SIMON DUFF relishes the cross contamination of Damien Hirst’s greatest hits by street artists from France and the US
In the ring with the Colourists
While the group known as the Colourists certainly reinvigorated Scottish painting, a new show is a welcome chance to reassess them, writes ANGUS REID
CONFRONTING HOMOPHOBIA: (L) FCB Cadell, The Boxer, c.1924; (R) Duncan Grant, Study for Composition, Self-portrait in a Turban, 1910
[(L-R) Phil Wilkinson; By permission of the Trustees of the Dufferin Foundation]
In view of the grooming gangs inquiry, SIMON PARSONS feels the relevance of this powerful examination of trauma suffered at Medomsley Youth Detention Centre
JOHN GREEN doubts the motivations of a US war photographer who never questions why, or for whom, she is producing images of imperialist conflict
MARIA DUARTE reviews Springsteen: Deliver Me From Nowhere, Hedda, The Mastermind, and Regretting You
TONY CONWAY welcomes a thrilling and concise history of Hope not Hate, that is also a manual full of tactical advice
PAUL DONOVAN welcomes an inspiring account of living with deafness that has important lessons for the treatment of deaf people in today’s UK
The Scottish Colourists: Radical Perspectives
Dovecot Studios, Edinburgh
THIS is a very surprising and subversive show.
It presents itself as a celebration of “the Colourists” who are regularly held up as doyens of Scottish Modernism. These were JD Fergusson (1874-1961), SJ Peploe (1871-1935) and FCB Cadell (1883-1937), the upper-middle-class painters wealthy enough to visit pre WWI Paris and who adopted the high key palette of the French “Fauves” (the Wild Ones).
Previously they had painted posh still lives in muted colours — silver jugs, fans and jonquils — and after Paris they painted them again, but in thick blocks of primary colour, before retreating to Iona to render its empty beaches in ethereal pinks, blues and whites. So far, so familiar.
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