Posts Tagged ‘Rob Marks’

Terry Berlier: Erased Loop Random Walk at the San Jose Institute of Contemporary Art

Terry Berlier. Core Sampling (Tick Tock), 2009 (detail); FGR-95, dyes, steel, motors, MAKE Controller, computer, sensor, microscope camera, PVC, aluminum, pocket watch, and MAX. Courtesy of the Artist. Photo: David Pace.

From our partners at Art Practical, today we bring you Rob Marks‘ review of Erased Loop Random Walk, a solo exhibition of works by Terry Berlier now on view at the San Jose Institute of Contemporary Art. As Marks sees it, “Any despair over impending catastrophic environmental change evoked by [the work]…is balanced by a full-out sense of wonder and possibility.” This article was originally published on January 14,[…..]

Anoka Faruqee: Substance and Accident at Hosfelt Gallery

Anoka Faruqee. 2013P-34, 2013; acrylic on linen on panel; 33.75 x 33.75 in. Courtesy of the Artist and Hosfelt Gallery, San Francisco.

From our partners at Art Practical, today we bring you a review of Anoka Faruqee‘s paintings at Hosfelt Gallery in San Francisco. Author Rob Marks notes that critics of Op art who characterize the genre as superficial are ignoring the possibilities that lie beneath the surface: “Faruqee’s 2013P-29, 2013P-32, and 2013P-34 (all 2013), for example, could appear as little more than decoration, gimmickry, or novelty…. But such easily drawn conclusions—the[…..]

Best of 2012 – #museumpractices: The Museum on My Mind

As we continue the Best of 2012 edition, Marilyn Goh, DailyServing’s Editor for the Asia / Pacific region, has selected Rob Mark‘s series The Museum on My Mind. As a part of #Hashtags, the bi-weekly series on art and politics, Rob wrote a four part article engaging museum practices. Marilyn stated, “If I have to choose something that I particularly enjoyed reading about this year, it would[…..]

#museumpractices: The Museum on My Mind, Part I

John Cage, HV2 25B, 1992; one in a series of 25 aquatints; 12 x 14 inches; published by Crown Point Press, San Francisco. Courtesy of Crown Point Press.

#Hashtags provides a platform for longer reconsiderations of artworks and art practices outside of the review format and in new contexts. Today #Hashtags kicks off a new series on the institution of the museum, by writer Rob Marks. Stay tuned for Part II, and please send queries and/or ideas for future columns to hashtags@dailyserving.com. Part I: If the Walls Would Not Speak The museum is[…..]

Recovering Site and Mind: Richard Serra’s Sequence Arrives at Stanford

The Cantor Arts Center at Stanford University is engaged in a dangerous experiment, and it is not the levitation of a twenty-ton piece of Richard Serra’s steel sculpture, Sequence, 2006, thirty feet into the air. Nor is it the gyration of a 200-foot tall crane lifting the first of twelve panels—each almost thirteen-feet high and between thirty- and forty-feet long—from a flatbed trailer onto a[…..]