The Compass Contribution: 21 years of contemporary art 1969-1990, The
Tramway, Glasgow.
GERBER has done it again. His ambitious exhibition to celebrate
Compass Gallery's 21st birthday is a knock-out. Bigger and better than
the 1986 Personal Choice show which he mounted at Glasgow School of Art,
this huge display of works by 121 artists is not so much a coming of age
as the chronicle of an age when Scottish contemporary art finally came
into its own and became a force on the international map.
I expected nothing less, but Cyril Gerber, who wears his heart on his
sleeve as far as art is concerned, beamed with satisfaction as he
surveyed the mammoth array of over 400 works filling The Tramway. ''It
was a marvellous vote of confidence for them to give us this space,'' he
confided. ''We could easily have messed it up.''
Not him; not with a track record of over two decades
exhibitions-making. Years ago I remember an eminent painter saying:
''The Compass show is a landmark in any artist's career.'' This still
holds good. And The Compass Contribution: 21 years of contemporary art,
at the Tramway (the Compass itself isn't big enough) till June 24, is a
very special Compass show for it brings together artists eager to
celebrate the gallery's continued good health, a unique testimony to
Compass's long commitment to showing good work by living artists, both
famous and unknown.
It's some project to carry off in a space that can be less than
sympathetic to paintings because of the Tramway's high brick walls and
echoing height. However, the new, tall custom-built screens are a huge
improvement and Gerber has capitalised on the vistas and volume by
hanging well-chosen works (mainly the result of exhaustive studio
visits) in close groups. His anger at being palmed off with less than
top-quality paintings by a couple of ungenerous dealers resulted in
these works' relegation. Only the best will do for Compass.
The roll call of honour begins with Ackroyd, finishes with
Wiszniewski. Some come from Orkney; others from St Ives. They include
superstars such as Bellany, Hoyland, Aitchison, Caro, Howson; painters
like Tom McDonald who died a few years ago and young graduates. All
previously had solo Compass Gallery shows or took part in the inaugural
1969 exhibition. Aitchison's Crucifixion of 1986 reminded him of all the
''unknowns'' he showed early on. ''We had a super Aitchison show in the
sixties. Only sold one picture and that to an artist who paid on 18
months credit. Aitchison's last London exhibition sold out on the
opening night for big money!''
One of Gerber's long-time favourites is Talbert McLean's
mono-chromatic abstract, East Coast Inner Harbour, which was first shown
at the Compass's predecessor, the Charing Cross Gallery, in 1964. Ten
months after the Charing Cross Gallery closed, Compass opened in West
Regent Street. As the only contemporary gallery in Glasgow, it aimed to
improve the climate by encouraging people to see, discuss, and even buy
art. It succeeded beyond everyone's wildest dreams. Now Compass is known
across the UK.
Compass is especially well known for spotting a winner. It gave
Wiszniewski his first solo show when large pastels were for sale at #90.
Neil Macpherson, now exhibiting worldwide and represented here by a
strong group of five high key oils, charged a wild #60 in 1986. Even
Gerber sometimes misses out. Looking at Keith Vaughan's six splendid
works he bemoaned: ''I don't possess anything by him and I can't afford
him now!''
Gerber's belief that a catholic taste in art -- something for everyone
as long as the standard is high -- is possible, even advantageous, is
reflected in the enormous range and styles of work on view. The show
makes no claim to be didactic or selective. Like one big party, it
embraces different persuasions: abstract, figurative, minimal,
expressionist.
Walking round The Tramway one meets many old friends, key pictures or
sculptures that have appeared in previous big mix shows like Robin
Philipson's Hobbyhorse, Keith McIntyre's Dinner Suit, Helen Wilson's
Christmas Eve, Lys Hansen's Act One and Two, and Peter Bevan's Love of
Pleasure.
There is also exciting new work. Hoyland's colourful starburst
abstracts are given rightful prominence and so set the scene for
high-energy performance. Nearby a strong Steven Campbell plays games
with a rococo shell grotto. John Bellany contributes to substantial
oils, both focusing on a caged bird with its connotations of imprisoned
spirit.
A more literal liberated bird swoops and hovers across Neil Dallas
Brown's sombre panels, his best for ages. Joyce Cairns's Breton Produce
is very impressive. A new assurance of both handling and composition
finds its echo in her main figure who emits relaxed control. The
surrounding still life: seafood, groceries, and garlic, are painted with
enjoyment. The promise of a good meal is obviously near.
Lesley Banks is a wizard with light as her 359th Day, The Enormous
Trifle, demonstrates. Here rising steam and flame in the kitchen takes
on an intriguing, mysterious air. Another notable series from Edward
Summerton includes powerful images of desolation. As usual, a maritime
setting gives added menace to normally innocuous objects. His move from
highly charged graphic line to more painterly approach is welcome. Ian
Howard has discarded his tight narratives and experiments with mood and
magic a la Will Maclean. Joseph Herman shows an impressive group of
heads.
The show is made more comprehensive by the late addition of a group of
historical works. A similar forward extension includes 10 youngsters
picked to show in future Compass exhibitions. These include lively
Ashley Cook and witty sculptor Shona Kinloch. I am not sure widening the
time scale was a good idea but visitors certainly get a panoramic view.
Compass's role in Scotland's art scene has been vital. Over the last
21 years almost every Scottish artist of note has benefited from
Compass. But as well as giving the up-and-coming a start, Compass has
also introduced many big names from the south to Scotland: Frost,
Hilton, Heath, Hoyland, Gear, and many more (all represented here). This
has been Compass's strength for, as Douglas Hall puts it: ''You will
never raise the level of interest and achievement in art by appealing to
nationalism and patriotism alone.'' Compass continues the tradition of
effecting introductions when Elizabeth Frink makes her long-overdue
Scottish debut in the city this summer due to Gerber and Compass.
We now take for granted many events and facilities pioneered by
Compass; Christmas shows; New Generation shows; paying by instalment.
The New Generation, which take place immediately after the art school
degree shows, are especially important. Without fail, every year since
1969 Gerber has travelled to Aberdeen, Dundee, Edinburgh and Glasgow,
scouting out fresh talent and providing encouragement to graduates by
giving them their first taste of the outside gallery world. And
remarkably in a cut-throat commercial world I've never heard a bad word
from an artists about Gerber or Compass.
Against this sort of background the Scottish Arts Council's decision
18 months ago to cut Compass's small grant seems misguided, even stupid.
Characteristically Gerber and Compass have staunchly carried on
heartened by public support including a 4000-signature petition. The SAC
remain unmoved. Glasgow's Third Eye and Edinburgh's Fruitmarket
currently receive over half a million pounds between them from the SAC
purse. The crowded Tramway opening earlier this week clearly
demonstrates that a huge number of taxpayers as well as artists
appreciate The Compass contribution. Surely it's about time the Arts
Council took note and let Compass flourish.
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