The second Glasgow School of Art fire has become a case study in how not to help neighbouring residents after a disaster. Everyone from the owners of the damaged building to the local authorities need to learn the lessons to make sure we don’t see the likes of this again.
‘This must surely be one of the most extraordinary collections of photos of 20th century Scotland, and Glasgow in particular.’
‘Clearly, there are significant variations in economic and cultural output within the north of England. Before our very eyes, a new north-south divide is emerging, within what was previously understood as “the north” itself.’
Eyewitness artists’ accounts of brutality in Nazi concentration camps are extremely rare. Sian Mackay describes her discovery of Rudolph von Ripper’s forgotten portfolio, work that deserves to stand alongside the art of his contemporaries Otto Dix, George Grosz and Käthe Kollwitz.
‘I have loved the Rite of Spring since I first heard it, more than 30 years ago. Visceral, violent stuff. Spring, like human birth, does not deliver easily. Stravinsky delighted in the cracking ice that signalled the bursting of new life into Russia’s frozen landscape.’
Advice For Our Times, a pop up event at Edinburgh’s Fruitmarket Gallery on Thursday 8 February, highlights gaps in advice, support and social services for people suffering adversity of many different kinds.
‘But here and now, for sanity sake, I abandon the endless stream of anger in the digital world, stuff my silenced phone in my back pocket, pick up a pair of secateurs and venture out into the fresh air’. On Douglas, Atholl and ‘..celebrating a natural world without borders, the spirit of human adventure, and offering a fragrant protection against bad politics’.
‘But regardless of whether we view culture as an intrinsic good in itself or for the instrumental benefits it brings, there’s no question that they are increasingly an economic driver at local and national levels.’
‘Men may be from Mars,’ Tom says with a chuckle, handing me the signed copy, ‘but that does not mean we are without feelings.’
\The boundaries of possibility are set before we open our mouths. The exhibition space becomes no longer filled with art, but whatever happens in there remains art all the same.’