Pieces in the Times and the Sunday Herald both focus on artist Shahin Memishi. Seeking asylum in Glasgow, having been forced to flee his native Kosovo, Memishi (an art teacher) had something of a revelation on seeing work by the so-called New Glasgow Boys for the first time, and this show matches his portraits of the artists he admires with examples of their work.

I’m absolutely not having a go at the writers of these pieces. The curatorial conceit of showing a relatively unknown artist alongside the old guard who inspired him is intriguing, the story of Memishi finding succour in their work is a good, moving one, and a show featuring work by Steven Campbell, Ken Currie and Peter Howson is certainly newsworthy. Also newsworthy is the fact that the works by these artists are from a private collection, and are all for sale. Hmmn.

Anyway, here’s the thing: it’s an awful show. Awful. There’s some good stuff, sure, but none of it is by Memishi, and the hang is farcical. Half the paintings are at wonky angles, a few are sat on the floor, and a decent set of Peter Howson drawings is placed so high on the wall that you’d need to stand on a chair to get a good look at them. One of Memishi’s paintings is set on an easel right in front of a Ken Currie, obscuring it completely. The late Steven Campbell’s name is spelled ‘Stephen’, on the label beside his painting and in the title of Memishi’s portrait. Really. To me, that looks more like an insult to Currie and Campbell than a tribute. And so do Memishi’s paintings, however well-meant they may be. They don’t make you want to claw your eyes out in horror or anything, but they’re the sort of thing you see in those gallery-cum-shops that sell inoffensive stuff by local artists alongside novelty tea-towels and jewellry made by hobbyist housewives. I’m amazed that his subjects, having seen his work, agreed to sit for him (Campbell didn’t, for obvious reasons, but I’m told the rest did). And I nearly got the giggles when reading in the Times that Memishi is, according to Ally Thompson, ‘one of a new breed of European artists galvanising the city’s art scene’. This is not the case.

So, the show doesn’t deserve the oxygen of publicity - it should’ve been suffocated at birth! - but it drew more press than any exhibition in Scotland since the big Emin retrospective and Campbell’s posthumous showing of new work.

My point, I suppose, is that it’s depressing that the visual arts only make the news pages when there’s a whiff of scandal, a record-breaking auction or, as in this case, a heart-warming tale to be told. These things don’t have very much to do with art. My other point is that you shouldn’t waste your time visiting ArtDeCaf this month. Not for the art, anyway, though I feel duty bound to report that they make a pretty decent plate of scrambled eggs.

Update: My review of the show was spiked, for reasons I probably shouldn’t relate here, but you can read it on my Work weblog, if you like.

Prince is launching his new Planet Earth album as a free giveaway with a national Sunday newspaper in a move that has drawn widespread condemnation from music retailers.

The 10-track CD will be available free with an “imminent” edition of the newspaper. Planet Earth will then go on sale on July 24.

However it’s being distributed, I’m sort of faintly excited about the record. The new single, Guitar is decent-ish, in that it has wonderfully silly lyrics, and reminds me of Girls & Boys a bit.

You can listen to it by clicking the ‘play’ button below, or—more free stuff!—download it from 02.

[Click through to the site to listen to the audio]

My favourite News In Briefs gobbet is, I think, this one:

ANNA is shocked the Government has taken so long to release its “terror attack” leaflet. She said: “Why has it taken so long to bring out a 22-page pamphlet on basic planning for emergencies like keeping a supply of batteries, food and water? This should have been rushed out after 9/11.”

I know I always specify the number of pages in a pamphlet when making off the cuff political remarks, so it’s nice to see that Anna - 22, from London - does the same.

Of course, it’s little wonder that leftist analysis of Page 3 has moved on to its role as a propaganda tool, since any doubts anyone may have had about it being, you know, outmoded, exploitative and offensive pornography were quashed earlier this month by Shell Jubin, star of Big Brother and recipient of a First Class Honours degree in Art History from the University of Glasgow. Just in case you missed her considered thoughts:

Those who sneer at Page 3 lack intelligence. It’s beautifully-shot and tastefully pioneered the celebration of the female form.

In many ways it emancipated women, letting them exploit their assets, earn cash and keep control. I see it as a modern art form.

Interestingly, Ms. Jubin’s tits-out remarks are not the first time she’s taken a post-feminist stand. One of her tutors at Glasgow (who will remain nameless, for obvious reasons) was so appalled by the total dismissal of feminism in one undergraduate essay that he returned it unmarked, save for the following statistic:

On average, women in the UK earn 24.1% less an hour than men doing an equivalent job.

Who needs Heat when you have Submit Response?

You will need:

1. A copy of Heat magazine.
2. A copy of Goodbye, Babylon, the bespoke sextuple CD compilation of religous musics.

Now, simply play the compilation - any disc will do - and read the magazine.

It’s just a wild trip, man. I’m going to write a report for Erowid about it, right away.