THE NEWSLETTER OF THE GLASGOW ART CLUB SPRING 2011 No. 35

President’s column

Lunch,listenand enjoy!

highly technical document, and wehave had to bring in a consultant to dothis. The Plan is nearly complete, all80 pages, plus appendices. TheActivity Plan, the Evaluation, and theStage 2 application itself also requirespecialist advice, and this is beingprovided by the Glasgow BuildingPreservation Trust (GBPT). Thesedocuments are all in course ofpreparation.Meantime, we were able to give the

Club financial assistance (£25,000) tocomplete the Billiard Room, which hasbeen a great success, as those of youwho have seen it will agree. Oureducation programme is alsoproceeding, with many schoolsinterested in taking part, and already anumber of school visits.

The investigation of the CharlesRennie Mackintosh frieze ran intodifficulties. Our conservator, AlanFerdinand, having reached the stage atwhich he could discern something ofthe pattern of the frieze, and thecolours, found it impossible to

A progress report by Iain A Macmillan

At the last Annual Business Meeting inFebruary I gave a progress report onthe Club’s building project. Since notall members were present, it may behelpful to summarise my report andupdate it.At the end of 2010 we received a

conditional grant of £50,000 from theIsaac Wolfson Foundation, which wasmuch appreciated. This brought ourtotal to £720,000, which is about£200,000 short of our target. Wecontinue to approach other potentialfunders.

In order to secure the conditionalgrant of £250,000 from the HeritageLottery Fund (HLF) we have to submita Stage 2 application by Novemberthis year. We also have to lodgevarious documents such as aConservation Management Plan, anActivity Plan and an Evaluation.Preparing these is part of what HLFcall the ‘Development Stage’. TheConservation Management Plan is a

State of the buildingThe audience assembles in the Gallery (but there’s room for more)

Above, the Edington Ensemble with the Art Club’s Iain McGlashan – and (right) thepre-concert lunchtime scene in the Dining Room

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By John Fowler

The scene in the Gallery onWednesday morning, March 30, wasanimated. Paintings were everywhere,some lying face up on the floor, othersstacked randomly in a pile against thewalls, one or two placed face down onthe tables as members of the hangingteam performed some basic DIY workon the frames with pliers, screwdriversand awls. A toolbox was a vitalcomponent.

People were busy with measuringtape, fixing hooks into the frames.‘Anyone got the sellotape?’ someone

called. And – ‘Where are all thescrews? They keep walking.’ The enthusiastic team were setting up

the members’ spring show. TheNewsletter’s observer arrived shortlyafter half-past ten to find the teamhard and work and about a dozenpictures already hanging in a row - notin their final position, but merely as aguideline.

Then came the difficult choice:making a pleasing alternation betweenlarge and small works, findingsequences or patterns or contrasts insize or subject.

To begin with, progress was swift.The headaches came later when mostof the big decisions had been madeand the bulk of the pictures were onthe wall leaving little freedom ofmovement. For example, no one washappy with the placing of one smallwork but finding the right slot – whichwould mean shifting others – was noteasy. It was lifted from where it hung,carried across the room, hung againbut in the end, after much debate,taken back to its original position.‘Where can I put this one?’ was the

plaintive cry. ‘There’s no room.’ Or, ‘Ican’t see a natural place.’ And, ‘Itlooks a bit squashed.’

The rule is that any member cansubmit pictures and be assured of aplace on the wall – with one importantproviso. Each artist may submit threeworks listed in order of preference. Ifthere’s a surplus of pictures over space

Delny makes an adjustment

Line-up on the floor

then the third preferences are held out.(A kind of alternative vote.)At the private view for a previous

show, the Deutsche Bank Scottish ArtExhibition, an artist was overheard togrumble that one of his pictures hadbeen hung behind a pillar, which didn’tdelight him (but it was sold on thenight!)

Such problems occur. Behind theChristmas tree is not the most covetedspot for a festive season show. And noone much liked being placed above thecoffee machine when it stood in acorner of the Gallery – now it has beenmoved elsewhere. The piano can be anuisance.As far as possible the hanging team

try to be neutral and objective. ‘Youmustn’t get into the habit of looking atwhose pictures they are,’ said one. The Deutsche Bank show filled every

spare corner of the building, flowingfrom Gallery through the bar and upto the Billiard Room. So did the JimmyRobertson retrospective last year. Thisshow is much smaller – a fact whichmade it easier to mount, even in termsof physical labour: ‘Sometimes you getto the stage when you just want to runaway.’But by lunchtime the show was on thewall and the hanging team – Jim

Bankier, Delny Goalen, Jennifer Irvine,Paul Kennedy, Hamish Montgomery,Robert Murray and Ronnie Smith –could relax. Job done.

Dear Members

An invariable response from the musicianswho play in our Gallery is how grateful theacoustics are and how appreciative they areat being given the opportunity to play insuch magnificent surroundings.On Sunday April 10 the Edington Ensemblegave a wonderful concert. It was a jointventure between the Club and Music inHospitals – a splendid charity whichprovides live music to those in hospital,particularly long stay patients.

What a buzz there was in theClub! The Dining Room and theBilliard Room were both full forthe pre-concert lunch. It was whatthe Club should be like when weput on an event.Can I encourage you to support

such events when sponsored by theClub. I cannot imagine a betterway to spend a Sunday afternoon.

Yours Sincerely

Nane the waur o’ a guid hanging

continued on page 2

The essential toolbox

Jennifer (above) prepares to hang a picture,while Ronnie and Robert (top right) takedown a banner from the previous show

Hamish inspects progress

It looks tasty – but where was the party?See Who’s Who in the Big Picture

Show on page 4.

Two paintings were recently donatedto the Club by Robert Kelsey. One ishis own oil on linen painting BeachGrass and Shadows, Arisaig, the otheris a self-portrait by Dan Fergusonwhich Robert felt should have a homein the Club’s collection.

Gift of paintings

KKeeeepp iinn ttoouucchhThe Newsletter would like to hear from you.If you have an idea for an article, short item,anecdote or picture which you think wouldinterest readers, please contact us atsecretary@glasgowartclub.co.uk or phone0141 248 5210 and ask for the Club secretary.Or write to the Newsletter at the Club.

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The picture of the playwright JamesBridie which appeared in the lastNewsletter in reminiscences by IainMacmillan aroused interest amongpeople who recognised who it as adetail from a painting which hangsabove the fireplace in the Club’sReception Room.

The painting is signed by RobertEadie, a Glasgow artist and a formermember of the Art Club, which hejoined in 1913. In his time Eadie (whodied in 1954) was well known as aportraitist, book illustrator andpainter of landscapes, beach and streetscenes in oils and watercolour.

Bridie, along with his friend TomHoneyman, then director of GlasgowArt Gallery, appear in the bottom left-hand corner of the canvas. In fact theyappear to be almost a distraction fromthe subject of the work. The sceneappears to be St Vincent Street on a

rainy day, and the most prominentsubject is the line of three Clydesdaledray horses standing at the kerb. Youwonder whether Bridie andHoneyman were painted into thepicture rather as an afterthought –perhaps even as a gesture to fellowClub members.This suggestion is prompted by the

fact that Eadie painted an almostidentical scene (without Bridie andHoneyman) entitled Trace Horseswhich was exhibited at the RGI showin 1945. This work was priced at£150, a considerably higher valuationthan most of his paintings received atthe time. A painting with the sametitle, probably the same one, was alsoexhibited at the RSW. To confusematters more, a print edition of thesame subject was issued with otherfigures in the foreground. The subjectobviously had great appeal to the

The artist, hisstepmother anda Glasgow scene

artist.The Directory of Scottish Art and

Architecture by Peter J M McEwandescribes Eadie as ‘best known for hislandscapes painted in a broad, wet,straightforward style, with moreattention to general effect than todetail, sometimes elegant, alwaysdecorative.’Eadie was born in 1877. As a young

man he studied in Paris and Munich.The earliest of his works exhibited atthe RGI, according to the RGI listcompiled by Roger Billcliffe, was apainting called A Monk (priced at£10) shown in 1912. Forty years laterthree of his watercolours were shownposthumously, the last of his manyworks to be shown by the RGI.

A short anonymous article on theinternet entitled Robert Eadie RSW:some biography & examples of hiswork, states that Robert was theyoungest of four sons. The motherdied when the boys were young andwhen the father married again theyheartily disliked his new wife. Onebrother, William, helped Robert tostand up against the ‘tyrantstepmother’ and encouraged hisartistic aspirations and the artist laterregretted that he had not returned thefavour when William needed helpduring the depression.

A photograph in The Bulletinnewspaper dated January 1 1938headlined Socialist Art Exhibitionshows Eadie, a somewhat gaunt figurewith a thin moustache, wearing glassesand clutching his hat and gloves in hishand, along with local councillors atthe opening of the show, sopresumably Robert had left-wingviews. It’s difficult to imagine a‘socialist art exhibition’ beingmounted today.

For more on the artist, GoogleRomiley Arts Federation: Robert EadieRSW, history & works.

Above the fireplace – Robert Eadie’s viewof a dreich city centre street, with horses

For the diaryThe ever-popular Fejes Quartet

returns on Wednesday, June 8 (seestory on page 3). Supper (6pm) andconcert (7.30) - £12; concert only, nocharge.

The Club picnic will be held onSunday, June 12 at Dumfries House,Ayrshire – cost £8.50. Drive or joinminibus leaving Club at 10.30amsharp – (£15 fare).

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Live music will continue to bring abuzz to the building and boost bartakings for another year, thanks tolinks developed with various artisticorganisations. Both Bridge Music,which runs the Glasgow series of jazzconcerts, and Celtic Connections areanxious to return to their favouritevenue and have agreed dates for thecoming season.The jazz series resumes in June, and

the Club will be one of the mainvenues for the 25th anniversary ofGlasgow International Jazz Festival,June 28 - July 3. Celtic Connectionswill be booking for events betweenJanuary 19 and February 5 next year.This means that the Club will be a keyvenue for two of the most notedinternational live music festivals.Much credit is due to the initiative

and perseverance of Art Club staff.What started as Unclubbed, aninformal monthly session organised in-house, attracted the attention of someof the major players in Glasgow's livemusic scene.

It has taken much commitment towork out logistics without disruptingthe basic business of the Club. Thenew Billiard Room allows for normaldining and bar services to bemaintained.The Club is successfully building a

wide and varied programme to suit allmusical tastes. Already several folkand jazz enthusiasts have applied formembership.

Jean Reid

penetrate the last layer of paintwithout risk of damaging the friezeitself. We consulted with HistoricScotland and as a result it was agreedthat we would replicate the patternand the colours based on the originalsketches and the detail gleaned byAlan Ferdinand. Meantime theoriginal frieze would be kept in situbut protected from damage in the hopethat at some future date improvedtechnology would allow it to be fullyrevealed. We are now seeking anexpert conservator who will be able toundertake the task of creating thepattern based on the originalMackintosh design. The final work of

replication will, however, be the laststage in the operation, when all thebuilding work is finished.With the inevitable delay in raising thenecessary funds and satisfying some ofour funding bodies, especially HLF,the structure of the building has notimproved in the meantime. We are notpermitted to carry out major repairwork until the whole building projectis completed, but we hope to find waysand means of dealing with thisproblem in consultation with theCouncil and others.

If any member would like furtherinformation on any of these matters Iwill be glad to hear from them.

State of the buildingContinued from page 1

Members were invited to aconsultation in the Gallery last monthto hear and discuss the progress of theClub’s renewal project – the subject ofIain Macmillan’s Page 1 report whichis concluded on this page. At themeeting Paul Dowds explained thatvital work on improvements to thekitchen, the heating system and tomeet health and safety requirementshad been completed. This was critical. Paul explained that the restoration of

the Billiard Room had a three-foldpurpose. Apart from providing

additional gallery space it should bringin extra revenue through letting tooutside organisations, and it wouldeventually serve as a temporary loungefor members and a space for the Club’sfunctions when the Gallery is closedfor restoration in about two years’time.James Macaulay assured the audience

that the long-hidden and muchdiscussed Charles Rennie Mackintoshfrieze – a simple repeating A B pattern– would be carefully replicated andthat there was no danger of itdistracting from the pictures exhibitedbelow it. As in the original, the toneswould be muted. He convincinglydemonstrated its authenticity as anearly example of the youngMackintosh’s handiwork. Iain Macmillan urged members (and

not only the small number whoattended the meeting) to becomeinvolved. ‘It’s your project,’ he said.

After the presentation members wereinvited to respond to the followingquestions:What activities or events would youlike to see more of at the Club?Artists’ demonstrations – Lectures onhistory of art – Re-introduce billiardsand have demonstrations [NB: TheClub billiard tables are in store.]Why is the Club important?Opportunities to mix informally withcreative people – As a heritage centre.Any problems or barriers to joiningthe Club?Size of subscription – Low profile ofthe Club.What are the most positiveaspects/benefits of the Club?Social events – Meeting other members– Music, exhibitions.

Light on the frieze

CLUB NEWS

A buzz aboutthe place

We welcome the following newmembers (category in brackets):Eleanor Cordiner (lay), KirkintillochIan Irvine (corporate), GlasgowSimon Luby (corporate), GlasgowSteven McDonald (corporate), GlasgowCalum McDonald (corporate), GlasgowAlan Smith (corporate), GlasgowJosephine U Docherty (lay), GlasgowEdwin Hawkes (young artist), GlasgowAustin Lafferty (lay), GlasgowJoseph Logan (architect), GlasgowIan Cook (artist), PerthSandy Murphy (artist), SeamillFiona C McNaught (lay), BearsdenGeorge Collier (artist), AberdeenGeorge Welsh (lay), GlasgowChristopher Wood (artist), DunbarDavid Longmuir (lay), PerthTom Allan (artist), GlasgowJames Hamilton (artist), GlasgowAdam Kennedy (young artist), GlasgowRobert Murray (artist), Bridge of WeirAlasdair McCuish (corporate), GlasgowEllen McCann (artist), West LintonDerek Robertson (artist), BalmerinoPeter Russell (lay), GlasgowLizanne McKerrell (corporate), Dumgoyne

New members

On a night when gales and floodsplayed havoc with the Edinburgh-Glasgow train service yourcorrespondent was marooned for anhour and forty minutes on platform 2at Linlithgow station, on his way tothe Club Burns night. As a result hemissed the grace by Iain MacCormickand the address to the haggis by IainMcGlashan. However on arrival hefound the haggis, neeps and tatties(with Drambuie drizzle) followed byvenison-wrapped chicken breast witha black pudding centre had been hetup for him. A culinary triumph weelworthy o’ that unheard grace – whichmay or may not have been as lang’sIain’s airm – he cannot judge since hewas not there to hear.Truncated at the start, his attendance

was cut short before the end for fearbeing stranded in the city by anuncertain train service, so that he alsomissed Alfie Wellcoat’s delivery of

Tam o’ Shanter (a sad loss for a manborn and bred a mile from Allowaykirk), Jean Reid’s ‘word to the lassies’and Burns Shearar’s toast to the same. But he was able to appreciate thespirited singing of Douglas Nairne.And, of course, the immortal memorydelivered with panache by RoddyMacpherson, a rumbustious homilystuffed with apt and often slyquotations from the bard in aperformance that was at time almostballetic.

Immortal memorisers often drawparallels with the contemporary scene,and in this case Roddy defended thelaw (supported by citations from theworks) against certain opinionsexpressed by the populist politicianTommy Sheridan. Roddy, in his role asmessenger-at-arms, has had occasionto challenge Tommy’s stance before.Unfortunately Mr Sheridan was notavailable for comment.

A STORMY NIGHT WITH THEBARD AND TOMMY SHERIDAN

The man behind a familiar painting– the latest in our series on the historyof Glasgow Art Club and its members

Printed by ReproprintTel: 0141 440 1919Email: info@repro-print.co.uk

A jazz night with Alex Garett

Everywhere George Devlin goeshis notepad goes with him

- these instant sketcheswere made at a recent

concert in the Club Gallery

Chamber music can be viewed as arather austere form of music-making.To prove how unfair that image is, justtune in to the Fejes String Quartet whoreturn to Glasgow Art Club on June 8. This lively group of young stringplayers have gained for themselves theunofficial status of ‘house’ musiciansto the club. In a series of recitals,featuring classical composers alongwith twentieth-century masters such asShostakovich, they have shown thathigh art is totally compatible with fun. The four players – Rachael Lee (cello),Elita Bungard (violin), Tamas Fejes(violin), and Mike Lloyd (viola) –indulge from time to time inspontaneous banter with each otherand the audience. Far from distractingfrom the music, this friendly, relaxed,atmosphere simply enhances theenergy and insight which the quartetbring to their playing. All are

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distinguished musicians and membersof the RSNO. Tamas and Mikeworked previously with thePhilharmonia Orchestra in London.Mike is the tall, ebullient, one, who

offers illuminating information aboutthe pieces to be played. He has anunusual background: adopted as ababy, he discovered in adulthood thathis American father belonged to theApache Nation. He would like to writea book about his quest for his birthparents, but says ruefully, ‘I’ve neverwritten anything other than aChristmas card!’ Tamas, as quartet leader, shows the

musical authority that has marked hiscareer since distinction as a youthfulviolinist in Hungary. Their women

From an artist’s notebook

colleagues play their indispensablepart with charm and verve.

Centrepiece of the programme forJune 8 is Schubert’s sublime CelloQuintet for which Tamas’s wife EmilyWalker joins the group. Theprogramme also includes Haydn’sOpus 54 No 1 and Musique Orante byCharles Tournemire. The musicians’debut CD, featuring that Haydnquartet, Bartok’s Second StringQuartet, and Glazunov’s 5 Novelettes,will be on sale on the evening.

As for the Fejes Quartet’s view ofGlasgow Art Club, ‘We love it, quitesimply,’ says Mike. ‘We always feelvery welcome there.’

Lesley Duncan

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‘She taught me 13 years ago and sincethen she’s had a huge influence on mywork,’ he says. Both Adam and Paul graduated at

Edinburgh College of Art. Paulgraduated in painting, Adam in whatis now known as intermedia art,formerly (and confusingly) called‘tapestry’. Before the change of namethe course was attended almostexclusively by girls. He says it’s allboys now. The old name gave littleidea of what the course was about. It’snot likely that Adam will be seen at theloom. The brothers grew up in Broomhill.

Neither of their parents were artists,though painting and drawing becamea big part of the boys’ childhood. Paulsays he was influenced by his big sisterLaura, now an art teacher.

Paul says that their father wasobsessed with boats – one of his twopaintings in the recent members’spring exhibition shows their fatherand uncle as boys playing in a smallboat in the village of St Abbs. Aschildren, they frequently holidayedwith their parents in the village – amonth in St Abbs in the summer wasalready a family tradition. Adam is fascinated by the industrial

past of Glasgow – as his images ofships under construction show. Again,the link with St Abbs may besignificant: ‘I remember as a small boyof four looking up at the boatsbeached on the shore. From myperspective they must have lookedhuge.’

They still do. Looking at Adam’sshipyard pictures with the vesselstowering on the stocks, you canimagine seeing them through thatsmall boy’s eyes.

It’s always a pleasure to visit theMaclaurin Gallery at Rozelle House inAyr. Throughout April and into Maythe Maclaurin hosted a majorexhibition celebrating the life andworks of the late David Donaldson,one of Scotland’s finest painters of thepresent day.

Donaldson, a weel kent figure inGlasgow Art Club for many years, wasassociated with Glasgow School of Artthroughout his long career, fromstudent at the age of 15 to head of thedepartment of drawing and painting.He was a Royal Scottish academicianand the Queen’s Painter and Limner inScotland. Two of the works on show at Ayr

would have been familiar to Clubmembers – a fine portrait of his friend,colleague and fellow club memberJohn Cunningham, the other a print byRobert Stewart showing Donaldsonpeering quizzically over his specs – oneof an edition commissioned tocelebrate Donaldson’s career on hisretirement from the School of Art.Both usually hang on the Club’s walls.(The Cunningham portrait has becomelegendary among members for non-artistic reasons. He’s shown with hislunch on his lap – a carry-out fish andchips brought in during a sitting in theWest Campbell Street studioDonaldson inherited from the sculptorBenno Schotz.)

And there was a self-portrait ofDonaldson looking imperious andrather like a cardinal in his red robesand extraordinary hat, lent from thecollection of Lord and LadyMacfarlane.Sandy Moffat, a later head of paintingat the School of Art, once describedDonaldson as ‘probably the finestScottish portrait painter’ of thetwentieth century. Portraits formed amajor part of this exhibition – self-portraits among them. The chubbyDonaldson was not averse to posing inthe nude, with a strategically placedred rose held in his hand.The Ayr exhibition arose tangentially

from the purchase by the Maclaurin ofDonaldson’s portrait of his daughterCaroline, shown on roller skates witha Walkman in her hand. This cameabout through the interest of MichaelClark – painter, member of GlasgowArt Club and an Ayr resident – who isa member of the Maclaurin purchasingcommittee. It seemed appropriate thatthe purchase should be followed up bythis comprehensive record ofDonaldson’s lifetime achievement.

A celebrationof David

Donaldsonat Rozelle

Brother artists(continued from page 5)

Off to SeattleBill AlstonOBITUARIES

FOUR YOUNGPLAYERS WITH

A MISSIONTO PLEASE

Lynda Nicol wrote in the East KilbrideNews:The artist and former teacher BillAlston died of a heart attack in Marchwhile snorkelling in Cuba. He was 73.He was in Cuba with his wife Pat, alsoa retired art teacher, to celebrate theirgolden wedding anniversary.

Among those paying tribute wasformer colleague and fellow artistAndy Edgar, who said: ‘Bill will beremembered by generations of schoolstudents as an inspirational art teacher.His enthusiasm and willingness to gothe extra mile for his young chargeswill never be forgotten by many.Indeed, a significant number of Bill’sformer pupils took up the gauntlet ofart teaching because of the love of artengendered in them by him.‘Bill’s untimely death is all the more

tragic given that he was at last gainingthe wider recognition his superblyexecuted, keenly observed, naturalisticpaintings deserved.’

Originally from Larkhall, Bill, aformer pupil of Hamilton Academy,continued his studies at GlasgowSchool of Art before going on to teachat Hamilton Academy, LesmahagowHigh School and Strathaven Academy.He took early retirement in 1997. Heand his wife continued to live inStrathaven where he played asignificant role in the local community.Last year Bill had highly acclaimedexhibitions at Glasgow Art Club andthe Kelly Gallery in Glasgow. He alsoran jazz clubs, assisted with dramagroups and was a keen hill climber andcyclist.Bill is survived by his wife Pat and

their two daughters and two sons.

Meg FergusonMargaret Ferguson – Meg tocolleagues and friends – was agraduate of Glasgow School of Art, ateacher of art (latterly at HillheadHigh School, Glasgow), and an artistherself. It was at the art school that shemet her fellow student and futurehusband Dan Ferguson, and theymarried in 1954. They lived inGlasgow and in 1970 bought aweekend retreat in Argyll – it had beena private estate chapel – where theyentertained neighbours and friends.Meg was an accomplished cook andhosted many dinner parties wherefood was plentiful and the wineflowed. Dan, a past president of theArt Club, died in 1993 aged 68. Megdied in January at the age of 83 after abrief illness. She is survived by herdaughter Anne and son David.

The Fejes quartet ... and Emily makes five

Simon Woods, the outgoing ChiefExecutive of the Royal ScottishNational Orchestra, left recently totake up the post of chief executive ofthe Seattle Symphony Orchestra. Tomark his departure, the RSNO Circlehosted a drinks party in the Gallery onApril 6, when Simon gave an overviewof his six years with the RSNO.

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Above: Frank To in the Gallery withtwo of his paintings, at the ScottishArt Exhibition in March. In April hehad great success with his soloexhibition, called The HumanCondition, at the Leith Gallery in

Edinburgh, where all but one of the 22pictures were sold. They included twoself-portraits of Frank in the robes andbeaked mask worn by ‘plague doctors’centuries ago in the hope of protectingthemselves from infection. He raised

eyebrows by dressing up for the partto open the show. Earlier this year Frank was co-opted

to the Club council - at the age of 29!

Photograph: Gerardo Jaconelli

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The Scottish Art Exhibition, in

association with Deutsche Bank, filled

every corner of the Club in March.

These photographs by Gerardo Jaconelli

were taken at the private view. Some

faces will be very familiar, others less so

Who’swho atthe bigpictureshow

Adam (left) and Paul Kennedy in front of Paul’s painting of theirfather and uncle.Above right,Adam’s Clyde Shipyard Study.

Paul Frame of Deutsche Bank (andGlasgow Art Club)

President Raymond Williamsonat the microphone

Some of the guests at the private view

A YOUNG PAINTER WHO CUTS A DASH

Brothers facea deadline

Brothers Paul and Adam Kennedy have a tightdeadline – there’s barely a fortnight betweentheir arrival back in Scotland from a workingtrip to America and the opening of their jointexhibition in the Gallery on July 12. It will helpto concentrate the mind, says elder brotherPaul. The schedule for their four-week trip across theUSA has involved a circuit from the Arizonadesert to New York via Las Vegas (but not forthe gambling), San Francisco and the Yosemite,and various places in between. Some camping atnational park sites is included – but that doesn’tmean roughing it. It’s not to be confused with

wild camping in the Highlands.The trip was planned after Adam won the latest Aspect prize,

which carries with it an award of £15,000 to enable the winnerto explore new avenues without money pressures. Adam, who isfascinated by the relics of past industrialisation, decided to visitthe famous ‘boneyards’ of Arizona, the vast open-air museum ofobsolete aircraft now ageing in the desert. Paul, who was an Aspect prize finalist in 2009, decided to join

him. They’re used to working together – they share a flat inGlasgow. But their work is chalk and cheese, very different instyle.Adam (23) and Paul (28), joined Glasgow Art Club recently and

have had work shown in the Club’s exhibitions. Paul joined first,encouraged to do so by Liz Knox, whom he regards as his mentor.

(continued on page 6)