artscope magazine: July/August 2008 Welcome Statement: Brian Goslow, managing editor Letters to the Editor Past, Present, Future: ANISH KAPOOR ANDREW SAFTEL: How do we get there? WEDDED BLISS: The Marriage of Art and Ceremony A POLITIC, Gallery XIV El Greco To Velázquez: Art during the reign of Philip III Luisa Rabbia: Travels with Isabella, Travel Scrapbooks 1883/2008 Collector's Choice: Late 19th Century Vibrations OFF THE WALL: 2008 Annual members’ Juried exhibition Featured Artist Laurence Young An Artful Touch: An Artful Touch Gallery Everday Monuments: the Photographs of Jerome Liebling: SAM FEINSTEIN (1915-2003): A retrospective DORA ATWATER MILLIKIN: Geometry of Place Nancy Craig: New Paintings and Works on Paper, and Romolo Del Deo: New Sculpture and Bronze Furniture ALEX KATZ AND FRIENDS / THE GLEANERS BLACK WOMANHOOD: Images, Icons, And Ideologies of the African Body 215 College Street Artists' Cooperative Gallery Kevin Gilmore: Recent Paintings Paintings: Stephen Courbois, Sculpture: Pat Musick Penelope Jencks: Sculpture in Bronze, Terracotta and Plaster Theater: Counter Productions Theater: Ko FEST Music: Marblehead Summer Jazz Concerts and Festival of Arts Dance: Bates Summer Dance Festival Musings: FUNG WAH ADVENTURE Capsule Previews: May/June 2008

Featured Artist Laurence Young Taylor M. Polites Laurence Young visited a friend’s studio about a year ago. “She was working with wax and torches. It bubbled. It bled. It burned.” The printmaker-turned-painter was captivated. “In printmaking, I loved the things that were beyond my control,” Young said. “There’s an excitement in that process, of utilizing a process that is in fact out of control.” He began experimenting with wax and pigment, stressing it with heat and then applying it in thick smears with a palette knife. “It is a way of entering into the painting for me. A way of beginning the process.” He now pairs his vivid coloring with a texture that adds depth and contour to the landscapes and structures that he paints. “I am revisiting them with this new surface, making them so much more,” Young said. A salt marsh of the Outer Cape entitled “Seasonal Change” seems to vibrate with slashes of blue and green, red and pink. The scene holds the viewer with its intensity. The wax darkens the colors, adding a depth to the shading as the eye is drawn further into the canvas along the rivulets of blue. In “Low Tide,” cuts of purple and aquamarine shimmer across the canvas and recede into the distance, leaving a lone boat half in shadow anchored on a sand flat. The boat, brightly lit in red and white Read the entire article in our magazine pages...