Still Glasgow
I decided to to return to the Glasgow Gallery of Modern Art (GOMA) to see what was new. I previously blogged about the gallery in May 2025, in Part 149 of this blog series. Some of the exhibits are still in place, notably John Akomfrah, Mimesis: African Soldier; the Sharon Hayes exhibit and the work of Anne Collier. What is new is an exhibition entitled ‘Still Glasgow’ which opened in November 2025 and runs until June 2027.
This has been put together from the Glasgow Life Museums collection, mainly photographs, depicting past and present Glasgow. Covering the period from the 1940s to the present day, it’s a marvellous display of people and culture that go to make Glasgow what it is. There are more than 80 works on show, so there is a lot to take in and I imagine I will return for another look later in the year.
Of particular interest to me being a huge Beatles fan, is a photograph of Paul McCartney, outside Camerons Bar on Carnarvon Street in Glasgow. This was taken by Linda McCartney in 1970, the year the Beatles split, and the McCartney’s had taken time off to recuperate on their farm near Campbeltown. Paul appears happy in the shot, clean-shaven in contrast to the image portrayed during the Let It Be sessions or what I now like to refer to as the Get Back sessions. He is wearing a long grey overcoat and is carrying a brown paper bag. I have no idea what is in the bag. Could be a bottle, could be a sandwich.
Another exhibit is called Red Road Court, 2012 by Iseult Timmermans. This consists of 3 colour photographs on aluminium of the Red Road flats that were built in the 1960s, and eventually demolished between 2010-2015. From 2003, these flats were home to many asylum seekers and refugees who had made challenging journeys to arrive in Glasgow. The photographs taken between 2010 and 2012, were the result of a collaboration with the remaining residents shortly before demolition. Documenting thirty floors along with the view from them and the occupants, it provides a snapshot of the place and its people. It gives us the viewers, a sense of the community that lived their lives here, people simply trying to get on with life and make the best of what they have and who they are. It’s a powerful piece, and well worth visiting.
I also enjoyed a piece by Alasdair Gray, entitled Frances Gordon, Glasgow Teenager, 1977, Acrylic on paper and collage on board. Gray was employed as the City Recorder in 1977 by Elspeth King, who was the curator of social history at the People’s Palace. Gray produced works for The Continuous Glasgow Show at the museum in 1978. The work on display here shows Frances Gordon who was an admin worker in the People’s Palace. It is a collage, which provides us with an insight into her life during this time. Items from her handbag have been placed around a painting of her, including bus tickets, photographs, receipts for denims and platform shoes. There is also a ticket for an Elton John concert. I thought this was a pretty cool piece and one I’m sure all of us could reproduce for ourselves in tribute to our own life and to the artist who originally came up with such an inspired work of art.
Also of note is a series of photographs of street musicians. I didn’t note the details of the photographer, so will correct that next time I visit.
In another gallery, I came across a modern work of art which was new to me. Special Device, 1945 by John Tunnard. It is a landscape though quite abstract. I don’t know this artist, so will need to do some research, but really loved the painting. According to the notice board, his work can be loosely termed British Neo-Romanticism, and is very modern and industrial looking. Well worth looking up and is the sort of painting I would be happy with on my wall. A great finish to an enjoyable and thought-provoking visit.
The Fiction Factory 