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

Collector's Choice: Late 19th Century Vibrations James Dyment New England Quilt Museum 18 Shattuck Street Lowell, Massachusetts Through August 24 One of the most prominent venues of the Lowell Quilt Festival this summer is curated with the touch of a man, Gerald roy. He and Paul Pilgrim began collecting quilts in 1969. Both were quilt makers and had backgrounds in fine art. Although Pilgrim passed away in 1996, roy has continued the collection, which has grown to contain approximately 1,500 items including quilts and related materials. “During the Victorian era, there were basically two schools of quilting: traditional and non-traditional, which parallels the comparison today between traditional quilts and art quilts,” Roy said. Non-traditionals, known as Crazy Quilts, were brought into fashion with the help of women’s magazines and often composed by embroiderers, not quilters. They were technically not quilts because they were not constructed with quilted triple layers and were tied, not quilted. Because of the industrial revolution, cities had established a broader wealthy class and its residents followed the latest fashion trends. Fabrics during this period were often dark and drab, influenced by the fashions of Queen Victoria. Read the entire article in our magazine pages...