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

BLACK WOMANHOOD: Images, Icons, And Ideologies of the African Body Rick Agran Hood Museum of Art Dartmouth College Hanover, New Hampshire Through August 10 YOU ENCOUNTER A LARGER THAN LIFESIZE SCULPTURE OF A BLACK-HAIRED, BROWN WOMAN. SHE HAS A LULLING QUALITY, IN REPOSE, ASLEEP ON HER SIDE UPON THE GALLERY FLOOR. HER HAIR TRAVELS, RAVELS AND GATHERS AS IF A GIANT, TIGHTLY WOUND BALL OF WOOL FROM WHICH TO WEAVE A WORLD. FULLY ARMORED, HER SLEEPY SOFTNESS IS FORMED OF RUST-PATINAED METAL; THE WOOL, WIRE, CREATING AMAzING TENSION BETWEEN MATERIAL AND GESTURAL AFFECT. IT IS ALLISON SAAR’S “CACHé.” In the next gallery, an indigo-pigmented wooden sculpture of a Yoruba fertility goddess, wreathed in children, wields her breasts as if to feed the world. In a third room, colonial postcards juxtapose young “savage” girls with those “civilized” by western clothes. Or they advertise a sexualized brand of colonial tourism. Yet another gallery offers female shapes wrought of black and white cowhide, formed on the body of South African artist Nandipha Mntambo, a defacto self portrait in multiples, called “Balandzeli.” The exhibition was created entirely by people of African descent: the majority are black women. The show's curator, Barbara Thompson, Read the entire article in our magazine pages...