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Claire-Barclay-Hearth-Feeling-113x150.jpg 113w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Claire-Barclay-Hearth-Feeling-768x1024.jpg 768w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Claire-Barclay-Hearth-Feeling-1152x1536.jpg 1152w, https:\/\/artmag.co.uk\/wp-content\/uploads\/2025\/01\/Claire-Barclay-Hearth-Feeling.jpg 1200w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/noscript><figcaption class=\"wp-element-caption\"><em>Claire Barclay, &#8216;Hearth Feeling<\/em>&#8216;<\/figcaption><\/figure>\n\n\n\n<p><strong>Claire Barclay<\/strong>, Glasgow Print Studio, 8 August &#8211; 27 September, free.<\/p>\n\n\n\n<p>The Scottish artist Claire Barclay was using craft techniques in her sculptural practice long before it became ubiquitous, and her work is always worth seeing due to her canny eye and careful attention to materials. Printmaking is another enduring element of her work, and this solo show promises to explore how the same values come through across her oeuvre, even as she moves between large-scale sculptures in metal, wood and textiles and delicate prints on paper.<\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Despite tough times for the arts and uncertain funding, Scotland\u2019s galleries are continuing to stage interesting and ambitious exhibitions. Susan Mansfield selects some of the must-see shows of 2025.<\/p>\n","protected":false},"author":105308,"featured_media":53727,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":"","_links_to":"","_links_to_target":""},"categories":[2056],"tags":[735],"topic":[250],"class_list":["post-53706","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-subject-matter","tag-turner-prize","topic-exhibition-news"],"acf":[],"_links":{"self":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts\/53706","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/users\/105308"}],"replies":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/comments?post=53706"}],"version-history":[{"count":0,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/posts\/53706\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/media\/53727"}],"wp:attachment":[{"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/media?parent=53706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/categories?post=53706"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/tags?post=53706"},{"taxonomy":"topic","embeddable":true,"href":"https:\/\/artmag.co.uk\/wp-json\/wp\/v2\/topic?post=53706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}