National Galleries of Scotland – Page 2 – The NEN

Much loved Edinburgh tradition, Turner in January, returns to the National Galleries of Scotland in 2026

Turner in January

1 January – 31 January 2026

National Galleries Scotland: National

Free admission

Turner in January | National Galleries of Scotland

Following the incredible success of last year’s blockbuster exchange with the National Gallery of Ireland, Scotland’s own much-loved Turners are back in Edinburgh for 2026!

Bring in the new year with the eagerly awaited return of Turner in January at the National Galleries of Scotland. Featuring 38 watercolours by renowned artist Joseph Mallord William Turner, the highly anticipated free annual display will take pride of place in room 21 in National Galleries Scotland: National in Edinburgh from 1 – 31 January 2026.

Last year saw thousands of visitors flocking to the National Galleries of Scotland to marvel at a once in a lifetime exchange of Turner watercolours from the Henry Vaughan Bequest with the National Gallery of Ireland, honouring the 250th anniversary of the artist’s birth. January 2026 will mark the triumphant return of Scotland’s Turners to Edinburgh, giving avid fans and newfound admirers the chance to spend time with some of the most treasured works from the Scottish national collection.

Turner in January is a beloved tradition for many people in Scotland. It signals the dawning of the New Year, and as we leave behind the darkest days of winter, the bright vitality of Turner’s work is exactly what we need.

Scotland’s famous collection of Turner watercolours was left to the nation by the great art collector Henry Vaughan in 1900. Following Vaughan’s strict guidelines, they have only ever been displayed during the month of January, when natural light levels are at their lowest. Because of this, these watercolours still possess a freshness and an intensity of colour almost 200 years since they were originally created.

This mesmerising exhibition demonstrates the extraordinary range of Turner’s work in watercolour, including atmospheric early drawings, experimental colour studies for prints and book illustrations and exhibition showstoppers.

Born in London in 1775, Turner’s combination of exceptional talent, intellectual curiosity and and relentless hard work resulted in watercolours which capture the sublime beauty of nature and encourage us to look again at the world around us.

In a career spanning 50 years, he developed new ways of painting in watercolour and revolutionised ideas of what could be achieved in the medium. Experimenting with an array of techniques and colour, Turner created works which continue to captivate and excite audiences today.

Turner in January invites visitors on an exciting, colourful journey, leaving behind January blues in favor of Turner’s views of the world, via moody landscapes, impressive city views and dramatic seascapes.

Travel across Britain, Europe and beyond through a dazzling array of artwork including scenes of the Himalayas, Venice and the Swiss Alps, to places a little closer to home, from a tempestuous view of Loch Coruisk on the Isle of Skye all the way down to serene Melrose in the Scottish Borders.

This year Turner in January will also feature the picturesque watercolour Virginia Water (about 1829), on long term loan to the National Galleries of Scotland and displayed for the first time since 2020.

The work shows a royal fishing expedition on Virginia Water, the artificial lake created as a royal pleasure ground in Windsor Great Park, with King George IV’s newly built ‘Chinese’ Fishing Temple in the background. In the foreground a pair of royal swans seem to be chasing away mallard ducks, a visual pun on Turner’s middle name.

Visitors will be able to immerse themselves further into the world of Turner through a Smartify audio highlights guide, returning for 2026.

Free to use on mobile devices, this audio guided tour will give fresh insights into the artwork on display, expanding Turner’s ideas and inspirations and adding another layer to the Turner in January experience.

Summer 2026 will also offer an additional opportunity to enjoy Turner’s work at the National Galleries of Scotland. Join us for an unmissable chance to see one of the artist’s most iconic paintings, Norham Castle, Sunrise, (c. 1845), which will be displayed for free at the National for the very first time as part of a special loan from Tate.

Charlotte Topsfield, Senior Curator of British Drawings and Prints at National Galleries of Scotland said: “After a year of celebrations for Turner’s 250th birthday and the huge excitement of the exchange with the National Gallery of Ireland in January 2025, we are so pleased to be showing Scotland’s Vaughan Turners and honouring Henry Vaughan’s bequest once again.

“We hope visitors will enjoy seeing familiar friends and find new inspiration in Turner’s glorious colour and light.”

Turner in January has been gratefully supported by the players of the People’s Postcode Lottery and the Postcode Culture Trust. Turner in January is a free National Galleries of Scotland exhibition opening to the public at 12pm on Thursday 1 January 2026.

A community group for families effected by suicide say art can be ‘empowering’ for people dealing with mental health challenges

With Friday 10 October marking World Mental Health Day, community group, Lothians Speak Their Name, have shared the ‘powerful’ effect that art has had since the passing of their loved ones.

A recent survey by the National Galleries of Scotland found that 84% of total visitors to the galleries felt their visit had a positive impact on their wellbeing.

Co-director of Lothians Speak Their Name, Sue Henderson, says she has seen and experienced first-hand the positive impact art can have on mental health.

The group, which was originally set up to create a quilt in memory of people who have died by suicide in Edinburgh and the Lothians, have been regularly visiting exhibitions and displays at the National Galleries of Scotland ever since.

Having visited for almost a year, Sue shares how it has been an incredibly valuable experience for helping the group to navigate their loss.

Sue said: “We have loved coming to the galleries so much, for some it has been powerfully beneficial.

“The tours, led by Duncan Robertson at the National Galleries of Scotland, are brilliant, for that short time it allows people to just disconnect from all the pain of their grief. It gives a moment of distraction.

“There are people in our group who never came to the gallery before, they didn’t think it was for them, but to see the impact it has on them is just incredible. Whether listening to the amazing stories of the art or just getting lost for a moment, it really can have healing powers.

“Seeing the effect it has on members of the group is so striking. One woman who lost her son to suicide, got completely lost in the art and it gave her a moment of relief from the day to day pain.

“I had never seen it be so demonstrable before, the power of art and how it can offer a distraction from the worst imaginable grief. People in the group have shared how the art can take them out of themselves and what a beautiful distraction it is.”

Art plays a significant role in enhancing mental health by providing therapeutic benefits, fostering emotional expression, and promoting overall well-being. It has been proven that art can evoke feelings of joy, nostalgia or even sadness, which can be therapeutic for individuals dealing with mental health challenges.

Over the past 20 years research on the impact of the arts on health has been growing and in 2019 the World Health Organization (WHO) published a report called ‘What is the evidence on the role of the arts in improving health and well-being?’.

The report looked at over 3000 studies from around the world which concluded that the arts play a major role in preventing and managing health. It identified the contribution that the arts may have in promoting good health and health equity, preventing illness, and treating acute and chronic conditions across the life-course.

This has launched further studies by WHO and the Jameel Arts & Health Lab in 2023 on the health benefits of the arts. As well as the Lancet Global Series Photo Essay which findings re-iterate the crucial importance of creativity within the sphere of health, and the evidence-based health benefits catalysed by imagination.

Research by the John Hopkins University School of Medicine even found that spending just 30 minutes in an art gallery once a month could extend your life expectancy by 10 years.

Siobhan McConnachie, Head of Learning and Engagement at National Galleries of Scotland said: ‘We are fortunate that we get to see the positive effect that art can have on people every single day in the gallery.

“But we know, and research shows, that art can do more than just put a smile on our faces, it can have real lasting impact on overall mental and physical health.

“We regularly welcome groups supporting people living with dementia, addiction recovery groups, health and wellbeing groups, mental health communities and so much more.

“It is important that art is considered holistically as a tool that can be used for early intervention and social prescribing in health, education and social care sectors.

“The power of art is truly incredible, and we are so delighted to have groups like Lothians Speak Their Name feel that in our galleries.’

Sue shared how the group have benefited from using art as a tool to connect with other people who are going through similar experiences. Brought together to make the memorial quilt, 49 people have made squares in memory of their loved ones, which hold the stories of their loves and lives.

As well as creating this beautiful memorial, it has brought people together as a community, where they’ve found support and friendship.

Sue added: “Our group was born out of the idea of making a quilt which remembers those we loved. Each square would represent someone in a positive way who was loved and lost, whether it included the things they loved or a fond memory of them.

“Some people in the group had never done anything like this but everyone felt how therapeutic it was to focus on something positive about their loved ones lives.

“There is something about being involved in a group activity together, whether creating the quilt or visiting the galleries. In the group everyone has experience of loss but that wasn’t the always the focus when we got together, the focus was also on creativity.

“There was never any pressure to talk about our losses. But what we found was that when everyone was distracted making their squares or looking at the art, conversations happened a lot more easily because the art was offering something else to focus on at the time.

“Often memories come with nothing but pain, but using art and creativity allowed everyone to remember the things they loved about the person, or to remember the good times.

“There are of course people who would come along, and they would never talk about their loss and that was okay too, because they still got to be in a room of people who understood what they were going through and that was support enough. They could come along and just immerse themselves in the task of creating the square.

“It was after we started making the squares that we reached out the galleries, and they offered us tours of exhibitions and displays. This just opened a whole new level of what we were doing. Some members of the group got really immersed in the visits and seeing the art offered inspiration.

“People have re-discovered their creative side and found a way to express themselves.

“Whether seeing or doing art I do believe it has a healing power. The fact we get to see the positive effect it can have on people is what I love most about this, it is an absolute privilege. So, I do really believe that art can be empowering for people dealing with mental health.”

The completed quilt has been touring around various locations in hope is that the individuals and lives it remembers will inspire viewers to start conversations about mental health and suicide and to reach out if they themselves are struggling.

It is currently one of 11 quilts on display at an exhibition in the Houses of Parliament in London.

If interested in getting involved in creating a square, please contact:

lothianspeaktheirname@gmail.com

As well as running regular tours for groups such as Lothians Speak Their Name, National Galleries of Scotland also warmly invites community groups, care homes and charities to book free visits to the galleries at a time that suits them.

Activities include guided tours of the collection and exhibitions, online art discussions, dementia-friendly sessions with specific themes, and bespoke tours tailored to the needs of each group

National Galleries of Scotland celebrate 175 years of the National gallery by revealing original plans for swimming baths under the building

Marking 175 years since Prince Albert laid the foundation stone of the National on 30 August 1850, the National Galleries of Scotland has shared its fascinating original building plans.

The National is an iconic part of the Edinburgh cityscape we know today, but the building itself could have been very different! One plan in particular by Robert. F. Gourlay from 1850 even shows underground baths and plunge pools incorporated beneath the gallery.

The drawing, held in the Historic Environment Scotland collection, shows the elevation of the terrace and plan of the basement, the same area where the National Galleries of Scotland opened the Scottish galleries at the National in September 2023.

You might be right in thinking that the condensation from swimming baths would not work well in an art gallery, but it was considered during the initial planning phase for the building.

The plan shows separate male and female plunge pools, baths and dressing rooms, as well as ‘lodgings for the keeper of the women’s and men’s baths’. The male and female areas would be separated by a 7ft wall and all the pools would be heated.

This is just one of many plans that were created ahead of the building of the National, alongside designs by the likes of Royal Scottish Academy treasurer, Thomas Hamilton. It was Scottish architect William Henry Playfair who was eventually commissioned to prepare final designs for the iconic National building we know and love today.

Playfair’s building – like its neighbour, the Royal Scottish Academy, also designed by him – was designed in the form of an ancient Greek temple. More than any other architect, Playfair was responsible for Edinburgh earning its reputation as ‘The Athens of the North’.

However, it took nearly five years to officially appoint Playfair as the architect following arguments between the members of the Board and the Royal Scottish Academy around what the building should look like.

Others also believed it shouldn’t be built at all and would only destroy the natural beauty of the city centre. During this limbo period many architects drafted their own suggestions for how they envisioned Scotland’s national gallery, including swimming baths.

Even once appointed, Playfair’s original plans differed from the building we recognise today. Originally, he set to build towers at the corners of the transverse central block, but these were abandoned during the project due to financial concerns. In fact Playfair was instructed by the Treasury to keep any kind of ornament to a minimum, because of financial stringency.

The concerns around cost weren’t the only restrictions put on Playfair’s design. He also faced town planning concerns. The council requested that Playfair ensured that the building blended into its naturally beautiful setting and did not detract from the rugged grandeur of the Castle Rock.

In fact the lack of grandeur left Lord Rutherford, a member of the Board and leading champion of the Royal Scottish Academy, to say say ‘I feel sure that the architecture of this building will be too simple and pure to captivate the multitude, but I am certain I follow the right path in what I am doing and so am content.’

150 years on the National gallery stands as an iconic building in Edinburgh’s landscape and last year certainly ‘captivated the multitude’, with a record-breaking year, welcoming nearly two million visitors.

By 1850 the Treasury were so intent on speeding up the execution of the building that Playfair was permitted to begin work before his contract drawings were completed. However, this encountered its own issues when the Board found its hand forced in the matter of the foundation ceremony.

The Lord Provost of Edinburgh, Sir William Johnstone, issued a personal invitation to Prince Albert during his presentation in London.

The Prince was incredibly keen to attend and even suggested that the Royal family would break their long journey to Balmoral at Holyrood. However, this left only a few weeks to finalise plans for the ceremony and posed a certain embarrassment since the foundations had not even been cut.

This massively expedited the process and by August 30, 1850, Edinburgh society gathered to witness the laying of the foundation stone, followed by celebrations.

The National opened nine years after the first stone was laid, with Prince Albert giving a moving speech in which he hailed the Playfair-designed building as a “temple erected to the Fine Arts”.

The building was officially opened on 24 March 1859. When the National was first opened to the public it had later opening hours on Saturday and Wednesday evenings so that working people could have the chance to view the national art collection.

The original founders of the National gallery seemed to agree with what we know now – that art can transform lives by supporting health and wellbeing, self-expression and social skills.

Anne Lyden, Director-General of the National Galleries of Scotland, said: “It is fascinating to look back on these old plans from 175 years ago and see where we started and where we are now.

“While the building stands true to its original design on the outside, we have continued to adapt inside, making Scotland’s world-class collection of art more accessible than ever before.

“We continue to hold those ideals of the original founders, that art can be transformative to people’s health and wellbeing.

“We put this at the heart of everything we do, with the galleries free-to-visit 7 days a week and ensuring we make art work for everyone.

“We also continue to grow the visitor experience at the National. In 2023 we opened the Scottish galleries at the National, transforming the visitor experience with 12 new breath-taking accessible spaces dedicated to showcasing the very best historic Scottish art.

“Whether exploring the galleries with friends, stopping off in the café, or entertaining the family with new trails, audio guides and events, there is something for everyone to discover at the National… although maybe not swimming pools!”

Be part of a Summer of Resistance!

TOMORROW: SONGS OF PROTEST WORKSHOP

TUESDAY 19 AUGUST: PHOTOMONTAGE ART WORKSHOP

ALL WELCOME!

Photomontaging Resistance Workshop and Community Lunch at Royston Wardieburn Community Centre

THURSDAY 5th & THURSDAY 19th AUGUST at RWCC

There is also a follow-up Songs of Protest workshop TOMORROW morning (Thursday 31st July) from 10 – 12.30 at North Edinburgh Arts.

Penny Stone will be introducing more protest songs before we get down to writing a few more verses for a new North Edinburgh protest song!

Art in the Open at The Pitt

FRIDAY 18th JULY 12 – 3pm

Wanna know a secret?

Our Art in the Open bike is popping up at The Pitt in Granton next Friday (18 July) and Friday 8 August!

Join us for a free workshop inspired by our Bruce McLean exhibition at Modern One, I Want My Crown.

We’ll provide all you need to get creative, and you can take your creation home at the end.

Best part? It’s totally free, just like the exhibition at Modern One

Set a reminder – we’ll see you there!

Make the most of the bank holidays at the National Galleries of Scotland

family events
extended opening of five-star exhibition, Everlyn Nicodemus

There is something for everyone to discover at the National Galleries of Scotland over the upcoming Easter and May bank holidays.

Visitors will have the chance to enjoy a programme of family events and experience Everlyn Nicodemus on Monday 26 May, with an extra day added to allow bank holiday revellers to enjoy the exhibition.

Spanning the gallery’s entire ground floor of Modern One, Everlyn Nicodemus is open now and free for everyone to visit. Experience Everlyn’s colourful, defiant and searingly honest artworks, with over 80 drawings, collages, paintings and textiles from over 40 years of her career, from 1980 through to the present day.

Families can also get involved with some joyful Easter artmaking inspired by Everlyn Nicodemus. Over the Easter holidays, from Monday 14 to Friday 18 April 2025 between 2–4pm, families can drop into Art Space 1 at Modern One to play with patterns, create shapes, mix colours and more.

Or for those looking for autism-friendly activities this Easter, a drop in event will be held on Tuesday 15 April 2025, 10.30am–12pm. Meet other families, explore the galleries and take part in creative activities with an experienced team of artists.

Autism-friendly sessions at the National Galleries of Scotland are for children and young people on the autism spectrum – with their families – who may benefit from smaller group sizes and tailored activities to suit individual needs.

For those looking to dive deeper into the world of Everlyn Nicodemus, join the panel discussion on Friday 23 May, 3-4pm for free at the National or via the YouTube livestream.

To mark the end of her first ever retrospective, Everlyn Nicodemus will be in conversation with writer JJ Fadaka and artist and curator Khadea Santi. Together they will chat about the lasting legacy of Everlyn’s amazing exhibition. Plus, livestream ticketholders can watch back anytime.

There is even more to discover when visiting the Moderns, with a completely free offering across two galleries and two sculpture parks. Weave your way through two exciting buildings featuring leading artists’ works which define the Modern era.

At Modern One, delve into displays, shows and installations from the leading artists of today, both inside and outdoors. As well as Everlyn Nicodemus, discover a celebratory display to mark Bruce McLean’s 80^th birthday. Bruce McLean: I Want My Crown traces the Glasgow-born artist’s humorous, provocative and engaging six-decade long inquiry into sculpture.

Through works made across a range of media including photography, performance, painting, printmaking, film, and ceramics, this one-room display invites you to challenge your thinking about sculpture and expand your ideas of what art can be.

Get ready for captivating, light-hearted and all-encompassing experiences at Modern One. On arrival you will be in awe of the striking land feature Landform in front of the gallery, designed by landscape architect Charles Jencks. Explore the grounds and discover further sculptural works by other major artists including Pablo Picasso, Barbara Hepworth, Jackson Pollock and Tracey Emin.

Once you’ve explored Modern One why not head across the road to Modern Two to further explore the grounds. Plus, you can celebrate the centenary of the remarkable Scottish artist Ian Hamilton Finlay (1925-2006) taking over the ground floor of Modern Two.

Or why not head to one of the National Galleries of Scotland’s other sites. At the National, drop into the Family Art Hub, open until 20 April. Designed to help you and your family explore the Scottish galleries together.

The space offers a place to create and share your art, read the books on offer and play. You can watch short films about different art techniques or listen to what children and artists think about art and what it is for. Spark your senses and make shadows and shapes in the play area.

At the Portrait visit Connections,a relaxed space for visitors to draw, read and chat about some of the ways in which we make connections through art. Bringing together communities, partner organisations, and artists, the displays highlight how we use art to find shared interests, discover social histories, explore issues and identities, and create new objects to tell new stories.

Current displays include portraits of Govanhill, a project exploring different issues that impact young people across Scotland today. Using photography as a creative tool, the voices and views of young people from Big Noise Govanhill are represented.

Also featured are images from Dementia Friendly Gallery Socials, artwork made by young people in Edinburgh Children’s Hospital, the ITAC Relay and Rowan Alba homeless prevention charity.

UK-wide award celebrates exemplary accessibility at the National Galleries of Scotland

The National Galleries of Scotland celebrates being shortlisted for the Visitor Accessibility Award 2025 at the prestigious Museum + Heritage Awards.

Home to Scotland’s world-class collection of art, the National Galleries of Scotland was shortlisted for the incredible strides made in integrating accessibility into every aspect of the visitor experience across all three of its galleries in the heart of Edinburgh.

From visually impaired, dementia friendly, British Sign Language and sensory friendly activities and resources, the National Galleries of Scotland has a mission to make art work for everyone and ensure anyone can access and discover Scotland’s incredible national collection.

The global Museum + Heritage Awards recognise the very best in the world of museums, galleries, and cultural and heritage visitor attractions.

The National Galleries of Scotland is the only Scottish organisation to be shortlisted for the Accessibility Award, with the winners to be announced at a glittering live ceremony on Thursday 15 May. 2025 marks the first year of the Accessibility Award, shining a light on exemplary initiatives which remove barriers and increase engagement for people with disabilities.

The National Galleries of Scotland’s People Team have also been shortlisted for Team of the Year, celebrating their work on the organisations people strategy. Their focus has been on inclusion, wellbeing, and the delivery of an engaging colleague experience. One result of this was the team working with many stakeholders and colleagues to deliver a new shorter working week for everyone in the organisation.

The National Galleries of Scotland was nominated for the Accessibility Award for improvements achieved during the opening of the Scottish galleries at the National, which opened in September 2023. Leaving a lasting legacy, the new spaces transformed the visitor experience and provide more visitor-centred galleries for the disabled community, as well as the launch of new online activities.

The mission was to ensure this extended across all galleries and everyone could easily discover Scotland’s national collection without barriers.

Whether exploring treasures such as Botticelli, Titian and the largest collection of Scottish art in the world at the National, discovering the very best of modern and contemporary art at Modern or coming to face to face with famous faces and pop culture icons at the Portrait.

Whilst the National Galleries of Scotland have run a dedicated accessible programme for over 20 years, the opening of the Scottish galleries was an opportunity to provide even greater flexibility and choice for how and when disabled visitors interact with the collection. With major accessibility improvements made, this transformed the experience for disabled visitors at the National.

The changes made during the opening of the Scottish galleries included an accessible path in Princes Street Gardens, new lifts, a partial Changing Places toilet, accessible entrances, inclusive signage, and self-led collection-based resources. This has since expanded across all three of the National Galleries of Scotland’s sites.

Across 2023 and 2024, the National Galleries of Scotland worked with consultants and audiences with lived experience on audio-described highlight tours across the galleries for blind and partially sighted visitors.

Which have now been accessed by over 12,000 people. Addressing a key accessibility barrier, new pre-visit online information was created including audio-described welcome and orientation tracks, BSL video-guides, and sensory-friendly films on the buildings, facilities and artworks, to make visiting the gallery easier and less stressful.

Inclusive resources were created at National Galleries Scotland: National, home to the Scottish galleries, including in-gallery object handling, sensory bags with tactile objects and trails that centre inclusion and diversity.

Accessibility boxes containing sensory maps, ear defenders, disposable earplugs, magnifying glasses were all made available at all gallery information points. Two dementia-friendly art films and the first in a deaf led film series ‘Exploring Deaf History’ were also created to allow people to discover the collection online.

Over the last year this has resulted in 4,374 people attending the regular programme (Visually Impaired Programme, dementia-friendly, BSL tours, Relaxed sessions afternoons, sensory-friendly sessions) delivered by a creative team that includes deaf and disabled people.

1,433 people also enjoyed free supported or self-led group visits. With the programme extending online, access groups including Deafblind Scotland, Deaf Action and Guide Dogs Scotland make regular use of digital and in-gallery resource.

Siobhan McConnachie, Head of Learning and Engagement, National Galleries of Scotland, said: “We are absolutely delighted to be recognised by the Museum + Heritage Awards for all of our efforts to make the galleries accessible to all.

“We believe art is for everyone and that museums and galleries are a resource which should be available for visitors to use and experience in their own way. Ensuring everyone has access to Scotland’s wonderful art collection only enhances our cultural landscape.

“Our focus has been on supporting independent visits by disabled visitors, offering greater flexibility and choice for how and when disabled visitors interact with their collection. We hope that our online and in gallery resources help everyone to feel welcome and at ease in all of our galleries.”

The development of all programmes and resources were underpinned and informed by direct relationships with disabled audiences and partnerships with expert organisations.

Working alongside Alzheimer Scotland, RNIB Scotland, Vocaleyes, Deaf Action, Door in the Wall Arts Access, PAMIS (Promoting More Inclusive Society), individual consultants, creatives and experts with lived experience.

A Summer of Resistance at the National Galleries of Scotland

Artist and Filmmaker Steve McQueen takes over Modern Two

Resistance: How Protest Shaped Britain and Photography Shaped Protest

National Galleries Scotland: Modern Two

21 June 2025 – 4 January 2026

Tickets £4-£14 Friends go free

Resistance | National Galleries of Scotland

National Galleries of Scotland announces the unmissable summer 2025 exhibition Resistance, conceived by acclaimed artist and filmmaker Steve McQueen. Taking over the whole of Modern Two from 21 June 2025, the exhibition will explore how acts of resistance have shaped life in the UK, and the powerful role of photography in documenting and driving change. Tickets are on sale now.

Presenting around 200 photographs from a century of activism, Resistance gives a voice to the stories and images from history which have been buried in UK archives until now.

Throughout the exhibition McQueen amplifies underrepresented voices to present a compelling exploration of overlooked histories, shedding light on the forgotten stories that have helped define the course of Britain’s history. Resistance tours to Modern Two from Turner Contemporary, Margate.

This exhibition will bring together works by renowned photographers such as Vanley Burke, John Deakin, Fay Godwin, Edith Tudor-Hart, David Hurn, Tish Murtha, Humphrey Spender, and Paul Trevor, alongside lesser-known photographers who documented these powerful stories.

Drawing photographs from various archives, collections and image libraries, McQueen has deliberately focused on moments captured before digital cameras became commonplace.

Spanning both floors of Modern Two, Resistance spans from the radical suffrage movement in 1903 to the largest-ever protest in Britain’s history—the Anti-Iraq War Protest in 2003.

The exhibition will also highlight lesser-known events including the hunger marches of the 1930s where thousands of protesters from Scotland and across Britain marched to London, protesting unemployment and poverty. As well as the Blind March of 1920, a pivotal moment in the fight for disability rights.

Visitors will encounter poignant images from demonstrations against environmental destruction, anti-nuclear campaigns and actions advocating for peace.

The exhibition will trace the evolution of environmental movements and highlight a shift from single-issue demonstrations to broader anti-capitalist efforts that paved the way for today’s climate change action.

Including powerful photographs from the 1000-mile march from Faslane Naval Base to Greenham Common in protest against American nuclear weapons being stationed in the UK in 1983.

From Janine Wiedel’s photographs capturing life at Greenham Common Women’s Peace Camp to Andrew Testa’s striking depictions of the 1996 protests against the proposed Newbury Bypass in Berkshire, England, Resistance will serve as a testament to the empowering impact of collective action.

It will explore the intersections between movements such as the Gay Liberation Front and the Women’s Liberation Movement, where protests against Section 28 of the Local Government Act brought the LGBTQ+ community together. Connectinghistoric struggles, the exhibition will also examine the fight against fascism in the 1930s and 1940s.

The exhibition will underscore the ongoing struggle against racism, showing how grassroots movements have consistently confronted oppression throughout history. A pivotal moment was the Black People’s Day of Action on 2 March 1981, following the house fire at 439 New Cross Road in South East London, that claimed 13 lives.

The photographs that captured the protest powerfully depict this landmark for Britain’s civil rights movement. Paul Trevor’s series on the Bengali community will further illustrate how the emerging concept of community photography became a form of activism, amplifying the voices of marginalised groups.

Steve McQueen said: “Within the 5 years of developing the exhibition and book with the Turner Contemporary team, it has been an ambition for Resistance to travel to Scotland to be shared with audiences there.

“Resistance explores how people have challenged the status quo—a mission that feels especially urgent in today’s political climate.”

Leila Riszko, Assistant Curator of Modern and Contemporary Art at National Galleries of Scotland said: “We’re enormously proud to platform this compelling selection of works curated by Steve McQueen.

“This is an exciting opportunity to explore the power of photography in documenting the significant yet underrepresented stories of people who’ve helped shape the world we live in today.

“In these divisive times, many of the themes, moments and narratives highlighted in the exhibition continue to have resonance now.

“As a show about resilience, collective power, galvanising for positive change, and inspiring reaction, we hope that Resistance will stimulate discussion with our visitors and invite deeper reflection on those contemporary issues.”

Resistance is curated by Steve McQueen and Clarrie Wallis, with Emma Lewis. Political research is by Sarah Harrison.

The exhibition is produced by Tessa Pierce, with assistance from Brittany Crombie. Organised by and originated at Turner Contemporary, Margate, and adapted for presentation at National Galleries Scotland: Modern Two.

A major new publication by Steve McQueen was also recently released to coincide with the exhibition. The book was compiled by Steve McQueen and edited by Clarrie Wallis and Sarah Harrison.

It is published by Monument Books, a new imprint from Harper Collins.

Centenary of extraordinary Scottish artist Ian Hamilton Finlay to be celebrated in a new exhibition at Modern Two this spring

Ian Hamilton Finlay

National Galleries Scotland: Modern Two

8 March – 26 May 2025

Admission free

Ian Hamilton Finlay | National Galleries of Scotland

The centenary of the remarkable Scottish artist Ian Hamilton Finlay (1925-2006) will be marked in a new free display of his work on the ground floor of Modern Two in Edinburgh from 8 March to 26 May 2025.

This exhibition will showcase key highlights from Ian Hamilton Finlay’s artistic career, starting in the early 1960s until his death in 2006. Hailed as a unique combination of poet, sculptor, printmaker, gardener and provocateur, Finlay’s practice covered a wide range of media which will be reflected in this display of sculptures and prints as well as never-before-seen archival materials and a room-sized installation, all from Scotland’s national collection.

From the Classical world to the French Revolution, the Enlightenment to World War Two, Finlay, a self-proclaimed ‘anti-modernist’, often looked to history for inspiration. Recurring motifs including boats, tanks, wallflowers and ships can be spotted throughout the range of artwork that will be on display. Although simple by design, they often draw on more complex references to history, literature and art – with subtle humorous nods.

Born in the Bahamas in 1925 to Scottish parents, Finlay moved to Scotland in his early childhood, taking up a brief stint at Glasgow School of Art and eventually settling in Edinburgh in the late 1950s. His love of the written word influenced the start of his career as a playwright and poet. He became a key figure in the concrete poetry movement – a type of visual poetry where words are arranged to create patterns and images on the page.

Visitors will see early examples of Finlay’s concrete poetry, including the screenprint Star/Steer (1966), which tells the visual tale of a ship navigating stormy seas under the silvery light of the stars, presented through cascading words.

The artist’s first steps into the world of sculpture will also be explored through his days as a hobbyist toy-maker in 1960s Edinburgh. The exhibition will feature the wooden Toy Cow (1962-63), one of the earliest examples of Finlay’s sculptural work, alongside photographs of the artist amongst his toy creations.

A visionary artist, Finlay harnessed the power of collaboration throughout much of his work, drawing on the expertise of fellow makers and creators to bring his artistic visions to life. From stone-carvers to typographers, ceramicists to calligraphers, he employed a wide range of specialist technicians to realise his work.

In 1966, Finlay and his wife Sue moved into a semi-derelict farmland called Stonypath, south-west of Edinburgh, sheltered within the Pentland Hills. Here, he would go on to create what is often considered his greatest work: an ambitious, expansive garden filled with sculptures.

Renamed ‘Little Sparta’, in reference to the Spartan wars in Ancient Greece, and a humorous nod to his own personal battles with organisations such as the Scottish Arts Council, Finlay grew his creative practice in its grounds over the course of 40 years.

Rarely leaving its confines for decades due to agoraphobia (a fear of open, crowded spaces), Finlay created over 260 sculptures and artworks at Little Sparta, distributed across its four acres of curated gardens. The site remains an integral part of Finlay’s artistic legacy and is open to the public to enjoy each summer.

Visitors to the exhibition can take a glimpse into the lush grounds of Little Sparta for themselves through Finlay’s installation Nature over again after Poussin (1979). Filling a whole room, the work comprises 11 photographs set on plinths, each offering different viewpoints of Little Sparta.

A carved stone can be found within each image, ‘signed’ with the initials of artists who embraced a more classical approach to painting landscapes. The work encourages a moment of escapism, embracing time to get lost within the serenity of each photo.

The exhibition will also take over the Keiller library, where visitors can uncover more about the man behind the artwork through a selection of rare archival materials. Objects including letters, personal photographs and notebooks, many of which have never been on display before, will give a unique insight into Finlay’s inspirations, artwork and life.

Patrick Elliot, Chief Curator of Modern and Contemporary Art at the National Galleries of Scotland said: ‘Ian Hamilton Finlay was a completely unique figure in British art.

“Severe agoraphobia meant that he seldom left his house and garden in the Pentland Hills. Collectors, museum curators and art lovers from all over the world came to see him and his garden over a period of 40 years.

“He was a complete maverick, a wonderful, complicated, fascinating man and artist. Totally uncompromising and at times difficult, he created what is, in many people’s eyes, the greatest artwork created in Scotland in the second half of the twentieth century: his garden at Little Sparta.’

Ian Hamilton Finlay is free to visit and yours to discover at Modern Two from Saturday 8 March 2025.