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601 Tully

601 Tully

601 Tully, named after its street address, was an abandoned residence on the Westside of Syracuse, that I renovated, with college students, into a neighborhood art museum and center for education. Both Mel Chin framing toxic soil and Matta-Clark drawing a circle though which we view urban blight, help to reveal an existing site. I would add to these broadened definitions of sculpture neighboring. In my case it is the collaboration and gathering of the mixed expertise of neighbors to invent a new space that is porous and in a state of flux but also becomes an anchor in an otherwise transient neighborhood.

601 Tully was developed, conceived, and executed through an artist’s lens. At the groundbreaking ceremony for example, dignitaries, deans, politicians, and school kids were handed paper, pencils, and drawing boards and I led the crowd of 160 people in a blind contour public drawing lesson – an observational drawing exercise typically taught to art students - which allows for deeper perception merely by disallowing the artist to look at their paper, forcing them only to study the subject that is before their eyes. Through much of the renovation project (to the discomfort of the contractors), I intentionally did not pre-determine what the building would become but rather let it take shape in response to the evolving desires of the neighborhood. 

 

IMG_5330 copy.JPG
3. IMG_0869 copy.jpg
IMG_9309.jpg
IMG_9562 copy.jpg
6b. DSC_3459 copy.jpg
DSC_3422 copy.jpg
pressimgae5groundbrekaing.jpg
5. IMG_1218 copy.JPG

601 Tully

601 Tully, named after its street address, was an abandoned residence on the Westside of Syracuse, that I renovated, with college students, into a neighborhood art museum and center for education. Both Mel Chin framing toxic soil and Matta-Clark drawing a circle though which we view urban blight, help to reveal an existing site. I would add to these broadened definitions of sculpture neighboring. In my case it is the collaboration and gathering of the mixed expertise of neighbors to invent a new space that is porous and in a state of flux but also becomes an anchor in an otherwise transient neighborhood.

601 Tully was developed, conceived, and executed through an artist’s lens. At the groundbreaking ceremony for example, dignitaries, deans, politicians, and school kids were handed paper, pencils, and drawing boards and I led the crowd of 160 people in a blind contour public drawing lesson – an observational drawing exercise typically taught to art students - which allows for deeper perception merely by disallowing the artist to look at their paper, forcing them only to study the subject that is before their eyes. Through much of the renovation project (to the discomfort of the contractors), I intentionally did not pre-determine what the building would become but rather let it take shape in response to the evolving desires of the neighborhood. 

 

601 Tully
IMG_5330 copy.JPG
3. IMG_0869 copy.jpg
IMG_9309.jpg
IMG_9562 copy.jpg
6b. DSC_3459 copy.jpg
DSC_3422 copy.jpg
pressimgae5groundbrekaing.jpg
5. IMG_1218 copy.JPG