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Art

Art reviews: Affinity and Allusion at Collective | Emma Hart at the Fruitmarket

It is a time of change for many of Scotland’s art spaces. This year has seen the Ingleby Gallery open in its fine new space in Barony Street, and the high-profile opening of the V&A in Dundee. Next year brings the closure of the Fruitmarket Gallery for redevelopment and new premises for Edinburgh Printmakers at Fountainbridge. Meanwhile, Glasgow’s Common Guild has just announced that it is to leave Woodlands Terrace for pastures new (and as yet undisclosed).

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Wittgenstein in New York (from As is When), by Eduardo Paolozzi, 1964 PIC:' National Galleries of Scotland, purchased 2001''� Trustees of the Paolozzi Foundation, Licensed by DACS 2018

Art review: Andy Warhol and Eduardo Paolozzi – I want to be a machine, SNGMA, Edinburgh

Eduardo Paolozzi and Andy Warhol were contemporaries. Born in 1928, Warhol was just four years the junior. Both were sons of first generation immigrants, but though that doesn’t seem to be refelcted in Warhol’s work, it was definitive in Paolozzi’s. One of his major works, Manuscript of Monte Cassino, is, for instance, a profound rumination on time, displacement and the dislocation of war. It is also monumental. There is nothing remotely comparable in Warhol’s art which seems instead determinedly to reflect the transience and immediacy of contemporary culture. That doesn’t make it any less significant, but it does suggest how much difference there is between the two. Nevertheless the exhibition Andy Warhol and Eduardo Paolozzi: I want to be a machine starts from the proposition that they had a lot in common. Elaborating this idea, it is certainly a rich show of the work of both.

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House by the railtrack by Andrew Cranston PIC: John McKenzie' / courtesy of the artist and Ingleby, Edinburgh

Art reviews: The Art of Intelligent Ageing | Andrew Cranston: But the Dream Had No Sound

In May 1931, an international conference was held in Eastbourne, focusing on how best to assess and track the ability of schoolchildren. Scotland, England, France, Germany, Switzerland and the USA were all represented, and at the end of the conference it was decided that each nation should conduct a different research exercise and report back. Scotland was tasked with trialling an intelligence test, and so, in the summer of 1932, all the children in Scotland born in 1921 – 87,498 of them aged ten or 11 – were tested. The exercise was repeated 15 years later, in 1947, with a new set of children. The tests were then put away and forgotten, although by one account they were invoked in the arguments that led to the abolition of the Eleven-Plus.

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Janet Kenyon Fine Art

Five tips on buying art for your home

Buying art can be an intimidating prospect, but it doesn't have to be. Gone are the days of being sniffed at if you didn't know your Monets from your Michelangelos. When it comes to filling your home with pieces that make you smile, there are a few criteria but none, you'll be glad to know, have anything to do with impressing anyone other than yourself.

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Untitled, 2018 by Monya Flannigan PIC: 'Courtesy of the artist, photography by John McKenzie

Art review: NOW, Scottish National Gallery of Modern Art, Edinburgh

If any proof were needed that time flies, we have it in the fact that the National Galleries of Scotland’s NOW series of contemporary group shows has just revealed its fourth iteration, marking the halfway point in the three-year programme. So far, these shows – each one focusing on a single artist and radiating out in a range of directions – have proved surprising and revelatory, never pandering to the predictable. NOW 4 is no exception. Here, the central artist is Monster Chetwynd (formerly Marvin Gaye, Spartacus and Lali Chetwynd). She sets the tone for the show straight away, having designed wallpaper for the main corridor which splices together images from the NGS collection. Against this, and in good-natured argument with it, are prints from Goya’s Los Disparates series, because, for all its wacky contemporaneity, this NOW show is in more obvious dialogue with art history than any of its predecessors.

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