Residuals

Laurie Anderson  is one of America's most  preeminent and innovative pioneers – a director, visual artist, writer, inventor and vocalist. Anderson participated in the residency here in 1977. Her technological accomplishments continue even now. Chalkroom , a recent virtual reality work at Mass Moca   allowed viewers to fly through a cavernous structure made of words, drawings and stories – stopping where they choose to read and contribute.        https://vrscout.com/news/laurie-anderson-vr-chalkroom/ Here on slab #3   My Mother's New Jetpack , found objects

Gordon Matta-Clark is most widely recognized for what he called "Anarchitecture" in which he dissected existing buildings insisting on a primal use of force that he paralleled to creative conceptualization. Matta-Clark resided here in Artpark in the summer of 1974; he made a work titled Bingo (below) – portions of a house placed on the river’s bank. Gordon Matta-Clark –  Conical Intersect , 1975, photo: Marc Petitjean "Turning The Place Over" by Richard Wilson Bingo, Pieces from House displayed in Art Park, Lewiston, New York (Documentation of the action "Bingo" made in 1974 in New York, United States)   https://whitney.org/collection/works/43329   Here on slab #9   Echus , found objects and materials, 1989 and A Pedestal Not Unlike the Attic I Had Planned , found and purchased materials, 2002

Alice Aycock is considered a pioneer in environmental art and site-specific art. As a leading sculptor during the feminist movement of the 1970s, Aycock’s work help resituate sculpture’s interdisciplinary nature - couched between architecture and landscape. She installed The Beginnings of a Complex... (below) in Artpark in 1977. The work titled Stairs (These Stairs Can Be Climbed) was built three years earlier.     "The Beginnings of a Complex..." Excerpt Shaft #4/Five Walls, 1977 Wood  28’ high x 8’ wide x 6’ long, Artpark, Lewiston, NY   Stairs (These Stairs Can Be Climbed) 1974 Wood  14’2” long x 10’ wide x 13’4” high (original dimensions) Here on Slab #11   A Pedestal Exactly Like a Kitchen

Ant Farm (a collective of artists) did a residency at Artpark in 1975. They are arguably most known for The Cadillac Ranch  pictured below. During their residency  Ant Farm buried a 1968 Oldsmobile Vista cruiser station wagon wrapped in plastic here in ArtPark. It was a time capsule to be opened in 2000; inside it were suitcases wrapped in plastic filled with objects popular in the early 70s.  New York State Parks department has not permitted the artwork to be removed, citing environmental concerns - the car remains buried here . Ant Farm.  Citizens Time Capsule , 1975. Chip Lord (left) and Doug Michels (right) posing with the station wagon covered in tar, ready to be buried, Lewiston, New York. 35mm slide. Courtesy Chip Lord.   https://news.artnet.com/exhibitions/can-ant-farm-unearth-lost-work-653129 Here on Slab #8  Penumbra, found materials, 1989

  Agnes Denes  is a  primary figure among the concept-based artists who emerged in the 1960s and 1970s. She  attended the ArtPark residency in 1977 with Laurie Anderson, Alice Ayecock and Martin Puryear and then again in 1979 with Ursula von Rydingsvard and Gene Davis.   Tree Mountain - A Living Time Capsule-11,000 Trees, 11,000 People, 400 Years, 1992-96, (420 x 270 x 28 meters) Ylojarvi, Finland   http://www.agnesdenesstudio.com/works4.html Here on slab #6   Met-O-Mat, found materials 2014

Dennis Oppenhiem was a highly prolific artist whose art ranged from performance and film to earthworks and public sculpture. When Oppenhiem did the residency at Artpark in 1975 he sprayed hot tar in the shape of his thumb print and that of his son; it was titled Identity Stretch and it measured more than three football fields in length. Device to Root Out Evil. 1997.  Galvanized structural steel, anodized perforated aluminum, transparent red Venetian glass, concrete foundations. 20 X15 X 8   Collection Denver Art Museum, Denver https://www.dennisaoppenheim.org/devicetorootoutevil Here on slab #5   Dennis's Chair , found object, inkjet print and wood

Like many of the artists who took part in the ArtPark Residency,  Nancy Holt  is most associated with the Land Art movement. She is likely most known for Sun Tunnels  in Utah - pictured below. Here on slab #4 Buxis, found materials, 1989

In 1979 when Gene Davis was here in the Artpark residency, he painted  on the parking lot what was - at the time - the world's largest abstract painting . In 2017, Artpark reinstalled the work titled " Niagara - 1979."

Here Topolski/and Topolski imagine a Simonds-like version of the terrain in front of you - seeing remnants where artists once resided.  Charles Simonds  attended the Artpark Residency in 1974 and 1975. Works typical of Simonds are below.  

Residuals is an installation of objects and materials that operates at the intersection of (imagined) domesticity and (creative) productivity/industry. An artist residency is a place where art construction intersects with the functional necessities of life. Residuals presents an imagined intersection of the makers of this project and the notable artists who participated in the Artpark Residency in the '70s and '80s. The cabins in which they stayed were once built on these concrete slabs; t he fabricated remnant on each slab references a particular artist that attended the Artpark Residency.  Allen Topolski and Aster Topolski (father/daughter) seek to emphasize the path that was cleared by the artists who preceded them - those who laid the groundwork for the many conceptual approaches they exploit in their own current work.   “Owned and operated by New York State, Artpark opened in 1974 as an unprecedented experiment in artist-public interaction and site-specificity that balan