Richard Demarco co-founded the Traverse Theatre in Edinburgh in 1963 and ran the vibrant Richard Demarco Gallery in Edinburgh for almost 30 years. He promotes crosscultural dialogues and was the first person to introduce Joseph Beuys in the UK. Joseph Beuys was a German sculptor and creator of action performances, political activist and teacher. This book explores the works, lectures and 'Actions' which resulted from the mutual hopes, inspirations and shared values of Richard Demarco and Joseph Beuys, the innovative and inspirational German postwar artist, from 1970 until Beuys' death in 1986. Demarco, an avant-garde gallerist in Edinburgh, was an early proponent of Scotland taking its place within the European art world; Demarco recognised the visionary quality of Beuys' work and visited him in Oberkassel in January 1970. In the hope of focusing Beuys' attention on Scotland, he presented him with a set of postcards depicting typical Scottish scenes. Beuys responded with, 'I see the land of Macbeth, so when shall we two meet again, in thunder, lightning or in rain?' They reunited in thundery Edinburgh later that year and Demarco led him northwards along the ancient track he calls 'The Road to Meikle Seggie'. This initial experience of the Scottish landscape inspired Beuys, who felt a strong connection with Celtic culture, and laid the foundation for a remarkable artistic friendship which enriched the work of both men. With photos from Demarco's personal collection and essays spanning from 1970 to the present, this is an intimate and intellectually rigorous look at a friendship seminal to the development of art in Scotland over the last 40 years.

Gallery Director, artist and teacher Richard Demarco was in at the very start of the Edinburgh Festival in August 1947. Born at the beginning of that same year, Roddy Martine’s involvement commenced in 1963 when, at the age of sixteen, he edited an Edinburgh Festival magazine.  Therefore both Richard and Roddy have highly individual memories of the most remarkable international festival of the arts the world has ever known. At the same time, both have witnessed its evolution from the noble vision of its founders.  Now in its seventy-sixth year, can the Edinburgh Festival survive? Demarco’s Edinburgh will be a hit with any Edinburgh Festival regular, newbie or on-and-off visitor. It will also be of interest to anyone who wants to learn more about the modern history of Edinburgh or the world of the arts, given the central role the festivals hold in the culture of both.

Richard Demarco co-founded the Traverse Theatre in Edinburgh in 1963 and ran the vibrant Richard Demarco Gallery in Edinburgh for almost 30 years. He promotes crosscultural dialogues and was the first person to introduce Joseph Beuys in the UK. Joseph Beuys was a German sculptor and creator of action performances, political activist and teacher. This book explores the works, lectures and ‘Actions’ which resulted from the mutual hopes, inspirations and shared values of Richard Demarco and Joseph Beuys, the innovative and inspirational German postwar artist, from 1970 until Beuys’ death in 1986. Demarco, an avant-garde gallerist in Edinburgh, was an early proponent of Scotland taking its place within the European art world; Demarco recognised the visionary quality of Beuys’ work and visited him in Oberkassel in January 1970. In the hope of focusing Beuys’ attention on Scotland, he presented him with a set of postcards depicting typical Scottish scenes. Beuys responded with, ‘I see the land of Macbeth, so when shall we two meet again, in thunder, lightning or in rain?’ They reunited in thundery Edinburgh later that year and Demarco led him northwards along the ancient track he calls ‘The Road to Meikle Seggie’. This initial experience of the Scottish landscape inspired Beuys, who felt a strong connection with Celtic culture, and laid the foundation for a remarkable artistic friendship which enriched the work of both men. With photos from Demarco’s personal collection and essays spanning from 1970 to the present, this is an intimate and intellectually rigorous look at a friendship seminal to the development of art in Scotland over the last 40 years.

William McGonagall - weaver, tragedian and poet - ridiculed by his peers for his use of language, has become known as the 'worst poet' of all time, and 'Scotland's other national bard'. His influence has spread far and wide. Spike Milligan renewed interest in the poet - McGonagall making frequent appearances in "The Goon Show", alternatively played by Spike Milligan and Peter Sellers. "Harry Potter" readers know of Minerva McGonagall - so named by JK Rowling after the poet. Fans of "The Muppet Show" will recognise Angus McGonagle - the Argyle Gargoyle. In Terry Pratchett's "The Wee Free Men", the Nac Mac Feegle have a Gonagale as a battle poet who uses dreadful poetry to see off the enemy. Monty Python's "Flying Circus" created the McGonagallesque character Ewan McTeagle played by Terry Jones. Billy Connolly's "World Tour Of Scotland" featured him reading McGonagall. "Private Eye" has recently parodied his work. It is the mangled metre, limited vocabulary, clumsy rhythms, distractingly awful rhymes, lack of poetic metaphor and extraordinarily inappropriate imagery of his poems which combine to delight and appal, and his indomitable spirit that made his legend grow. Having been drawn to poetry in the 1870s he never stopped his efforts, publishing various collections and broadsheets of his work and touring widely giving readings, becoming something of a cult figure in his own lifetime. Scots, young and old, at home and abroad, celebrate his memory, and this new presentation of his work will appeal to those who already hold him dear, and bring a new audience to his work who will learn why he had bestowed upon him the elaborate title, "Sir William Topaz McGonagall, Poet and Knight of the White Elephant, Burmah" and understand why he carried an umbrella to protect himself from rotten fruit. McGonagall, who died in September 1902, is most famous for his account of the Tay Bridge Disaster in 1879 when a storm destroyed the bridge as a train passed over it. Beautiful Railway Bridge of the Silv'ry Tay! Alas! I am very sorry to say, that ninety lives have been taken away, on the last Sabbath day of 1879, which will be remember'd for a very long time. "The Comic Legend of William McGonagall" by Charles Nasmyth - with an introduction by Richard Demarco, Scotland's most influential advocate for contemporary art - is a part-satirical, part-factual collection which illustrates the legend and poetry of the maligned Edinburgh-born Dundonian owing as much to the "Broons" and "Oor Wullie" comic strip artist Dudley Watkins as it does to William Blake and the Surrealists. Combining the absurd with elements of social satire and artistic parody, the illustrations, a series of 36 paintings, depict McGonagall in a range of roles and settings, from a romantic partner to Marilyn Monroe to an enemy of Hitler, providing a fascinating portrayal of the poet and his unconventional verse in a quite unique collection. The artist sees McGonagall as a complex character. 'He may have been deluded with regard to his own abilities, but he was motivated by an unshakeable self-belief which is one of the very qualities we associate with genius' - "Scotland on Sunday".

Directorial debut of Bill Forsyth following four unemployed Glaswegian teenagers in the 1970s. When Ronnie (Robert Buchanan) discovers that stainless steel sinks are worth a lot of money, he recruits friends Wal (Billy Greenlees), Alec (Allan Love) and Vic (John Hughes) to help him steal 90 of them from a nearby warehouse. The leader of the gang hatches a complex scheme that requires Vic and Wal to dress up as girls and use a sleeping potion, concocted by chemistry expert Bobby (Derek Millar), to borrow a bakery delivery truck for their cunning getaway. With Ronnie at the helm, can the friends pull off the heist and obtain their small fortune?