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

Past, Present, Future: ANISH KAPOOR James Foritano Institute of Contemporary Art 100 Northern Avenue Boston Through September 7 You have to admire the level of commitment that curator Nicholas Baume and the ICA have brought to their invitation of London-based sculptor Anish Kapoor to the spacious West Gallery for the summer. Kapoor is not a gracious guest. To be blunt, he takes advantage. And you would think that an “almost” colonial – Kapoor was born in 1954 into an India just liberated from Britain – would know better. That he would be happy to squeeze himself into a corner and live out of his suitcase, with an occasional glimpse of our grand Boston Harbor. Not at all. Kapoor has brought with him 15 friends, from the subtly self-effacing, but grandiosely titled “1000 Names” to the behemoth and eponymously named “Past, Present, Future.” In between are an assortment of pranksters and poseurs who clamor for our attention, playing shamelessly for an audience – and getting one! But, let’s go back to the majestic presumption, which you, as visitors, will be approving if you decide to join the party with Kapoor and his raucous companions. “Past, Present, Future” is an enormous hemisphere. As it turns with glacial speed, passing from inside to outside the West Gallery’s south wall, it decorates the wall with the gelatinous red substance that is slathered over its surface - and hums. Motion and ambiguity of direction and purpose are themes that run throughout with an almost palpable knocking, as if someone were trying, persistently, to get in or get out. “1000 Names” occupies its small space with a modesty, primness and silence that is a refreshing contrast to the enormousness and enormity of its behemoth cousin. And yet there is a marked family resemblance. “1000 Names” looks, to this viewer, like a drill-bit emerging from the floor. And it also appears as if it could be withdrawing into the floor. The upward thrust of its point feels contradicted by its “skin” Read the entire article in our magazine pages...