THE SHERIDAN PRESS, Sheridan, WY
by Caroline Elik, August 11, 2023
“‘Reclaiming the West’ draws inspiration from pollution, climate change and the historically violent relationship between Native Americans and early U.S. settlers.”
Sculptures Grace Garrison Farm
THE PUTNAM EXAMINER, Putnam County, NY
by Abby Luby, September 2009
Collaborative Concepts, a professional arts group who has attracted local and New York artists as well as artists from all over the world, to come and create site-specific art for the endless pastures here in the Hudson Highlands… Just beyond is the farm’s watering hole for the cows who might be surprised to find Tom Faulkner’s ” Water Fall,” a floating carpet of (2,000) recycled plastic bottles, bottoms facing up, each colored differently (imaging Fall foliage).
The Gospels Art Work
U MAGAZINE, Pasadena Star-News
by Priscilla Fleming Vayda, March 24, 2007
Of the Stations of the Cross, Faulkner said, “I want people to be transformed. I want that with all of my work, for people to look at a piece, be engaged by it. I have had a teenager say ‘I have had a religious experience’ That is what I want. If I can make someone feel better about their toil, that is what I want. I have seen people in tears. That is what I want and I often get it. That is what reinforces me.”
ART TALK, KCRW LOS ANGELES
Edward Goldman, Host, March 13, 2007
I wish I had a video camera to convey the daring quality of this project. There is nothing pretty about (the sculpture). Assembled from very mundane objects, they have a disturbing air about them. They make you think about how vulnerable our lives are.
SALT LAKE TRIBUNE
by Peggy Fletcher Stack,February 5, 2005
For some, Faulkner says, the problem is “the language of modern art. My job is to translate for them.” He has assembled common items from the 21st century, mixed them with political and social commentary and then attached them to one of the 14 traditional stations of the cross… Two of the Stations make specific use of 9-11 images. At Station V, there is a model home in flames on a platform, under which there is a toy fire engine smashed by a rock. Faulkner sees all these items suggesting unexpectedness of events like the attack on the twin towers
NEW YORK TIMES
by Michael Brenson, December 15, 1989
“Memorial,” is a powerful tribute to the victims of the Holocaust. It is a construction with many different materials and objects, just about all of them loaded with meaning. There is something dark and inhuman here, but there is also the hope and ceremony of prayer.
NEW ART EXAMINER
by Karl Moehl, November 1987
In his subsidized role of carpetbag culture carrier, he has become acutely aware of the plight of the family farm and thus has produced this provocative piece. Stylistically Faulkner mostly resembles Marisol, and thus fits into that school of modern sculptural endeavor that draws inspiration from store-window display.
People Who Live…
by Patricia Phillips, May 1984
Faulkner’s installation illustrated the power of successful symbiosis of site and object in public art. Whether his intentions were strongly site specific or the consequence of a more fortuitous combination of idea and location, the barrenness of his moment in the heart of urbanity enhanced the work’s ironical power and suggestiveness. It is still wise to remember that people who live in glass houses should not throw stones.
1983 in Review: Alternative Spaces
Art in America
As part of the Bryant Park artist-in-residence program sponsored by the Public Art Fund, Tom Faulkner built a huge site-sculpture title People Who Live…Mounted on the grid-like maze in the center of the park were plaques with the names and dates of wars from the beginning of history to the present; lining the sides of the park were rock cribs and raised window (frames) with broken panes as well as a series of catapults which lobbed stones into the maze.