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A BOY sits astride a cannon, slightly askew. The vista beyond is Edinburgh’s Princes Street, punctuated by towers, the tall symbols of male authority and power. The photographer lines up the barrel in the centre of the composition to emphasise its dominance but the boy looks uncertain and vulnerable with this phallic symbol between his legs. This is as much a disconcerting image of puberty as it is an icon of Edinburgh. Welcome to the arresting and provocative world of Robert Blomfield, as revealed in his book Edinburgh 1957-1966. The street photographer is a paradox. He is a presence that must efface himself in order to reveal the world and the instant that he captures is both ordinary and unrepeatably universal. ....
In pictures: Artworks exhibition explores Edinburgh life down the centuries scotsman.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from scotsman.com Daily Mail and Mail on Sunday newspapers.
A CREATIVE response to the coronavirus pandemic and the climate change emergency will be showcased in what could be the first physical exhibition to take place in Scotland this year. It will focus on how domestic interiors are being adapted due to the restrictions and lockdowns as a result of people having to use their homes for education and work purposes. The exhibition at the City Art Centre in Edinburgh is intended to celebrate the power of creativity and craft to transcend challenging times. It will explore how homes and outdoor spaces are working harder for occupants as multi-generational sanctuaries, workspaces, classrooms, fitness and entertainment settings. ....
AT THE centre of Lachlan Goudie’s breezy and readable book The Story of Scottish Art, the central paradox of a cultural conundrum the non-existence of Scottish art is served up on a plate. The Scottish attitude to art has never recovered from the Scottish Inquisition that was the Calvinist Reformation led by John Knox. He and his followers destroyed the images that decorated churches, and forbade “Pope-ish” representations of religious themes. The deadly influence of Knox lingers on in Free Church congregations and in the national psyche as wilful philistinism a deliberate ignorance of, and entrenched scepticism towards, art. ....