Fleming Collection

📣 Exhibition Announcement! This summer, the breakthrough touring exhibition 'The Scottish Colourists: Radical Perspectives', developed by the Fleming Collection, is coming to The Arc (@arcwinch ) in Winchester. The four artists known as the Scottish Colourists: SJ Peploe, JD Fergusson, Leslie Hunter, and FCB Cadell, are acknowledged as one of the most talented, experimental, and distinctive groups in twentieth-century British art. The exhibition sets the radical Scots in the context of their British, Irish, and European contemporaries, featuring Fauve painter, André Derain, and Bloomsbury Group innovators Vanessa Bell and Duncan Grant, as well as examples from Walter Sickert’s Fitzroy Street Group. Plan your visit: 🏛️ The Arc, Winchester ⏳ 13 June – 16 September 2026 | Monday - Saturday: 9.30 - 17.00 ; Sunday: 11.00 - 17.00 🎟️ Standard: £5.45 - Samuel John Peploe. Luxembourg Gardens (c. 1910). © The Fleming Collection. John Duncan Fergusson. Jean Maconochie. © The Fleming Collection. George Leslie Hunter (c. 1928). Peonies in a Chinese Vase. © The Fleming Collection. Francis Campbell Boileau Cadell. Loch Creran, Argyll. © The Fleming Collection.

📣 Exhibition Announcement! This summer, The Maltings (@maltingsberwick ) presents Joan Eardley: The Sea at Catterline. The exhibition explores the dramatic seascapes created by one of the most distinctive British artists of the twentieth century. It has been curated in partnership with The Fleming Collection and is part of RSA200: Celebrating Together (@royal_scottish_academy ). Joan Eardley is widely recognised for her portraits of street children in Glasgow, but alongside these works she developed an extraordinary body of landscape painting inspired by the fishing village of Catterline on Scotland’s north-east coast. Focusing on works made between 1958 and 1963, when Eardley was at the height of her creative powers, the exhibition brings together loans from the Royal Scottish Academy, The Fleming Collection, Aberdeen Art Gallery and private collections. Plan your visit: 🏛️ Granary Gallery, Berwick-upon-Tweed ⏳ 6 June – 11 October 2026 | Wednesday – Sunday | 11am - 4pm 🎟️ Standard: £7.50 - 1. Joan Eardley (1921–1963), Summer Sea, Oil on board. (c1960-c1963) [cropped]. Royal Scottish Academy © 2026 Estate of Joan Eardley. All Rights Reserved, DACS. 2. Joan Eardley (1921–1963). Winter Sea III (1959) [cropped]. The Fleming Collection. © 2026 Estate of Joan Eardley. All Rights Reserved, DACS. 3. Joan Eardley (1921–1963). Wild Sea (c. 1958) [cropped]. The Fleming Collection. © 2026 Estate of Joan Eardley. All Rights Reserved, DACS. 4. Joan Eardley (1921–1963). Field of Barley by the Sea (c. 1962) [cropped]. The Fleming Collection. © 2026 Estate of Joan Eardley. All Rights Reserved, DACS.

"This is about Scotland. It's about the Philippines, it's about transness, and Scottish experience. This is not about something that's disconnected from the world. It's very much about being part of the world.” For the 61st International Art Exhibition – La Biennale di Venezia 2026, Bugarin + Castle (@bugarinandcastle ) are representing Scotland, in a project curated by Mount Stuart Trust (@mount_stuart_visual_arts ) and commissioned by Scotland + Venice (@scotlandvisuals ). Bugarin + Castle’s commission is a multi-layered new project that uses the concept of the parade as a lens to explore complex emotional legacies of shame, sound and voice, drawing on queer histories, Scottish archives and Filipino cultural heritage. Read Lena Kammerer's (@lenamkammerer ) conversation with the artist duo on Scottish Art News. Link in bio. 🔗 🎞️ (1) Bugarin + Castle on the occasion of Shame Parade opening at Scotland + Venice during the 61st International Art Exhibition - La Biennale di Venezia. Image by Dimitri D’Ippolito. Courtesy of the Artists and Scotland + Venice. (2) Bugarin + Castle, Submit to Sound, part of the exhibition Shame Parade curated by Mount Stuart Trust for Scotland + Venice at La Biennale di Venezia in 2026. Film curated by Mount Stuart and produced by Forma. Image by Dimitri D’Ippolito. Courtesy of the artists and Scotland + Venice. (3) Bugarin + Castle, Submit to Sound, part of the exhibition Shame Parade curated by Mount Stuart Trust for Scotland + Venice at La Biennale di Venezia in 2026. Film curated by Mount Stuart and produced by Forma. Image by Dimitri D’Ippolito. Courtesy of the artists and Scotland + Venice. (4) Bugarin + Castle, Nocturnal Amusements, part of the exhibition Shame Parade curated by Mount Stuart Trust for Scotland + Venice at La Biennale di Venezia in 2026. Image by Dimitri D’Ippolito. Courtesy of the artists and Scotland + Venice.

📩 Every second Tuesday is newsletter day! Stay up to date with Scottish Art News and all things Fleming Collection. The next newsletter lands next week - in the meantime, enjoy a sneak peek at the most recent one here. Subscribe via the link in the bio. 🔗

🎨 The Fleming Collection champions contemporary art in Scotland. Each week, we spotlight an artist who has lived or worked here and created bold, innovative work. Kayleigh Sarah McGuinness (@kayleighmcguinnessartist ) is a Glaswegian visual artist whose research-led practice centres around heritage, material culture and women's histories. McGuinness' work explores celtic heritage and ancestral voices through ‘doing’ and ‘making’ with the act of repetitive wrapping motions constituting a recurring thread in her installations. 🎞️: Kayleigh Sarah McGuinness. Muir Mòr. © The Artist. Kayleigh Sarah McGuinness. Rising Tides, Sail Britain Group Show (2024). © The Artist. Kayleigh Sarah McGuinness. Dùthchas (2023). © The Artist. Kayleigh Sarah McGuinness. Ceangal, ‘connection’ (2024). © The Artist.

We’re looking forward to Joan Eardley: The Sea at Catterline opening at the Granary Gallery next month. This major exhibition brings together powerful seascapes inspired by the dramatic coastline of Catterline, where Joan Eardley lived and worked in her final years. Painted outdoors on the edge of the North Sea, the works capture the energy, movement and raw force of the landscape with remarkable intensity. Featuring loans from the Royal Scottish Academy, The Fleming Collection, Huddersfield Art Gallery and private collections, it offers a rare chance to see this extraordinary body of work together. The exhibition also includes work by artists who were part of Eardley’s creative community including Lil Neilson and Margot Sandeman. Curated in partnership with @Fleming_Collection and is part of RSA200: Celebrating Together. 📍 Granary Gallery 📅 6 June – 11 October 🕒 Wednesday – Sunday | 11am - 4pm Guided Tours will take place every Friday, Saturday and Sunday throughout the exhibition. ℹ️ Plan your visit and book via the link in our bio. Image credit: Joan Eardley, Summer Sea, Oil on board. (c1960-c1963). Royal Scottish Academy © 2026 Estate of Joan Eardley. All Rights Reserved, DACS.

🖼️ This week's Fleming Collection highlights: Robert MacBryde's Still Life I (1960) and Robert Colquhoun's Head of Absalom (1960). Robert Colquhoun and Robert MacBryde met at the Glasgow school of Art where they soon became lovers and collaborators. By the 1950s, their Cubist-inspired work was greatly acclaimed and they played a vital role in British art, influencing contemporaries including Francis Bacon, Lucian Freud and John Minton. Damian Barr (@mrdamianbarr ) stunningly reimagined the lives of the two Ayrshire artists in his vivid novel 'The Two Roberts'. This Sunday (10 May), Barr is in conversation with Pauline McLean at the Boswell Book Festival (@boswellbookfestival ) to discuss his profoundly moving portrait of devotion and obsession, art and class. Find out more and buy your tickets via the link in bio. 🔗 - Robert MacBryde. Still Life I (1960). The Fleming Collection. © The Estate of Robert MacBryde. All rights reserved, DACS 2020. Robert Colquhoun. Head of Absalom (1960). The Fleming Collection. Ⓒ The Artist's Estate. All Rights Reserved 2019/Bridgeman Images.

🎨 The Fleming Collection champions contemporary art in Scotland. Each week, we spotlight an artist who has lived or worked here and created bold, innovative work. Susie Rose Dalton (@susierosedalton ), who is originally from Northern Ireland but has spent much of the last decade in Scotland, works primarily with clay, informed by her background in archaeology. Dalton's aim, whose practice also extends to video, performance, and painting, is to materialise memory, accepting the inevitability of our brief time on earth, while honouring how we spend that time - from the mundane to the monumental. - 1. Susie Rose Dalton. From the solo exhibition: Personally I Would Never Do That (2020-2022). © The Artist. 2. Susie Rose Dalton. flare (2021). © The Artist. 3. Susie Rose Dalton. From the project: reasonable wear and tear (2023). © The Artist. 4. Susie Rose Dalton. every waking moment (2021). © The Artist.

"Instead of treating disability as something separate, the exhibition complicates fixed labels, showing how bodies are shaped and constrained in different ways by the same structures. In this sense, the exhibition reflects on what contemporary art institutions still need to address within an ableist cultural landscape." The group show 'We Contain Multitudes' at Dundee Contemporary Arts (@dcadundee ) brought together four artists: Andrew Gannon (@andrewgannonartist ), Nnena Kalu, Daisy Lafarge (@daisylafarge ) and Jo Longhurst (@jo.longhurst ), all "working from positions of disability, tracing their bodies through the constraints of a structurally ableist world." Read Shalmali Shetty's (@shalmali9 ) review of the exhibition on Scottish Art News. Link in bio. 🔗 - 1. DCA, We Contain Multitudes, Install image. Photo Credit: Ruth Clark, courtesy of Dundee Contemporary Arts (DCA). 2. Sculptures by Andrew Gannon. Photo Credit: Ruth Clark, courtesy of Dundee Contemporary Arts (DCA). 3. Daisy Lafarge’s work transforms the space into a ‘Sick Garden’. Photo Credit: Ruth Clark, courtesy of Dundee Contemporary Arts (DCA). 4. Jo Longhurst’s 'Crip’. Photo Credit: Ruth Clark, courtesy of Dundee Contemporary Arts (DCA). 5. Sculptures and drawings by Nnena Kalu. Photo Credit: Ruth Clark, courtesy of Dundee Contemporary Arts (DCA).

🖼️ This week's Fleming Collection highlight: Ian Hamilton Finlay's Le Silence Éternal de Checkpoint Sandy (1986) Le Silence Éternal de Checkpoint Sandy by Ian Hamilton Finlay places a photograph of a road winding through a hilly countryside, with a french title and a short text description by Finlay. The description describes his land as 'Little Sparta' and references a battle occurring in 1983, using a modern subject and viewing it through a classical lens, characteristic of much of Finlay's work. Greg Thomas’ (@oopressgregthomas ) forthcoming book with Lund Humphries (@lhartbooks ), brings together interviews and testimonies from those who worked with Ian Hamilton Finlay (@littlespartaihf ) from the 1950s to the 2000s. A culmination of a five-year project, supported by the Fleming Collection, it foregrounds the many collaborators, across disciplines, who helped shape Finlay’s poetic universe, giving long-overlooked voices their due. 🔗 Crowdfunding is currently open to support publication costs and contributions can be made via the link in bio. - 1. Ian Hamilton Finlay. Le Silence Éternal de Checkpoint Sandy (1986). The Fleming Collection. © Courtesy of the Estate of Ian Hamilton Finlay

📩 Every second Tuesday is newsletter day! Stay up to date with Scottish Art News and all things Fleming Collection. The next newsletter lands next week - in the meantime, enjoy a sneak peek at the most recent one here. Subscribe via the link in the bio. 🔗

🎨 The Fleming Collection champions contemporary art in Scotland. Each week, we spotlight an artist who has lived or worked here and created bold, innovative work. The Dundee-based artist Christopher Ivor Adam (@christopherivoradam ) makes prints, paintings, drawings, films, songs and stories, drawing on imagination and historical records while flitting between Gaelic, Scots and English. Adam creates characters and personalities to tell stories in idioms indigenous to his native Scotland, with recent projects including an interrogation of the link between traditional styles of singing and conspiracy theories. - 1. Christopher Ivor Adam (b. 1999). Harmonics (2026). © The Artist. 2. Christopher Ivor Adam (b. 1999). Melodics (2026). © The Artist. 3. Christopher Ivor Adam (b.1999). Rachel (2025). © The Artist. 4. Christopher Ivor Adam (b.1999). Cynthia (2025). © The Artist. 5. Christopher Ivor Adam (b. 1999). ‘An Guth/The Voice’ (2025). © The Artist. 6. Christopher Ivor Adam (b. 1999). ‘An Guth/The Voice’ (2025). © The Artist.