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

SAM FEINSTEIN (1915-2003): A retrospective Michael Persson Cape Cod Museum of Art Rt 6A Dennis, Massachusetts Through July 27 Art is evolution. And for most, evolution means the forward passage of change, from cave painting to pointillism, John Singer-Sargent to Chuck Close, or so you’d think. For abstract expressionist painter Sam Feinstein, evolution moved in the opposite direction. His was a visual devolution, where content became visceral abstractions that took his painterly vision and philosophy towards the realms of faith and nature. Feinstein’s retrospective on the grounds of the Cape Cod Center for the Arts is this “opposite evolution” succinctly put. Its 28 pieces attempt to plot the creative course of an artist with over 1,200 works to his name. A daunting task, to say the least, and yet by the time you finish, you come away with a distinct sense of upliftedness, something Feinstein spent a lifetime attempting to coax. Samuel Lawrence Feinstein arrived in New York from a small town outside Kiev, Ukraine in 1922. As with most emigrating families, the Feinsteins’ life savings was to be their “startup” capital in the New World. By the time they set out for Philadelphia their money was gone, exchanged for forged currency in a deal gone bad that would doom their early years to poverty. By the time Feinstein was set for higher education, his choosing art over medicine or law created tremendous uproar. His allegiance to self-expression through art and not his family’s financial security presented the young man with his first critique when his mother called him a “blackhearted murderer.” In the show, there is what is thought to be a portrait of his mother: an example of one of the many stylistic avenues the young artist took through the 1930s. Read the entire article in our magazine pages...