Glasgow 2

 I thought I had better post some pictures of a few of the galleries I went to in Glasgow, before I forget entirely! I don't know what happened to the pix I took from the first day (I was having a malfunction when working the camera I guess). After meeting at the edge of Kelvingrove Park, we headed to the Common Guild to see the Thomas Demand exhibition. We had a number of tours of Glasgow School of Art work areas throughout the city and GSA Reid Gallery, and also paid a visit to Transmission gallery for a very large group exhibition (many artists over two floors).

We started the second day (I think) with a visit to Mary Mary, a gallery a short walk away from Central Station, the group meeting point. The gallery is spread over 2 rooms, and a group show "I hope to God you're not as dumb as you make out" was on exhibit. The show consisted of individual pieces by Matthew Brannon, Milano Chow and Alan Reid and a bed installation by the three artists in collaboration.

The duvet cover on the bed was printed with recognisable portraits of contemporary thinkers.

We made our way to the gallery 16 Nicholson St where the group exhibition "That's Genetic" was on. The show included mixed media works by Jennifer Bailey, Lauren Hall, Tessa Lynch and Sarah Rose.

I was delighted to see the paintings of Adrian Morris (d. 2004), an artist of whom I was unfamiliar, at 42 Carlton Place. The gallery itself seemed such a respectful place with lighting from both windows and overhead fluorescents softened by translucent paper screens.

We saw a show at the Modern Institute entitled Electric Magnetic Installation, by Hayley Tomkins. The exhibition was a mix of made objects and found objects.

Tompkins is interested in diary and colour; the setting of wall works on angles is accidental in appearance but I think challenges the way one looks at 2D works.

In the afternoon we headed to the Glasgow Sculpture Studios for a tour around the facilities, and to see the current exhibition by Nicolas Dashayes, "Darling, Gutter". It was a pity that the heat was not turned on in the gallery, as these jesmonite sculptures were directly attached to the heating pipes within the building, so they should have had warmth radiating from them.