sign in sign up
<<
Home , Alan Davie, Dick Institute, Edinburgh College of Art, Glasgow School, Glasgow School of Art, Pier Arts Centre

Annual Review 2014–2015 The National Galleries of cares for, develops, researches and displays the national collection of Scottish and international and, © Keith Hunter Photography © Keith Hunter Photography © Keith Hunter Photography Scottish National Gallery Scottish National Portrait Gallery Scottish National Gallery with a lively and innovative The Scottish National Gallery comprises The Scottish National Portrait Gallery of One programme of exhibitions, three linked buildings at the foot of is about the people of Scotland – past Home to Scotland’s outstanding national in . The Gallery and present, famous or forgotten. The collection of modern and contemporary education and publications, houses the national collection of fine portraits include over 30,000 inspiring art, the Scottish National Gallery of art from the early Renaissance to the images which represent a unique record Modern Art comprises two buildings, aims to engage, inform end of the nineteenth century, including of the men and women whose lives Modern One and , set in and inspire the broadest from around 1600 to 1900. and achievements have helped shape parkland. The early part of the collection The Gallery is joined to the Royal Scotland and the wider world. The features French and Russian art from possible public. Scottish Academy building via the collection also celebrates the evolution the beginning of the twentieth century, underground Weston Link, which con- of the art of ­portraiture in Scotland as cubist and superb holdings of tains a restaurant, café, cloakroom, shop, well as including many distinguished expressionist and modern British art. The lecture theatre, Clore education suite artists in the grand tradition of European Gallery also has an outstanding collection and information desk. The Academy ­portraiture. Photography and film also of international post-war work and the building is a world-class venue for form part of the collection, celebrating most important and extensive collection ­special temporary exhibitions. Scottish achievements in these media. of modern and contemporary Scottish art. National Galleries of Scotland Annual Review 2014–2015

3 Foreword

5 A World-Class Programme

8 ARTIST ROOMS

11 Highlights

17 Researching and Caring for our Collections © National Galleries of Scotland © National Galleries of Scotland © National Galleries of Scotland Scottish National Gallery Paxton House 21 Learning Opportunities for All of Modern Art Two Duff House in Banff is one of our partner Paxton House in Berwickshire is another 29 Building Great Collections Modern Two is home to a varied Galleries and displays a number of objects partner Gallery which displays works programme of world-class exhibitions from the National Galleries of Scotland’s from the National Galleries of Scotland’s 39 Supporters and displays. It also houses the permanent collection. Designed by permanent collection. Built to the Gallery’s world-famous surrealist William Adam and built between 1735 of John Adam in 1758 by Patrick Home 41 Facts and Figures collection and a fascinating re-creation and 1739, it is a treasure house with a of Billie for his intended bride, Sophie de of ’s studio. On display stunning permanent collection, operated Bandt, Paxton House is one of the finest is The Stairwell Project, a large-scale, by Historic Environment Scotland in neo-Palladian country houses in Scotland. permanent work by 2009 Turner partnership with the National Galleries of Prize winner Richard Wright. Modern Scotland and Aberdeenshire Council. Front cover: Two is also home to the Gallery’s Bouteille et verre sur une table (Bottle and Glass library and archive, open to the public on a Table), 1912 by © Succession by appointment. Picasso/DACS, 2015 The National Galleries of Scotland looks after one of the world’s finest collections of Western art, ranging from the Middle Ages to the present day. These holdings include the national collection of Scottish art which we are proud to display in an international context.

Foreword

This review looks back on one of the most successful years in Heritage Lottery Fund (HLF) under their Skills for the Future the recent history of the National Galleries of Scotland (NGS). programme, we began a new scheme training young people for Close to 2 million visitors came to the Galleries in the past an SQA-recognised qualification in the digitisation of collec- year which is the highest number in our history. Our activities tions. This not only provides new opportunities for the trainees in 2014 were dominated by the hugely ambitious exhibition but also helps us towards our goal to digitise the entire NGS project entitled GENERATION: 25 Years of Contemporary Art collection by 2020. in Scotland. This nationwide celebration of contemporary art We hope that you will enjoy reading about our recent work in Scotland was conceived by NGS together with Life and our future plans. These include the ambitious redevelop- and Creative Scotland and extended to nearly seventy venues ment of the Scottish National Gallery with a suite of brand new showing work by more than 100 artists. Over 1.3 million visitors galleries for the world’s greatest collection of historic Scottish attended the various shows, opening up a whole new audience art. This scheme has received a stage one pass for funding from for recent art in this country and providing a national showcase the HLF and we hope to be able to start work in 2016 for comple- for the vibrancy of artistic life in Scotland during the past tion in 2018. We are also developing plans in partnership with twenty-five years. Historic Environment Scotland for a major new facility in north GENERATION is just one example of the prominent role that Edinburgh for conserving and providing better access to our partnership plays in our activities and it builds on the model of collections when they are not on display in the main Galleries. collaboration established through ARTIST ROOMS, the collection We would like to thank our many sponsors, patrons and of modern art donated by Anthony d’Offay and owned jointly donors for all they do to support our work. We acknowledge by NGS and Tate. Since 2009 more than 35 million visitors have with gratitude the enthusiastic support of our main sponsor, the seen displays from the ARTIST ROOMS collection in 131 exhibi- Scottish Government, and in particular the Cabinet Secretary tions held the length and breadth of the UK, including those at for Culture, Europe and External Affairs, Fiona Hyslop and NGS and Tate. her team. We pay tribute also to the hard work and dedication This review offers a glimpse of our many other activities in of our staff and Trustees.NGS is fortunate to enjoy amazing Scotland and across the rest of the world including our touring support from our volunteers, our Friends, our Patrons and their exhibition at The Frick Collection in New York. We have added Governors and our American Patrons. important works to the national collection, mounted world- Thank you for your interest and we look forward to class exhibitions with wide-ranging educational activities and welcoming you to the Galleries or to one of our partnership extended our digital reach. Thanks to a major award from the activities in 2016.

Ben Thomson Sir John Leighton Chairman Director-General

Detail from 15–1958, 1958 by William Turnbull © Estate of William Turnbull. All rights reserved, DACS 2015 3 Our public programme combines the display of the permanent collection with a series of temporary exhibitions and displays, alongside a dynamic programme of education activities and events.

A World-Class Programme

Masterpieces from the collaboration with the National Galleries Scottish National Gallery of Scotland and the Museo Thyssen- The Frick Collection, New York Bornemisza, Madrid. 5 November 2014 to 1 February 2015 The first ever exhibition on this subject in the UK, this show explored the response of Botticelli to Braque: American artists to French . Masterpieces from the National It featured major international artists Galleries of Scotland such as James McNeill Whistler, John de Young, Fine Arts Museums, Singer Sargent and Mary Cassatt, along San Francisco with artists better known to American 7 March to 31 May 2015 audiences, such as Theodore Robinson, From November 2014 until February 2015, Childe Hassam, William Merritt Chase and The Frick Collection, one of the most John Twachtman. A selection of pictures by prestigious museums in North America, the French Impressionists Claude Monet, presented ten masterpieces from the Berthe Morisot and Edgar Degas provided a Scottish National Gallery. The exhibition context for the American works. featured paintings from the fifteenth to

the nineteenth centuries that invited Sponsored by illuminating comparisons to the Frick’s permanent collection. Highlights included MARCH 7–MAY 31, 2015

Botticelli’s The Virgin Adoring the Sleeping ISM IMPRESSIO Sir Henry Raeburn, Reverend Robert Walker, Skating on Duddingston Loch, ca. 1795. Oil on canvas, 30 x 25 in. (76.2 x 63.5 cm). National Galleries of Scotland. Purchased 1949 (NG 2112) Christ Child, which had never been exhib-

4319-BotticelliToBraqueExhPosterFINAL.indd 1 11/25/14 11:17 AM ited in the United States, and Sargent’s arresting portrait Lady Agnew of Lochnaw. In 2015, the ten works travelled with an additional forty-five works from NGS collections to the de Young, Fine Arts Museums of San Francisco, and in June 2015 to the Kimbell Art Museum in Fort Worth, Texas. SCOTTISH NATIONAL GALLERY AMERICAN American Impressionism: A New Vision A NEW VISION Detail from Rocks and Ferns in a Modern Two, Belford Road, Edinburgh Admission £8/ £6 Wood at Crossmount, Perthshire, 1847 19 July to 19 October 2014 19 July – 19 October 2014

National Galleries of Scotland is a charity registered in Scotland (No. SC003728) by John Ruskin Organised by the Musée des Frank Weston Benson, Eleanor, 1901, Museum of Art, Rhode Island School of Design, Providence. Photography by Erik Gould, courtesy of the Museum of Art, Rhode Island School of Design, Providence. Abbot Hall Art Gallery, Lakeland Arts Impressionnismes Giverny and the Trust, Kendal Terra Foundation for American Art in 5 SCOTTISH NATIONAL SCOTTISH NATIONAL John Ruskin: Artist and Observer 4 July—28 September 2014 GALLERY OF MODERN ART PORTRAIT GALLERY Queen Street, Edinburgh Buy tickets at nationalgalleries.org The Two Roberts: Robert John Ruskin: Artist and Observer Colquhoun and Robert MacBryde 4 July to 28 September 2014 GENERATION GENERATION 22 November 2014 to 24 May 2015 The exhibition was a collaboration with the National Gallery of Canada in Ottawa. This was the first major exhibition of 25 YEARS OF 25 YEARS OF the work of and John Ruskin (1819–1900) is renowned CONTEMPORARY ART CONTEMPORARY ART Robert MacBryde, two of Scotland’s as the greatest British art critic of the IN SCOTLAND IN SCOTLAND finest painters of the twentieth cen- nineteenth century and the champion of tury. It came in their centenary year: J.M.W. Turner, but his role as an artist 28 JUN – 02 NOV 28 JUN – 02 NOV MacBryde was born in Maybole in 1913, was relatively little known. He was 2014 2014 Colquhoun in in 1914. They also an outstanding draughtsman and met at the of Art in 1933 watercolour painter who took inspiration and became lovers. especially from the natural world and Moving to London in the early architectural subjects. This exhibition The Mound, Edinburgh The Mound, Edinburgh Free Admission Free Admission 1940s, they rocketed to fame, becoming illustrated, with the finest examples, two of the most celebrated artists of the the range and quality of his drawn and Bearum, ut doluptis endicate es mos et ut ducit acia pa inci totae conestrum eni blant. Dit ipic totat. Rum et, veniste poribusda quam qui doluptibus Bearum, ut doluptis endicate es mos et ut ducit acia pa inci totae conestrum eni blant. Dit ipic totat. Rum et, veniste poribusda quam qui doluptibus acerore rspero moloriandes aut molupti quiat eum volorestrum quatento omnimporepro exernam quaeria qui alit asped elestrum apienihicit fuga. acerore rspero moloriandes aut molupti quiat eum volorestrum quatento omnimporepro exernam quaeria qui alit asped elestrum apienihicit fuga. National Galleries of Scotland is charity registered in Scotland (No. SC003728) National Galleries of Scotland is charity registered in Scotland (No. SC003728) post-war period, alongside their friends painted work. Gothic palaces in Venice, Francis Bacon and . Their wild and spectacular Scottish and Alpine work was bought by the Museum of , and minutely defined and SCOTTISH NATIONAL Modern Art in New York and featured brilliantly coloured birds and plants were GALLERY OF MODERN ART in countless major exhibitions. among the highlights of the show. In the 1950s their work dropped out SCOTTISH NATIONAL GALLERY of fashion. Colquhoun died penniless in Ponte City: Mikhael Subotzky SCOTTISH NATIONAL 1962 aged just forty-seven; MacBryde and Patrick Waterhouse Organised by the National Galleries of Scotland and the National Gallery of Canada National Galleries of Scotland is a charity registered in Scotland (No. SC003728) PORTRAIT GALLERY died four years later. This exhibition 6 December 2014 to 26 April 2015 Title of work, Lorum Ipsum 2014 courtesy of The National Gallery of Canada of over 100 paintings and drawings GENERATION: 25 Years of The exhibition was co-produced by LE (many lent by private collectors and Contemporary Art in Scotland BAL, Paris and FoMu, Antwerp. not seen in public for decades) offered 28 June 2014 to 25 January 2015 When it opened in 1975, the fifty- the first chance to re-evaluate their four-storey development Ponte City GENERATION was a ground-breaking extraordinary work. It included their offered cosmopolitan living for white three-venue exhibition showcasing some most celebrated paintings of the 1940s, South Africans in Johannesburg. of the most significant works to be made in Colquhoun’s haunting monotypes, their Post-apartheid, both the demographic Scotland over the last twenty-five years. for the ballet and theatre, and a and the fate of the building shifted. Featuring the work of thirty-one remarkable amount of archive material In 2007, ­developers planned a major ­artists, the show included existing and documenting their fascinating lives. ­refurbishment which was never

Victoria Morton, Dirty Burning, 1997 (detail) © the artist. Image courtesy new works, alongside the restaging of the artist, The Modern Institute/Toby Webster Ltd, Glasgow and the National Galleries of Scotland. National Galleries of Scotland is a charity registered in Scotland (No. SC003728) completed, leaving tenants living in a of several significant exhibitions and half-filled derelict block. installations of the period. It celebrated During this time, the tower sparked the diversity, richness and power of the a creative collaboration between South work that has been made by artists in African photographer, Mikhael Subotzky, this country and which continues to be and British artist, Patrick Waterhouse. produced today. This exhibition was the culmination of Amongst the works on show, the five years of their work. The pair inter- exhibition featured: new sculptural instal- viewed tenants and recorded the site lations by Karla Black and ; through a series of photographs: every paintings by , Alison Watt door, the view from every window and and ; immersive room-sized MIKHAEL SUBOTZKY | PATRICK WATERHOUSE what residents were watching on TV. This installations by Ross Sinclair, Graham 6 DECEMBER 2014 –26 APRIL 2015 work provides a cross-section of an iconic QUEEN STREET EDINBURGH Fagen and Martin Boyce; a room of sculp- South African landmark which continues ADMISSION FREE tures and prints by ; and to symbolise the hopes and fears of the #NGSPonteCity film and video works by , country’s most populous city. This was Luke Fowler and Rosalind Nashashibi. the only showing of Ponte City in the UK. This exhibition was part of NGS, Glasgow Life and Creative Scotland’s national GENERATION project (see p.11 for more information). 22 November 2014–24 May 2015 | Modern Two Robert Colquhoun, The Students, 1947 Cleaning the Core, Ponte City, Johannesburg, 2008, Mikhael Subotzky & Patrick Waterhouse, Courtesy Goodman Gallery © Magnum Photos British Council Collection/Bridgeman Images ©the artist’s estate/photography Rodney Todd-White & Son National Galleries of Scotland is a charity registered in Scotland SC003728 6 National Galleries of Scotland is a charity registered in Scotland SC003728 7 grants were distributed to ARTIST ROOMS At the start of 2015, a book celebrating Opposite: Reflections: Art, 1988 Associate venues across the UK in 2014 to the achievements of the first five years of by Roy Lichtenstein on display support learning and marketing projects, ARTIST ROOMS On Tour was published. The at the Scottish National Gallery as well as installation and travel costs publication includes short essays exploring of Modern Art One in the ARTIST and capacity building, including the the three guiding principles of ARTIST ROOMS: Roy Lichtenstein improvement of environmental controls ROOMS and a conversation between groups exhibition, 14 March 2015 – that will enable organisations to continue of Young Ambassadors and Ex-Officio 10 January 2016 © Estate of Roy to borrow from the national collections Curator Anthony d’Offay. As well as Lichtenstein/DACS 2015 in the future. featuring maps of the touring In October 2014, plans were programme since 2009, it is unveiled for the 2015 tour, which richly illustrated with would further increase the propor- images of artworks and tion of new Associates involved in exhibition installations Bonhoga Gallery, Shetland the programme. This was to be an at Associate venues and Archives Don McCullin 29 November 2014 — 22 February 2015 exceptional year for photography with around the UK. exhibitions by Francesca Woodman in Powys, Diane Arbus in Kirkcaldy, and Robert Mapplethorpe in Clydebank, Aberystwyth and County Durham. Bonhoga Gallery,Caithness Shetland Horizons Museum, Thurso Shetland MuseumDouglas and GordonArchives 10 May — 11 October 2014 Don McCullin 29 November 2014 — 22 February 2015

Taigh Chearsabhagh Museum & Arts Centre, North Uist Caithness Horizons Museum, Thurso Vija Celmins 29 March — 28 June 2014 Douglas Gordon 10 May — 11 October 2014

Taigh Chearsabhagh Museum & Arts Centre, North Uist Vija Celmins 29 March — 28 June 2014 Scottish National Gallery of Modern Art, Edinburgh Louise Bourgeois Until 18 May 2014 , Kilmarnock Gerhard Richter 6 September — 6 December 2014 Scottish National Gallery of Modern Art, Woodhorn Museum, Northumberland Edinburgh Louise Bourgeois Until 18 May 2014Lawrence Weiner 25 October 2014 — 12 April 2015 ARTIST ROOMS Dick Institute, Kilmarnock Gerhard Richter 6 SeptemberGracefield — 6 December Art 2Centre,014 Dumfries Woodhorn Museum, Northumberland is a collection of ARTIST ROOMS Dan Flavin 16 August — 15 November 2014Lawrence Weiner 25 October 2014 —mima 12 April Middlesbrough2015 Institute of Modern Art Gracefield Art Centre, Dumfries Louise Bourgeois 18 July — 12 October 2014 Dan Flavin 16 August — 15 November 2014 mima Middlesbrough Institute of Modern Art international modern Louise Bourgeois 18 July — 12 October 2014 and contemporary art Since the inception of the touring extend the network of organisations Harris Museum & Art Gallery, Preston Harris Museum & Art Gallery,Bruce Preston Nauman 15 February — 24 May 2014 programme in 2009, ARTIST ROOMS has participating in the tour, and to expand Bruce Nauman 15 February — 24 May 2014 which was established been shown in sixty-nine museums and the geographical reach of the collection. BodelwyddanBodelwyddan Castle and Park, Castle Denbighshire and Park, DenbighshireThe Potteries Museum & Art Gallery,The Potteries Stoke-on-Trent Museum & Art Gallery, Stoke-on-Trent Francesca Woodman 5 April — 13 July 2014 Richard Long Until 2 March 2014 through one of the galleries around the UK, from the Isle of Within Scotland, the collection was seen Francesca Woodman 5 April — 13 July 2014 Richard Long Until 2 March 2014 Wight to the Outer Hebrides. There have in Shetland, Thurso, the Outer Hebrides, New Walk Museum & Art Gallery, Leicester largest and most Georg Baselitz 20 September 2014New — 15 January Walk 2 015Museum & Art Gallery, Leicester been 131 displays and exhibitions nation- Dumfries, Kilmarnock, Kirkcaldy and Oriel Davies, Powys Georg Baselitz 20 September 2014 — 15 January 2015 Francesca Woodman 15 November 2014 — 25 February 2015 mac birmingham Robert Therrien 21 June — 7 September 2014 imaginative gifts wide, including those at Tate and NGS, Clydebank. This year’s programme Oriel Davies, Powys Francesca Woodman 15Worcester November City Art2014 Gallery — 25 February 2015 mac birmingham which have been visited by more than included the highest proportion of new Joseph Beuys Until 1 February 2014 Robert Therrien 21 June — 7 September 2014 of art ever made to 35 million people. Seventeen Associate Associates to date, including two organi- Turner Contemporary, Margate Burton Art Gallery and Museum, Bideford Worcester City Art Gallery Sol LeWitt Until 8 June 2014 museums in the UK. venues opened ARTIST ROOMS exhibitions sations in Shetland, Bonhoga Gallery and Richard Long 4 October 2014 — 10 January 2015 Joseph Beuys Until 1 February 2014 around the country during this year, and the Shetland Museum and Archives, who Tate Britain Turner Contemporary, Margate Royal Albert Memorial Museum & Art Gallery, Exeter Martin Creed Until 13 April 2014 Gilbert & George 22 March — 22 June 2014 Sol LeWitt Until 8 June 2014 Gifted by Anthony d’Offay in 2008, 225 works were loaned to these insti- worked in partnership to present newly Burton Art Gallery and Museum, Bideford Tate Modern Richard Long 4 October 2014 — 10 January 2015 Alex Katz 28 May 2014 — 30 November 2014 with the assistance of the National tutions. In addition two ARTIST ROOMS acquired works by Don McCullin, exhib- Quay Arts, Isle of Wight Robert Mapplethorpe 11 May — 26 October 2014 Martin Creed 13 June — 20 September 2014 Heritage Memorial Fund, the Art displays opened at Tate Modern, and the ited for the first time as part ofARTIST Dan Flavin Until 27 April 2014 Tate Britain Royal Albert Memorial Museum & Art Gallery, Exeter Gerhard Richter Until 4 May 2014 Joseph Beuys Until 31 December 2015Martin Creed Until 13 April 2014 Fund and the Scottish and British new ARTIST ROOMS collection of works ROOMS. The tour also developed the aim of Gilbert & George 22 March — 22 June 2014 Lawrence Weiner Until 31 December 2015Tate Modern Governments, the collection con- by Roy Lichtenstein opened in March at working in areas of least engagement with Alex Katz 28 May 2014 — 30 November 2014 tinues to grow each year through the Scottish National Gallery of Modern the arts. Quay Arts, Isle of Wight Robert Mapplethorpe 11 May — 26 October 2014 Martin Creed 13 June — 20 September 2014 Dan Flavin Until 27 April 2014 gifts, loans and purchases acquired Art, thanks to the generosity of the Roy Learning remains fundamental to the Gerhard Richter Until 4 May 2014 with the assistance of the ARTIST Lichtenstein Foundation. programme and our partners have worked Joseph Beuys Until 31 December 2015 Lawrence Weiner Until 31 December 2015 ROOMS Endowment, supported by With the support of Arts Council in new and innovative ways to engage the Henry Moore Foundation and , the Art Fund and Creative their audiences, especially young people. Tate Members. Scotland, we were able to continue to Through the support of our funders, 8 9 Opposite: The Selkie, 2014 by Zoë The National Galleries of Scotland Walker and Neil Bromwich being perfomed at the , aims to give the best possible Orkney. Photo © Mark Pinder; access to its collection, particularly Courtesy of the Artists Below: Map showing venues across through partnership activity and Scotland where GENERATION exhibitions took place the development of our buildings and facilities. We are proud of our work with artists, young people and volunteers, which helps to achieve Highlights that aim.

GENERATION – National Programme have emerged in Scotland since 1989, Nationally, GENERATION exhibitions were exploring the generation of ideas, enjoyed by a staggering 1.3 million people, In 2014 and working in partnership with experiences and of world-class art on an demonstrating the power of contemporary Glasgow Life and Creative Scotland, NGS unparalleled scale. art to inspire and engage. presented one of our most ambitious and Works of art by over 100 artists were exciting projects to date – GENERATION: shown in more than sixty venues across GENERATION: 25 Years 25 Years of Contemporary Art in Scotland. the country. Accompanied by an extensive of Contemporary Art in Coinciding with Glasgow’s hosting of public engagement programme with Scotland – National Galleries the Commonwealth Games and forming a special focus on the next generation of Scotland’s exhibition part of Culture 2014, this nationwide (those aged between twelve and twenty-­ Scottish National Gallery; Scottish National programme of exhibitions celebrated five years old), a dedicated website and Portrait Gallery, 28 June to 2 November 2014 the phenomenal international success a two-volume publication, the project Scottish National Gallery of Modern Art One of contemporary visual arts in Scotland. shared the voices and creativity of 28 June 2014 to 25 January 2015 It showcased the work of some of the artists who chose to study in Scotland The exhibition was generously supported by best and most significant artists to and who continue to live and work here. the NGS Foundation. This ground-breaking exhibition across three NGS venues was a central element of the nationwide project. The exhibition celebrated the richness of art that has been made in Scotland over the last twenty-five years, featuring the work of thirty-one artists who all studied and developed their careers in Scotland during that time. With each room dedicated to the work of a single artist, viewers were able to encounter immersive, large-scale installations and iconic groups of works that had rarely been seen together, and often were showing for the first time in Scotland. The exhibition also reflected on the continuing dynamism of the visual arts in this country, with the inclusion of several specially commissioned installations and new paintings, drawings and photographic pieces. Working in collaboration with The Bothy Project and artist Laura Aldridge, Pig Rock Bothy was established in the grounds at Modern One as a site for events, perfor- mances and discussions. The exhibition featured works across all media, including 11 , drawing, , installation, Scottish National Gallery; and a film work, YOUNG PEOPLE Our first cohort of trainees have all successfully achieved the Collections print-making and film and video, and The Bedfords by Henry Coombes. Outset Skills for the Future aimed to examine the diverse ways artists Scotland generously donated Torsten Digitisation qualification and are now far In 2013 NGS was awarded £611,100 from have used materials and generated a Lauschmann’s video work (Growing Zeros) into the practical work experience section the Heritage Lottery Fund under the ­spectrum of ideas. Digital Clock, enabling this artist’s work of the traineeship. Three twenty-week immensely successful Skills for the Future Together, the works expressed the to be represented in the collection for the rotational placements spent in our programme. This has allowed the Galleries excitement, uncertainty, challenges and first time. new digitisation studios in the Scottish to create the Collections Digitisation wonder of the contemporary world in In addition to acquisitions for the National Gallery, Scottish National Traineeship, an eighteen-month training which we live, and the role that art can permanent collection, Pig Rock Bothy Portrait Gallery, and at the studio of our programme for young people aged between play within it. In organising the exhibition, remained in situ at Modern One after the partner institution, the National Library eighteen and twenty-four. Over three years, the Scottish National Gallery of Modern close of the exhibition, enabling the Gallery of Scotland, allow our trainees to gain a total of twelve trainees will undertake Art curatorial team worked closely with to continue to collaborate with Scottish- experience with a variety of equipment sixty weeks of practical work-based colleagues in Education and across the based artists, students, community groups and collections. By the end of March 2015, learning, contextualised by a formal qual- Galleries to find new ways of engaging and agencies with a dynamic and changing after only two months’ work, the Galleries ification, written and developed byNGS . with audiences. This led to an embedded programme that demonstrates the lively, had digitised a total of 4,163 works of art The Collections Digitisation Customised interpretation and engagement plan, active role of contemporary visual arts. including Goya sketches, drawings by Award, accredited by the Scottish strengthened by a range of educational Allan Ramsay and parts of the interna- Qualifications Authority, draws upon the activities and promotional work. A total tionally significant ­collection of David Above: Pig Rock Bothy at Modern One expertise of staff from across the Galleries of 406,835 visitors ­visited GENERATION Octavius Hill and Robert Adamson’s early Photo: Johnny Barrington and teaches trainees skills in art handling, across our three sites, making it the most photography. When published online the Below: Untitled (2010), 2010 by Lucy copyright, conservation, photography ­successful exhibition at NGS to date. high-quality images will provide global and more. McKenzie. Private collection © the Artist access to the totality of our collections, Legacy of GENERATION: Acquisitions promoting research and enticing new The connection and dialogue with visitors through our doors. artists was a vital aspect of the overall Trainees acquire further skills at GENERATION project, and reflects the the National Library of Scotland where Galleries’ ongoing aim to engage with and they learn to digitise a range of ­collection support the work of artists in this country. items, from rare books to Gaelic We were therefore delighted that the pro- ­pamphlets, as well as maps and sheet ject led to several new acquisitions into the music. Expanding the traineeship beyond Scottish National Gallery of Modern Art the collections of the Galleries broadens collection. These included: major instal- lations by Claire Barclay and Alex Dordoy, both of whom created works ­specifically in response to rooms at Modern One; two Right: Skills for the Future trainees significant woodcut portfolios by David digitising works from the collection Shrigley that had been shown at the Photo: Graeme Yule 12 13 each trainee’s skillset and ultimately of excellent practice in volunteer work placement programme by the welcome news that a stage one pass increases their employability in a variety ­management and also publicly demon- ­partnering with charitable organisations had been granted. Plans are now well of roles across the cultural heritage sector strates our commitment to volunteering. including Access to Industry, Barnardo’s under way for a stage two submission. upon graduation. The award is valid for three years which Works, Duke of Edinburgh and Project To that end, particular emphasis is being Our first group of trainees will means we will have the opportunity to Scotland. Working with our partners placed on the Activity Plan and our graduate at the end of April 2016 and evaluate our programme in 2017 for new helps us increase access to our volunteer desire to attract new audiences. Display recruitment of the second cohort will developments in volunteer engagement opportunities and reach people from and interpretation, greatly enhanced by take place in spring 2016 with a start date and management. a variety of backgrounds who may not ­digital media, are also receiving particular of September that year. The number of volunteers at NGS in ­otherwise engage with the Galleries. attention to ensure our new and innova- 2014–2015 grew by 25% from the previous Through our internship placements tive presentation will reach the widest Volunteering, Work Placement year and is set to continue on that track we are able to provide students and possible public. and Internships with the Scottish National Gallery project recent graduates with an experiential In October 2014 the National Galleries introducing many new ways for volun- learning opportunity in a professional ARTIST ROOMS Research of Scotland became the first national arts teers to get involved. A total of ­twenty-six environment. During their internship Partnership and Learning organisation to achieve the Investing young people started volunteering this they take ownership of a specific project Massive Open Online Courses (MOOCs) in Volunteers award, the UK quality year doing everything from exhibition and with the support and guidance of are a significant recent development in standard for organisations involving research and planning to data entry and their staff supervisor, see it through online education, and the University of volunteers in their work. The standard digital asset management. to its conclusion. This year we had Edinburgh is one of the few UK univer- encourages us to focus on the importance We continue to deliver a successful interns in Registrars, Development, sities offering free courses. AMOOC on Curatorial, Publishing, Conservation, Andy Warhol, the first ever Art History Education and the Picture Library. MOOC and the first to be focused on a Projects included: exhibition research single artist, as well as the first to be for The Scottish Colourist Series: JD conceived collaboratively between a Fergusson; benchmarking for the Friends university and a museum, was developed of NGS; transcribing handwritten letters through the ARTIST ROOMS Research from FCB Cadell; and evaluating copy­ Partnership. The course ran from 21 right information in our digital asset April until 19 May 2014, with 27,000 management system. learners enrolled from 155 countries. 15,000 ­students participated, with 12,000 Celebrating Scotland’s Art: The of those streaming content. The course Scottish National Gallery Project attracted a range of learners, from those Significant progress has been made with in their teens to those over the age of the ambitious project to redevelop the eighty, but with almost 60% in their Scottish National Gallery to provide twenties or thirties. Given its success, the new galleries to exhibit the collection of course was run for a second time between ­historic Scottish art. The design team, February and March 2015 for which led by Gareth Hoskins Architects, has 13,000 people signed up. developed exciting plans to create an A strategic partnership with Engage, impressive space for the display of the the national association for gallery Scottish collection and to open out vistas education, was forged in early 2014 to to . Visitor circu- consolidate the education offer of the lation throughout the Scottish National ARTIST ROOMS programme. This ongoing Gallery will also be greatly improved. partnership enabled the delivery of An application for funding for the skill-sharing events and wider support scheme was made to the Heritage Lottery to Associate museums and galleries Fund and in March 2015 we received through 2014, as well as fostering the creation of relationships and networks with the wider arts education sector, Top left: Development Volunteers Kate and we look forward to continuing this Maxwell and Isla Auld celebrating the fruitful partnership. Investing in Volunteers award with the Director-General, Sir John Leighton, Architects’ impressions of the Scottish Chief Operating Officer, Nicola Catterall, National Gallery Project; top two images Head of Development, Sam Lagneau recent impressions for the exterior and Volunteer Programme Coordinator, © Hoskins Architects; bottom two images Lauren Roden impressions of the interior of the Scottish Bottom left: Curatorial Volunteer, National Gallery for the stage one Savannah Downs at Modern Two proposal © Hoskins Architects/Metaphor The National Galleries of Scotland undertakes research of the highest academic quality on its collection, documentary archives and other specialist resources which we hold on the public’s behalf, as well as on works of art relating to our collection which are lent to our temporary exhibitions. Researching and Caring for our Collections

innovative approach that will represent a major transformation in the way we manage, study and think about some of our country’s greatest treasures. It will ensure that the collection is made more widely available, streamlining the distribution process to museums and galleries throughout Scotland and beyond, while at the same time improving our understanding of the collection and, through the extended digitisation ­facilities, the way we view them online. The development of our facility will also make a significant contribution to the national and local economy and will con- tribute to the regeneration of the Granton area of Edinburgh.

Beauty by Design: Fashioning the Renaissance Scottish National Portrait Gallery 15 Nov 2014 to 3 May 2015

Beauty by Design was the result of a collaborative research initiative with National Collections Facility , University NGS looks after the national collection of Edinburgh. It brought together art of fine art – works of outstanding quality historians, curators, contemporary artists from Scotland and around the globe. More and fashion designers from various Opposite: Installation of On space is urgently needed for conservation parts of the UK to consider whether Form and Fiction, 1990 by Steven and research work and in partnership Renaissance paintings can help to Campbell for the GENERATION with Historic Environment Scotland, question present-day assumptions about exhibition at the Scottish National NGS has the opportunity to create a beauty. Over 146,000 people visited the Gallery, 2014 ­purpose-built collections facility in Scottish National Portrait Gallery during Above: Headpiece: Memento Flori Granton, Edinburgh. the exhibition’s run and 1,166 people (Memento of Flowers), 2014 by The facility will provide modern benefited from learning events targeting Sally-Ann Provan, collection of the studios for conservation and research and a wide range of audiences. The exhibition artist © Sally-Ann Provan; photo: the space needed to develop and expand was supported by New Media Scotland, Alistair Clark Photography the national collection through a highly international couture lace maker, 17 Sophie Hallette, and campaigners for trees, delicate unfired clay heads, a National Museums of Scotland (NMS) and positive body image and diversity within student flat, a hen house and taxidermy. National Records Scotland (NRS), testing the fashion industry, All Walks Beyond The collections team worked very closely several documents from the NRS collection the Catwalk. with the artists and their representatives and working with them to begin to iden- to help them achieve their vision for their tify a suitable ink for official signatures GENERATION Installation works. The team drew on their collective on documents. The GENERATION exhibition, a celebra- experience, skills and knowledge to install Work with the NMS has included tion of contemporary art in Scotland the exhibition across the three NGS sites. testing a large group of early photographs, spanning the last twenty-five years, saw which were due to go on display in a major each room of Modern One and every Microfader exhibition opening in summer 2015, and gallery of the upper Royal Scottish Our microfader is in regular use testing testing four purple garments as part of a Academy devoted to a different artist materials for sensitivity to light and research project. In both cases, informa- who had lived and worked in Scotland the programme has continued going tion gathered through testing has enabled over this period. This led to a diverse from strength to strength. Information the NMS to better protect and preserve range of works being installed including, being gathered on our collection is their collection. for example, rooms housing a suspended now informing display and preserva- polythene sculpture, outsized works on tion choices. We have continued to paper, an urban park lit by fluorescent work with two external clients, the

Left: Installation view of Beauty by Design: Fashioning the Renaissance © www.chrisdonia.co.uk Below left: Silhouettes en Dentelle – Series 1 (Lace Silhouettes – Series 1), 2013–2014 by Mal Burkinshaw, collection of the artist © Mal Burkinshaw; photo © www.chrisdonia.co.uk

Opposite, top left: Installation of Untitled, 2013 by Jonathan Owen for the GENERATION exhibition at Modern One, 2014 © the Artist Opposite, top right: Using the microfader, Kirsten Dunne works with Miriam McLeod from NMS on testing a nineteenth-century purple bodice for light sensitivity Opposite: Installing Lucy McKenzie’s Untitled (2010), 2010 for the GENERATION exhibition at Modern One, 2014 Opposite and below: Learning and access are key priorities and central Young people participating in the UNTITLED – GENERATION to our purpose as a leading cultural institution. outreach project We work actively with schools, communities, adults and families to support their engagement with our collection and exhibitions. From a rich programme of tours and workshops for schools to one-off, bespoke events, we make a significant contribution to the education, well-being and inspiration of the public. Learning Opportunities for All

GENERATION The Education team developed a varied programme of learning opportunities to complement the GENERATION: 25 Years of Contemporary Art in Scotland exhibition. In the summer of 2014, the team brought together sighted and visually impaired students to exchange knowledge and learning about themselves and con- temporary art. Eleven secondary school students developed and delivered a guided tour of the exhibition for ­twenty-­two people, including eight visually impaired primary school pupils, alongside their family members and teachers. Other GENERATION activities included a series of lunchtime lectures, weekend tours, pop-up talks by staff and Thursday evening late night events with artists’ talks, music, DJs and drawing sessions. A month-long summer studio, the GENERATOR!, attracted 2,200 families and children including community groups who had never previously visited the Galleries. Tours were also provided for schools and CPD sessions for teachers. in partnership with local authorities artists, teachers and youth workers. in Irvine, North , Alloa and The young people, as co-producers UNTITLED – GENERATION , Edinburgh. of UNTITLED, are following their own Outreach Project The project encourages the young par- imaginative flights to set the course of The creative talents of young people ticipants to develop the visual art skills the projects. To date, they have created across Scotland have been unleashed that will allow them to express their ideas improvised on the lawn in this major initiative, inspired by the and ambitions. In each regional project outside Modern One, cast plaster limbs, works of art on display in GENERATION: the young people have been developing fabricated two-legged stools, sculpted 25 Years of Contemporary Art in Scotland. relationships and personal confidence plasticine avatars, made action paintings, As part of the exhibition’s public engage- by making art in collaboration with art animations and performance videos, ment programme, the Outreach Team is students from three Scottish art colleges, and taken over empty shops and school ensuring its legacy is passed on to young who are gaining experience as artists classrooms to use as studios. In December people. In June 2014 we began three working with communities. These col- 2014, Irvine was invaded by zombies regional projects with young people lective groups also include professional when the group from the Rosemount 21 Above and below: Project produced their first exhibition, an Partnership with the University of UNTITLED – GENERATION outreach project installation entitled We the Zombie Fire, Edinburgh, Rowan Alba and Serenity Café We Make Much Paint in a vacant retail We collaborated with the University experiences drawn from sessions Above and below right: unit in the town centre. of Edinburgh, Rowan Alba and exploring image, identity and the GENERATION: Ways of All the groups are now collaborating Serenity Café to work with a stories found in the paintings and Seeing project to make a film which, together with the small group of people affected by photography at the Scottish National Below left: Dumfries artworks created on the project, will be ­alcohol-related brain disease. Digital Portrait Gallery. Their work was Academy Tesco Bank proudly exhibited at the Scottish National photography was the medium celebrated in an exhibition at the Art Competition Portrait Gallery in January 2016. used to document their stories and Scottish Parliament in June 2015. prizewinners’ workshop

22 Dear Scotland and Untaught to Shine Right: Dear Scotland The Scottish National Portrait Gallery performances Clementina Stirling took centre stage in spring 2014 when Graham by Lesley Hart (left) and we worked in partnership with the James Boswell by Colin McCredie National Theatre of Scotland to present (right), photos: Peter Dibdin the performances Dear Scotland. Twenty Below: Tesco Bank Art of the country’s leading writers penned Competition prizewinners’ short, sharp monologues inspired by the workshop Gallery’s celebrated portraits. The works Below right: Come to the Gallery were performed as a promenade piece of with Katie, workshop at the theatre staged within the gallery space. Scottish National Gallery We were also proud to work with Stellar Quines Theatre Company to stage their production Untaught to Shine, which offered a platform for young women to develop their careers within theatre. Five emerging names from the Scottish theatre world created a collec- tion of short performances which shone a light on the women who inspired them and the stories behind their portraits.

Tesco Bank Art Competition for Schools 2015 Over the last twelve years, NGS has been impressed by the talent and creativity of school pupils taking part in the art com- petition. In 2015, over 7,000 children and young people submitted their artwork to the competition. The entries arrived from all corners of Scotland with thirty-one of the thirty-two council areas taking part. In the winter of 2014, we took to the road and delivered workshops for schools and CPD sessions for teachers in six local authorities across Scotland to support schools to take part. The competition is judged ‘blind’ (the schools and ages – other than the category range – are not known by the judges) and in 2015 the winners came from nineteen local authorities. In 2014, a new award selected by Tesco Bank employees from all the winning entries (again judged ‘blind’), was awarded to a pupil from Stanecastle School, a school for children with a wide range of additional support needs. The exhibition of the ­fifty-three winning artworks was displayed from June 2014 to June 2015 starting at the Scottish National Gallery and then touring to the Beacon Arts Centre Greenock, Paisley Museum and Art Centre and the Edinburgh Royal Hospital for Sick Children. 25 Opposite: Performances from Neu! Titian and the Golden Age one-off show devised by writers Michael Reekie! Does Titian; clockwise from of Venetian Painting Pederson and Kevin Williamson featured top left: Kevin Williamson, Hollie Through our education programmes poetry by Hollie McNish, ­animation McNish, Tam Dean Burn and Stanley we sought to introduce Titian to new screenings and performances by Odd, photos © Lisa Fleming audiences, commencing with a six-week Scottish hip-hop act, Stanley Odd, and a Above: Sketching at the Scottish project with Dunbar Grammar School spoken word finale with antlers by Tam National Gallery which involved over twenty S2 pupils who Dean Burn. used the painting Diana and Callisto as a starting point to explore the complex social and moral issues raised by this art- work for learning across the curriculum. A key theme explored was attitudes to teenage pregnancy, as well as betrayal, exclusion, power and group allegiance. Experts on Titian delivered six lectures and staff from across the Galleries took part in Titian in Ten, weekly ten-minute talks in front of the paintings. Music inspired by Titian filled the Galleries and we also organised two special bespoke events including Neu! Reekie! Does Titian. This left-field,

27 The National Galleries of Scotland strives to enhance the nation’s collection of fine art through its acquisitions programme. It is funded by an annual grant from the Scottish Government which is supplemented from other sources including private benefactors, trust funds and the Art Fund.

Building Great Collections

SCOTTISH NATIONAL PORTRAIT GALLERY Eric Robertson (1887–1941) and Mary Mary Newbery Sturrock was the Newbery Sturrock (1890–1985), 1912 daughter of Fra and of the . She studied by Cecile Walton (1891–1956) painting and design in Glasgow and Oil on canvas, 94 x 186.1 cm Paris and, like her mother, specialised Purchased 2014 in embroidery and paintings of flowers © The Family of the Artist in watercolour. A close friend of Cecile Cecile Walton was a painter, illustrator Walton, she met her husband, the and sculptor who trained in Edinburgh, painter Alick Riddell Sturrock, through Opposite: Florence and Paris. She was married to Eric Robertson, her ‘companion’ in Acrobat, 1951 by William Turnbull the painter Eric Robertson whom she the painting. The painting remained in © Estate of William Turnbull. depicts here in a manner which empha- Cecile Walton’s family, from whom it All rights reserved, DACS 2015 sises his androgynous beauty. was acquired. 29 Alan Cumming, 2014 SCOTTISH NATIONAL GALLERY by Christian Hook (b.1972) Andro’ wi’ his cutty gun, 1817 Oil on board, 122 x 160 cm by (c.1770–1843) Commissioned by Sky Arts and presented Oil on wood panel, 64 x 84 cm to the Scottish National Portrait Gallery, Purchased with the aid of the Cowan Smith 2014 © Christian Hook Bequest Fund, 2014 Alan Cumming is an outstanding Between 1812 and 1820 Carse sought Scottish actor who enjoys an interna- to reinvent himself in London, mindful tional reputation. He studied at the Royal of Wilkie’s phenomenal success there Scottish Academy of Music and Drama and courting a similar market. Shown in Glasgow and has appeared to critical at the Royal Academy in 1817, Andro’ wi’ acclaim in numerous films, television his cutty gun illustrates a Scots ballad, programmes and plays in Scotland, popular in oral tradition as a drinking London and New York. He has also forged song and for weddings and also current a reputation as a highly successful writer, in published form. The ballad’s erotic most recently with Not My Father’s Son: subtext is ironically implied through the A Family Memoir (2014). titillating detail of the young woman’s This portrait is the winning com- discarded shoes and stockings and her mission for the Sky Arts Portrait Artist garter inscribed with the motto of the of The Year 2014 competition. Christian Order of the Garter, ‘Honi soit qui mal y Hook, who is from Gibraltar, studied at pense’ (‘Shame on him who thinks evil of Middlesex University and has lectured this’). The composition as a whole evokes on the art of illustration at the Royal seventeenth-century Netherlandish and College of Art, London. The competition Flemish tavern scenes in which drunken- lasted ten months and involved heats ness and dalliance were stock themes. being held around the country in order to find outstanding new portrait painters. Louise Page (1970–2013), 2013 Kinloss Abbey, Elgin, about 1793 by Rankin (b.1966) by Thomas Girtin (1775–1802) Silver gelatine print mounted onto Watercolour on paper, 21.5 x 17 cm aluminium, 92 x 123 cm Purchased with the aid of the Cowan Gifted by Alan Ainsley, 2014 © Rankin Smith Bequest Fund, 2014 Emma Louise (Lou) Page was an Kinloss Abbey, Elgin is one of around sixty Edinburgh resident and charity worker drawings of picturesque and architec- who was diagnosed with bone cancer tural subjects executed by Thomas Girtin and died in 2013. This image boldly for his first patron, the wealthy linen ­presents her as both defiant and vulner- draper James Moore (1762–1799). Moore able facing death. was a passionate antiquarian and ama- A skilled portraitist and fashion teur artist who travelled all over Britain photographer, Rankin is a leading gathering material for his publications, figure on the British cultural scene. which included Twenty-five Views in the Born John Rankin Waddell in Paisley Southern Part of Scotland (1794). It was in 1966, Rankin grew up in St Albans Moore’s practice to make sketches of the and initially studied accounting at sites he visited, before commissioning Brighton Polytechnic before dropping professional artists to work up versions out to pursue photography at Barnsfield of his drawings for publication. This fine College, Luton and then the London watercolour of the Abbot’s House, part College of Printing. In 1992 he, along of the Abbey at Kinloss, was probably with Jefferson Hack, founded the criti- painted from Moore’s sketch in late 1792 cally acclaimed independent magazine or the following year; it wonderfully Dazed & Confused. Although known for demonstrates Girtin’s early mastery of his celebrity images, this photograph watercolour technique and his command was part of an exhibition project, Alive: of weather, light and textural effects In the Face of Death, which documented and is a fine complement to existing many less well-known figures with works by Moore and Girtin in the terminal illnesses. Gallery collection.

30 31 An East Coast Village, 1885 SCOTTISH NATIONAL by James Whitelaw Hamilton (1860–1932) GALLERY OF MODERN ART Watercolour on paper, 37 x 34.3 cm Various paintings, Purchased with the aid of the sculptures and drawings MacDougall Fund, 2014 by William Turnbull (1922–2012) James Whitelaw Hamilton was born in Purchased from the Henry and Sula Glasgow, the son of a wealthy merchant. Walton Fund with help from the Art Fund, He spent his early career in business and 2014 (the drawings presented by the initially pursued his interest in painting family of the artist, through the Art Fund) as an amateur, becoming friendly with the Born in , Turnbull was, along- artists of the emerging Glasgow School. side and Eduardo Paolozzi, He worked alongside James Guthrie, one of a handful of Scottish artists who Joseph Crawhall and E.A. Walton at made international reputations in the Cockburnspath in 1883, returning the post-war years. He lived in Paris from following year, and this watercolour 1948 to 1950, represented Britain at the clearly draws upon his experiences celebrated Venice Biennale exhibition there. Cabbage fields, or ‘kailyards’ were of 1952, and in the 1960s established a ubiquitous feature of the Berwickshire himself as one of the leading sculptors and the ‘kailyard’ was a subject of his generation. His paintings are less much favoured by the Glasgow Boys, well known but equally remarkable. The notably appearing in ’s Gallery owns several of his sculptures, A Cabbage Garden (1877; NGS) and but this acquisition of four major Guthrie’s A Hind’s Daughter (1883; NGS). works from the late 1940s and 1950s In both style and subject matter, this fine transforms our collection. They were watercolour is a quintessential realist purchased directly from the artist’s Glasgow Boys work and is the first work estate and at the same time the artist’s by Whitelaw Hamilton to enter the family generously donated twenty-four Scottish National Gallery collection. drawings, dating from the late 1940s and Acrobat, 1951 15–1958, 1958 early 1950s, through the Art Fund. by William Turnbull (1922–2012) by William Turnbull (1922–2012) Untitled (Aquarium), 1950 Bronze on stone base (cast 3/4), Oil on canvas, 152.4 x 142.4 cm by William Turnbull (1922–2012) 111.1 x 81.2 x 55.9 cm Purchased from the Henry and Oil on canvas, 71 x 91 cm Purchased from the Henry and Sula Walton Sula Walton Fund with help from Purchased from the Henry and Fund with help from the Art Fund, 2014 the Art Fund, 2014 Sula Walton Fund with help from Illustrated p.28 the Art Fund, 2014

Aquarium, 1949 by William Turnbull (1922–2012) Bronze (unique), 28 x 38 x 50.8 cm Purchased from the Henry and Sula Walton Fund with help from the Art Fund, 2014

Opposite: Aquarium, 1949 by William Turnbull © Estate of William Turnbull. All rights reserved, DACS 2015 Top: 15–1958, 1958 by William Turnbull © Estate of William Turnbull. All rights reserved, DACS 2015 Right: Untitled (Aquarium), 1950 by William Turnbull © Estate of William Turnbull. All rights reserved, DACS 2015 Bouteille et verre sur une table Trappings, 2014 (Bottle and Glass on a Table), 1912 by Claire Barclay (b.1968) by Pablo Picasso (1881–1973) Wood, wool, leather, ceramics, printed Newspaper collage, charcoal, India ink fabric, feathers, machined brass and and pencil on paper, 61.6 x 47 cm honey, dimensions variable Purchased from the Henry and Sula Commissioned by the Scottish National Walton Fund, 2015 © Succession Gallery of Modern Art for GENERATION Picasso/DACS, London 2015 Purchased with the Iain Paul Fund, 2015 © the Artist This large and exceptionally rare work is one of the first collages in modern Trappings is a room-sized . In September 1912 Georges Braque comprising three wooden structures by the Scottish National Gallery of hands animate wooden blocks, moving made a few drawings involving collaged which act as a frame for sculptural Modern Art in 2014 for GENERATION: 25 furiously to keep up with the progression pieces of printed paper. His friend objects and materials. Ceramics, Years of Contemporary Art in Scotland, of time. Lauschmann’s physical action Picasso responded by making his own wool, printed fabric, machined brass and Barclay conceived it in response to the replaces what is normally a technological collages, mostly involving newspaper. elements, honey and leather are placed of Modern One. ­process, and reveals the labour involved These papiers collés (pasted papers) in, on and around the structures in in making the work. The pace at which his constitute a turning point in the his- different ways. The arrangement of (Growing Zeros) Digital Clock, 2010 tory of modern art, and have been the textures, shapes and colour produces hands are required to move might be an by Torsten Lauschmann (b.1970) subject of much study. an abstracted but highly evocative envi- allusion to our need to keep up with the Digital projection, 24-hour loop About thirty of these papiers collés ronment that seems poised between latest cutting-edge digital developments. Edition of five, dimensions variable exist: almost all of them are now in creation and dismantling. It is typical Combining ideas about technology and Gifted by Outset Scotland, 2015 © the Artist major museum collections, such as the of the way Barclay uses materials manual activity, duration and making, , New York, to explore how physical matter can (Growing Zeros) Digital Clock is a twenty-­ the work explores the differences at play the Metropolitan Museum of Art, New provoke psychological and emotional four-hour film that simultaneously between experiencing an artwork and the York, and the Musée Picasso, Paris. reactions. Trappings was commissioned presents a functioning clock. The artist’s apparently simple act of reading the time. Only a couple remain in private hands. In place of the Renaissance ideal of creating an illusion of space and depth, these newspaper collages use real materials and move into real space. Dada and Pop Art develop directly from this series of works. From the segments of newspaper used, it is clear that most of these papiers collés were made in December 1912. This work uses part of the newspaper Le Journal of 3 December,

and incorporates advertisements for National Galleries of Scotland in 2012 Quaker Oats and cherry liquor. It is and also left substantial funds for the the only one of the newspaper collages acquisition of new works. This collage to feature stencilled lettering, ‘OLD / joins a drawing by Picasso, Head, 1912, JA / R’, standing for Old Jamaica Rum. acquired from the same fund in 2014. This playful and innovative use of signs and symbols – newspaper standing for glass, letters standing for objects, cheap mass-produced material being turned into art – gives this small series of collages a position of paramount importance in modern art. Bottle and Glass on a Table was pur- chased thanks to the generosity of Henry and Sula Walton. Henry Walton was Professor of Psychiatry at the University Left: Head, 1912 by Pablo Picasso of Edinburgh; Sula was a leading child Scottish National Gallery of Modern psychiatrist. They bequeathed their Art, Edinburgh © Succession Picasso/ extraordinary art collection to the DACS, London 2015 34 ARTIST ROOMS Gifts and Loans Mapplethorpe Foundation. There are Shell-shocked US Marine, Although Flavin often combined the col- The ARTIST ROOMS collection continues now thirty-nine artists represented in The Battle of Hue, 1968, printed 2013 ours of ready-made fluorescents to produce to grow, thanks to the endeavours of ARTIST ROOMS, following the acqui- by Don McCullin (b.1935) different shades of light, he pays tribute to Anthony and Anne d’Offay, Marie- sition of thirty-nine photographs by Photograph, silver gelatine print on paper, Judd in this work by ensuring the colour of Louise Laband and the Artist Rooms Don McCullin this year, including a gift 61 x 50.8 cm each of the five columns remains separate. Foundation, and through generous from the artist, and with the long-term ARTIST ROOMS Self-Portrait, 1988 gifts and long-loans from artists and loan to ARTIST ROOMS of a ­collection National Galleries of Scotland and Tate by Robert Mapplethorpe (1946–1989) their representatives, including Johan of works by Roy Lichtenstein, Presented by the artist, 2014 Photograph, silver gelatine print on paper, Grimonprez, the Easton Foundation, thanks to the generosity of the Roy © Don McCullin the Estate of Dan Flavin and the Robert Lichtenstein Foundation. 58.6 x 48.9 cm · Number 3 in an edition of 10 In his career as a photojournalist, most ARTIST ROOMS notably for the Sunday Times Magazine, National Galleries of Scotland and Tate McCullin unflinchingly documented Presented by the Robert Mapplethorpe many of the major conflicts of the second Foundation, 2014 half of the twentieth century. This photo- © Robert Mapplethorpe Foundation graph was taken in Vietnam during one of Self-Portrait, 1988 is a silver gelatine print the fiercest battles of the Tet offensive, a from the artist’s lifetime. Mapplethorpe coordinated series of attacks launched by was diagnosed with AIDS at the height of the Viet Cong in early 1968. The marine’s his career, and this photograph, taken at fixed gaze, barely registering the presence a time when his health was deteriorating, of the camera, testifies to the traumatic shows him seated, legs folded, in a silk experience of combat. Describing the paisley Sulka robe and velvet slippers picture as a kind of silent protest about with gold crowns. In contrast to the the futility of war, McCullin has said that exaggerated role-playing of his earlier such an image was made possible by his self-portraits, Mapplethorpe appears close proximity to the troops during the sombre and pensive as he stares directly battle – something that would not be at the camera. The photograph was first permitted today, when journalists and published in 1988 as part of a portfolio of photographers are officially ‘embedded’ new portraits in Vanity Fair, accompanied and their movements closely controlled. by an interview with the artist entitled Robert Mapplethorpe’s Proud Finale. This untitled (to Don Judd, colorist) poignant image displays Mapplethorpe’s 1–5, 1987 characteristically sensitive and controlled by Dan Flavin (1933–1996) approach to the balance between content, Fluorescent tubes and metal, each form, composition and light. 122 x 122 cm ARTIST ROOMS National Galleries of Scotland and Tate Lent by the Artist Rooms Foundation, 2013 © 2015 Stephen Flavin/Artists Rights Society (ARS), New York

This work comprises five T-shaped sculp- tures, each composed of four vertical and two horizontal fluorescent tube lights. Installed along a single wall, the works exemplify the artist’s interest in seriality. After 1963, Flavin chose to dedicate his sculptures to artists, philosophers, collectors and dealers he admired. Flavin met the artist Donald Judd in 1962 and they remained close throughout their lives (Judd even named his son Flavin in 1968). Dan Flavin’s dedication acknowledges their shared interest in the use of ready- made industrial colours. Judd had only recently introduced colour into his work in the 1980s, which he used in distinct blocks. 36 37 Opposite and below: NGS Friends The staff and Trustees would like to thank all Christmas Party at the Scottish National Portrait Gallery, 2014 those who have given their support, donations © AMJ Photography and works of art, or who have left legacies or in memoriam gifts to the National Galleries of Scotland in 2014–2015. In addition we would like to thank the Friends, Patrons and American Patrons of the National Galleries of Scotland for their continued interest in, and support for, our work. Supporters

Corporate Support NGS Foundation The Barcapel Foundation Dickson Minto WS The Art Fund Ewan and Christine Brown The Edinburgh Residence Creative Scotland Richard and Catherine Burns Farrow & Ball Players of People’s Postcode Lottery Caroline Campbell Rathbones Friends of the National Galleries Edinburgh Decorative and Fine Tesco Bank of Scotland Arts Society Patrons of the National Galleries Donors of Scotland John and Fiona Farmer The Scottish Government American Patrons of the National Library Fashion, School of Design, Edinburgh Heritage Lottery Fund Scotland and Galleries of Scotland College of Art, National Heritage Memorial Fund Arts University Bournemouth Sophie Hallette 39 Visitor Numbers Scottish National Gallery 1344650 Scottish National Gallery of Modern Art National Galleries of Scotland Facts and333377 Figures Board of Trustees Scottish National Portrait Gallery 316946 Ben Thomson Chairman Tricia Bey Visitor Numbers Alistair Dodds Edward Green Benny Higgins Professor Ian Howard (until 30 September 2014) Scottish National GalleryScottish National GalleryLesley Knox Scottish National GalleryTari of Modern Lang Art Scottish National GalleryScottish of Modern National Art Portrait Gallery Ray Macfarlane (until 30 September 2014) Scottish National Portrait Gallery Alasdair Morton (until 31 March 2015) Catherine Muirden Professor Nicholas Pearce (from 1 October 2014) Willie Watt (from 1 October 2014) Nicky Wilson Senior Management Team Scottish National Gallery 1,344,650 Sir John Leighton Director-General Scottish National Gallery Michael Clarke of Modern Art 333,377 Director, Scottish National Gallery

Scottish National Portrait Gallery Nicola Catterall 316,946 Chief Operating Officer Dr Simon Groom 1,994,973 Total visitors to Edinburgh Galleries Director, Scottish National Gallery of Modern Art Christopher Baker Director, Scottish National Portrait Gallery

Virtual Visitors Jacqueline Ridge Keeper of Conservation NGS website visits 1,367,440 Alan Gibson Director of Public Engagement Facebook likes 14,388 Elaine Anderson Edinburgh florist Monica Head of Planning and Performance History of Art, Edinburgh College of In Memoriam Twitter followers Wylie re-creating Jan van Art, University of Edinburgh Drew Reith, 9.8.47–31.5.04, Remembered 22,869 Finance Kimberly C. Louis Stewart Foundation Huysum’s flower masterpiece using fresh flowers in an Full Annual Accounts for 2014–2015 The Robert Mapplethorpe Legacies Educational Visits event for the Friends of the are available on the NGS website Foundation, Inc. Francis Brewis National Galleries of Scotland Total number of participants from schools, www.nationalgalleries.org. Mondriaan Fund Doctor Allan Boyd Jamieson 29,657 higher and further education Published by the Trustees of the Allan and Carol Murray In Kind Supporters National Galleries of Scotland 2015 Total number of adult participants at talks, Walter and Norma Nimmo All Walks Beyond the Catwalk 27,428 lectures and practical workshops ISBN 978–1–906270–94–0 Southampton Solent University Arts University Bournemouth © Trustees of the National Galleries of Scotland 2015 Total number of community and Unless stated otherwise, all works © the Artists Mrs Norah Helen Spurway Edinburgh College of Art, University 3,965 outreach participants Designed by Dalrymple Charitable Trust of Edinburgh Printed by Gomer Press Ltd Terra Foundation for American Art Middlesex University Total number of families with children Photographic Credits: Unless stated otherwise, all images The Family of William Turnbull New Media Scotland 7,971 at drop-in events have been photographed by John McKenzie, Antonia Reeve, NGS Education, NGS Curatorial Team, NGS Development and Henry and Sula Walton Fund Southampton Solent University NGS Conservation and are © National Galleries of Scotland Sheena McCathie Waugh and Volunteers All other images are © the photographers. For further information on all our activities please visit our website: James Waugh www.nationalgalleries.org. National Galleries of 144 Total number of volunteers Scotland is a charity registered in Scotland (no.SC003728) 40