Eugene Mirabelli, Renata the Painter
"What if a person passing through this deeply ambiguous conduit were to lose sight of the border between dream and reality?" " . . . only we know how infinitely more exciting it is to live there than along the humdrum margin between life and death." These quotes from Eugene Garber's lush exploration of Vienna at the turn of the century might be referring to his own giddily postmodern writing. Vienna ØØ, which I loved, is funny and dark, mythic and modern. And sexy.
Lynda Schor, Sexual Harassment Rules
In stories that travel from the cultural center of Europe to the primitive heart of the Amazon, Garber inhabits a charged historical moment to probe--and play with--deep intellectual and aesthetic dualities: art and science, genius and madness, passion and polite society. Vienna ØØ is a delicious mobius strip of a book that examines the contradictions of the human mind and spirit. A feast.
Ron MacLean, Headlong
In an era of endless spats over whether contemporary literature should be "experimental" or somehow more "humane," Gene Garber quietly persists in producing work that is both-- a rich display of language as a solid, corporal, but also lyrical thing, a chronicle of the imagined lives of characters, some of them our own gods of the previous century, who gloriously bleed and smell and sing and die. The stories in Vienna ØØ are anything but quiet. Flush with painting and music, Wagner and Vienna, egos and art and sex, they take their readers on a wild ride through that city and that time, through the whole dream/nightmare of an overarching Gesamtkunstwerk that fuels their characters' lives. History and art, Garber always reminds us, are not interesting hobbies. They have everything to do with life and death.
Joyce Hinnefeld, Stranger Here Below
Lynn Hassan's art is an excavation of the imagery of the subconscious mind. Detailed drawings and photomontages are fundamental to her artistic practice and are the framework for her richly textured and many-layered subterranean journeys in painting, sculpture, and installation. By employing fanciful and sometimes unsettling juxtapositions of archetypes, ordinary objects, and sentient beings culled from a variety of cultural sources, Hassan performs a kind of visual alchemy that prompts us to revisit and reconsider their meanings from our contemporary perspectives.
Cynthia Farnell, artist and art critic
Lynn Hassan's tonal drawings and mixed media sculptures reveal a vision that is organic, provocative, and shamanistic. Her work embodies multiple realms contemporaneously. Hassan combines the ancient past with the present, shadowy darks with the light, and life with sex, with death. Her work unites the bowels of the earth with the wings of heaven. Even though her images dance toe to toe with extremes, they also explore the in-between-ness and the ambiguities of becoming. They reveal the vulnerability of the unknowing. It is at once frightening and refreshing to identify the various elements of the self in Hassan's archetypal characters. Suddenly the universal stories become personal. We are all undeniably and indefinitely interconnected.