Showing results 1-20 of 22

At Stills Centre of Photography, Edinburgh, the artist holds the spirits of her absent subjects in the gallery, forcing us to commune with their stories

BY Lisette May Monroe | 10 AUG 22

At Fruitmarket, Edinburgh, the artist’s retrospective approaches materials in a child-like manner with little regard for the objects’ origins or histories

BY Tom Jeffreys | 28 JUL 21

In the context of increasingly sadistic attacks on Muslim people, the Glasgow-based artist provides a space for grief and dreaming

BY ​Hussein Mitha | 10 MAR 20

A visa application system which is often opaque, bureaucratic and racist – exacerbated by the prospect of a no-deal Brexit – is becoming a headache for art workers

BY Chris Sharratt | 16 AUG 19

After a five-year redevelopment of the landmark heritage site on Calton Hill, who will this ‘new kind of observatory’ be for?

BY Chris Sharratt | 23 NOV 18

In the unashamedly populist ‘Rip It Up’ at the National Museum of Scotland, the joy of fandom resounds but questions about the future are avoided

BY Stewart Smith | 07 AUG 18

Jostling with its loud festival neighbours, the UK’s best attended annual visual art festival conducts a polyphonic debate with art of the past

BY Tom Jeffreys | 02 AUG 18

As the Scottish sculpture park celebrates its tenth anniversary, Amy Sherlock talks to its founder Nicky Wilson

BY Amy Sherlock | 04 JUN 18

Four miles west of the city, Jupiter Artland marks its 10th anniversary with a new commission by Phyllida Barlow

BY Tom Jeffreys | 02 JUN 18

Stills Gallery, Edinburgh, UK

BY Hettie Judah | 08 SEP 17

From an inflatable anti-capitalist dragon to the shattered shadow of Robert Burns: highlights from this year’s Edinburgh Art Festival

BY En Liang Khong | 01 AUG 17

Analysis and reaction to the surprise closing of Inverleith House after 30 years

BY Chris Sharratt | 27 OCT 16

The Fruitmarket Gallery, Edinburgh, UK

BY Izabella Scott | 26 MAR 16

CCA, Glasgow, & Stills, Edinburgh, UK

BY Chris Sharratt | 17 MAY 13

‘Pointless’ at Sutton Gallery, Edinburgh, explores Aleks Danko’s enduring suspicion of the artist-as-oracle, which has remained a feature of his practice since his debut solo exhibition in 1970

BY David Homewood | 14 DEC 11

Stills, Edinburgh, UK

BY Kate Forde | 01 NOV 09

doggerfisher, Edinburgh, UK

BY Kate Forde | 01 NOV 08

Ingleby Gallery, Edinburgh, UK

BY Sarah Lowndes | 01 OCT 08