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.