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KEN COCKBURN assesses the art of Ian Hamilton Finlay for the experience of warfare it incited and represents
Ian Hamilton Finlay, Five Finials, 2001, with Peter Coates, from a design by Andrew Townsend / Pic © The Estate of Ian Hamilton Finlay, John McKenzie
GORDON PARSONS steps warily through the pessimistic world view of an influential US conservative
HENRY BELL takes issue with the assertion that basic income is a remedy for poverty when it doesn’t address the inbuilt inequality of capitalism
RON JACOBS welcomes an investigation of the murders of US leftist activists that tells the story of a solidarity movement in Chile
RITA DI SANTO surveys the smorgasbord of films on offer at this year’s festival
Reviews of A New Kind Of Wilderness, The Marching Band, Good One and Magic Farm by MARIA DUARTE, ANDY HEDGECOCK and MICHAL BONCZA
SCOTT ALSWORTH foresees the coming of the smaller, leaner, and class conscious indie studio, with art as its guiding star
Ian Hamilton Finlay
Scottish National Gallery of Modern Art, Edinburgh
★★★★
THIS centenary exhibition of works by Ian Hamilton Finlay (1925-2006) isn’t extensive, but succeeds in giving a good overview of his works and their development.
The gallery blurb describes him as a “sculptor, poet, printmaker, gardener and provocateur,” but he had no sculpting or printmaking skills. It’s true he dug out the ponds for the garden at Stonypath in the hills south of Edinburgh that made his name when he filled it with sculptural objects, but the garden was planted and tended by his wife Sue, and the objects made by artists and craftsmen, to Finlay’s more or less detailed written instructions.
That leaves poet and provocateur.
