In her review of Marianne Bernstein’s new photo book, ‘Theatre of the Everyday,’ Sharon Garbe comments that the book is a tasteful venue for the photographer’s works. She speculates on the book’s title, declaring that perhaps “Bernstein’s reference to the theater is a declaration of photography’s artifice, its subjectivity.”
Read MoreSharon Garbe sees the sculptural installations in the exhibit, “In Pursuit: Artists’ Perspectives on a Nation,” and welcomes the works that are both political and personal that critique the American presence in the geo-political universe.
Read MoreSharon Garbe travels to Bethlehem, PA, to the The National Museum of Industrial History for an exhibit of works carved out of anthracite coal, a material once-mined in the region and known now as a major source of pollution when burned for fuel to heat houses and factories.
Read MoreSharon Garbe sees works by David Kettner at Arcadia University that keep the eye and mind engaged with their psychologically puzzling imagery dealing with childhood, memory, and the hidden depths that can lie below a simple surface.
Read MoreSharon Garbe talks with Sarah Kanouse about the artist’s upcoming performance this Saturday, Nov. 11, at The Rotunda. “My Electric Genealogy” recaps the Kanouse family’s long ties to the electrical grid, by way of planning and engineering the grid in the Los Angeles area, working for the power companies. Family histories once seen as benevolent and celebrated become fodder for this one-woman performance that holds up an uneasy mirror to the past. Very few have Kanouse’s personal connection to the electrical grid, but we all have some kind of connection, making this performance highly relevant for today and tomorrow.
Read MoreSharon Garbe spends time with Glen Foerd Artist in Residence, Sarah Peoples, and writes about Peoples’s theatrical tableaux on the wooded and grassy grounds outside the mansion.
Read MoreSharon Garbe sees a live garden gnome in action at Glen Foerd. As portrayed by 2023 Performance Artist in Residence at the historic mansion, Alex Tatarsky’s fictitious gnome is punny, funny, morose, musical and politically awake to their plight as a working class anomaly in the garden of a mansion.
Read MoreSharon Garbe sees the works of Quentin Morris at Arcadia University’s Spruance Gallery and calls the monochromatic work nuanced and riotously quiet.
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