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Topic: Richard Tuttle

	Art:21 . Richard Tuttle . Biography . Documentary Film \| PBS
		Richard Tuttle was born in Rahway, New Jersey in 1941, and lives and works in New Mexico and New York.
		Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice.
		Tuttle also manipulates the space in which his objects exist, placing them unnaturally high or oddly low on a wall, forcing viewers to reconsider and renegotiate the white-cube gallery space in relation to their own bodies.
	www.pbs.org /art21/artists/tuttle (282 words)

	The Art of Richard Tuttle (Site not responding. Last check: 2007-09-09)
		Richard Tuttle is hardly a household name, like, say, his better-known contemporaries Sol Lewitt or Ellsworth Kelly.
		Tuttle is notable for his use of non-traditional materials and a degree of improvisation in his creative process.
		Tuttle specified neither which was the front or back of these pieces nor how they should be hung--a degree of chance introduced that would doubtless leave a pure minimalist in shock.
	www.culturevulture.net /ArtandArch2/Tuttle.htm (920 words)

	At the Met With Richard Tuttle: Influence Cast in Stone
		EW YORK -- Richard Tuttle, who grew up during the 1940s in Roselle, N.J., remembers first going to the Metropolitan Museum of Art when he was around 6 and seeing the ancient Assyrian gates that used to flank the entrance to the south galleries.
		Tuttle was among the Post-Minimalists who came onto the scene during the late 60s and 70s, making sculptures of rubber, wire and cloth piled in a corner, hanging on a wall or lying around the floor.
		Tuttle is especially interested in works that function on different planes of consciousness, the term he used in talking about the Flemish portraits.
	www.earlham.edu /~vanbma/index/met-tuttle.htm (2293 words)

	Haber's Art Reviews: Richard Tuttle
		Tuttle takes each solid object one at a time, and it does not become a prop in anyone's drama, not even the viewer's.
		Tuttle does not embellish his surfaces beyond a single muted, unnatural acrylic shade—at times, easy to mistake for a shadow or pencil drawing on the wall.
		Tuttle's contemporaries tend to seek a kind of greater truth in the art object.
	www.haberarts.com /tuttle.htm (1845 words)

	[No title] (Site not responding. Last check: 2007-09-09)
		But "The Art of Richard Tuttle," the first full-scale career survey of his work, on view through Oct. 16 at the San Francisco Museum of Art, actually cannot be labeled strictly minimalist.
		But, love it or hate it, Tuttle's art engages the viewer in a dialogue about his philosophy of form and color, which, since the mid-1960s, continues to be one of the most distinct in American art.
		Tuttle's most intriguing works are the "Wire Pieces" he created between 1971 and 1974 and serve as examples of key elements of his art: line, that most basic form of visual expression.
	www.thereporter.com /portlet/article/html/fragments/print_article.jsp?article=2916109 (886 words)

	Tuttle Family (Site not responding. Last check: 2007-09-09)
		His grandfather, Judge Tuttle, gave him lands on the east side of Dover neck "lying and being between Leftenant Beard's land and Nutter's and the High Street on the west and the river on the east." This tract of land included the homestead of John Tuttle, the first settler.
		Richard Edwards' brother was found guilty of slaying his sister, by the Colonial Court, and executed; and another sister was found guilty of killing her own son, but through the confusion existing at that time, she escaped the penalty of the law."
		Richard subsequently learned that he was not the father of the first child, Mary, and on July 2, 1689, he filed a petition to divorce her.
	home.earthlink.net /~herblst/tuttle_family.htm (5604 words)

	A metaphysics of simplicity - Agnes Martin and Richard Tuttle, Modern Art Museum, Fort Worth, Texas Art in America - ...
		The 30-year friendship between Agnes Martin and Richard Tuttle was the subtheme of a recent dual retrospective that explored formal affinities and differences between two lifelong proponents of the succinct gesture.
		Tuttle was at the time 22 years old and headed into the U.S. Air Force.
		He considers the artists united in their pursuit of a "metaphysics of simplicity," a deeply rooted affinity that allowed visually diverse works to speak to one another in engaging and surprising ways throughout an installation that represented a carefully selected 30-year retrospective of each artist.
	www.findarticles.com /p/articles/mi_m1248/is_n11_v86/ai_21257956 (391 words)

	E-Flux : Richard Tuttle Booksigning at Printed Matter, Inc. - (2002-10-30)
		Richard Tuttle: Memento/center was published on the occasion of two recent exhibitions on the artist's work curated by Susan Harris that took place in the summer of 2002.
		Tuttle's work was presented in Memento at the Museu de Arte Contemporânea de Serralves in Porto, Portugal and in center at the Centro Galego de Arte Contemporánea in Santiago de Compostela Spain.
		While the exhibitions were conceived autonomously for these two museums in neighboring cities and countries, Tuttle, nevertheless, envisioned them as complimentary components of a larger, if intangible whole and, in the process, expanded further the parameters within which he has been creating and through which the viewer approaches his art.
	www.e-flux.com /displayshow.php?file=message_246.txt (403 words)

	The New York Times > Arts > Art & Design > Artist or Guru, He Aims Deep
		Tuttle recalled a piece he showed at the Whitney Museum of American Art in the 1970's, which he described as "some paint at the end of a coffee stirrer, placed on a 40-foot wall." At the opening, after studying this tiny thing, an impeccably dressed man approached the artist and asked him: "Mr.
		Tuttle, 63, whose work can often fit in a palm, is trying the other extreme: he has begun installing "Splash," his first public art project, a mural 90 by 150 feet with about 140,000 pieces of colored glass and white ceramic tiles.
		Tuttle arrived on the downtown art scene in the mid-1960's he has been regarded in some quarters as hugely important and in others not regarded at all.
	www.nytimes.com /2004/12/03/arts/design/03tutt.html?ex=1259816400&en=68db8e5de7f7b6de&ei=5090&partner=rssuserland (955 words)

	SFMOMA \| Exhibitions \| Exhibition Overview: The Art of Richard Tuttle
		Tuttle uses a wide variety of materials — from paint to wire to plywood — to create delicate works that defy categorization.
		It is also the first museum exhibition to fully embrace Tuttle’s radical and varied output in its entirety and to illustrate its unifying themes.
		Tuttle's works, whether installations, book works, or objects, are unique and have been profoundly influential to a younger generation of artists.
	www.sfmoma.org /exhibitions/exhib_detail.asp?id=128 (921 words)

	A/D GALLERY Richard Tuttle
		When this work was first made, Tuttle considered it sculpture, and raised it on a pedestal.
		As often happens with this artist andÊ his work, on seeing the piece again years later, he realized that one detail needed to be changed: he shortened the cord, deciding that it is very important that the plug rest just on the rim of the platter.
		This is a proposed free outdoor installation by Tuttle, which he presented us, in the form of a watercolor and pendant note, as part of our exhibition, "The Garden." We’ve yet to find someone whose landscape fits the qualifications.
	www.adeditions.com /tuttleart2_middle.html (197 words)

	Wolfsonian (Site not responding. Last check: 2007-09-09)
		"We are honored to be working with an artist of Richard Tuttle's stature, especially in a year when he is to be the subject of a major retrospective, organized by San Francisco MOMA and touring the U.S." noted Cathy Leff.
		Richard Tuttle, known primarily for his sculptures, drawings, and installations, combines an interest in Minimalism with love for irregular materials.
		'Richard Tuttle: A Retrospective,' the first full-scale museum show of this important contemporary American artist, has been organized by the San Francisco Museum of Modern Art, and will on view there from July 2 to October 23, 2005.
	www.wolfsonian.fiu.edu /visitus/news/november0402.html (932 words)

	ICA: Past Exhibitions > Richard Tuttle: In Parts: 1998-2001
		ICA is pleased to present an important project by Richard Tuttle, an American artist, who has played a significant role in contemporary art since he emerged in the context of Post-minimalism during the late 1960s.
		As conceived by Tuttle, the project will be a site-specific installation about the "spaces in between," as he calls the increments of time and space established by his most recent works.
		Other works exhibited in "Richard Tuttle: Multi-Part" will include unique painted constructions, such as Painted Boxes and Two with any To; and 40 Zug Squares (from Switzerland), which will be presented in America for the first time.
	www.icaphila.org /exhibitions/past/tuttle.php (336 words)

	Tuttle, Todd, Doolittle, Chapin
		Simon Tuttle was a very well -off man (though not on the same level of well off as my Noyes ancestors, who had advanced into the gentry), with much property and possibly a fair number of sheep.
		Greene argues that: Ann Tuttle married William Hurd around 1654-5, which is consistent with the age of Ann the daughter of William, who was baptized in 1633, and that this would make the births of her children end when she was around 40.
		The Tuttles were an emotionally intense family with a feudal temperament and genetic tendency to mental illness, and they adhered to feudal ways of thinking and religious practices longer than did most people.
	www.geocities.com /Heartland/Acres/5127/Readyhough/tuttle.html (10609 words)

	Amazon.com: Richard Tuttle: Replace the Abstract Picture Plane: Books: Richard Tuttle,Matthias Haldemann,Guido ... (Site not responding. Last check: 2007-09-09)
		From 1996 to 1999 Richard Tuttle worked for the Kunsthaus Zug, in Switzerland, in an endeavor to provide the institution's collective activities with a new orientation.
		To this end, Tuttle created four rather different large works that referred to the space of the museum as a whole as well as its immediate surroundings.
		Conceived by Tuttle, this new monograph constitutes a work of art in itself, and represents a pioneering step in collaborations between artists and museums.
	www.amazon.com /exec/obidos/tg/detail/-/3775790489?v=glance (469 words)

	Richard Tuttle has earned his major SFMOMA retrospective. Question is, does he really want it?
		Tuttle ranks the success of his work not by its effectiveness as self- expression, but quite the opposite, by the extent to which it detaches itself from him.
		The plainness of Tuttle's early works, such as polygons of dyed canvas pinned unframed to the wall, reflects the minimalist aesthetic of the period.
		Tuttle says that rather than providing more beauty, the artist ought to make "something we can experience and take in and then go back and take in the beauty of the world and not be overwhelmed by it."
	www.sfgate.com /cgi-bin/article.cgi?f=/c/a/2005/06/03/DDGTMD21Q61.DTL&type=art (1188 words)

	40 Years of Making Much Out of Little - New York Times
		Tuttle, now 64, has devised objects whose status is not quite sculpture or drawing or painting but some combination of the three, and whose exquisiteness is akin to jewelry.
		Tuttle, in nudging Minimalism toward personal touch and private speech, was here abetted by the somewhat paradoxical examples of Agnes Martin and Barnett Newman.
		Tuttle's early efforts occasionally favored metaphysics over sheer visual loveliness, although the early drawings, on which many works are based, place delicate marks just so on otherwise blank sheets of paper.
	www.nytimes.com /2005/11/11/arts/design/11kimm.html?ex=1289365200&en=4cda31ebf64990bb&ei=5088&partner=rssnyt&emc=rss (957 words)

	The Art of Richard Tuttle
		Over the past four decades, Richard Tuttle has thrown into question nearly every conceivable artistic convention and critical category to create an enormously inventive body of abstract work-one that embraces and intermingles drawing, painting, collage, book-making, sculpture, and design.
		From his spare yet enigmatic forms of the 1960s to his complex, multi-faceted assemblages and installations of more recent years, Tuttle’s primary impetus throughout has been to craft unique objects, using everyday, often ephemeral materials, that demand to be confronted on their own terms.
		The Art of Richard Tuttle is published in conjunction with a major retrospective organized by the San Francisco Museum of Modern Art.
	www.artbook.com /1933045000.html (287 words)

	CCA to Confer Honorary Doctorates on Julia Florence Parker and Richard Tuttle - California College of the Arts
		Although most of Tuttle's prolific artistic output has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the small scale and idea-based nature of his practice.
		Tuttle had his first solo exhibition at Betty Parsons Gallery in New York in 1965 and was introduced to the greater public in a 1975 exhibition at the Whitney Museum of American Art.
		Tuttle's works are in renowned private collections and museums, including the National Gallery of Art, Washington, D.C.; the Musée National d'Art Moderne, Paris; and the Whitney Museum of American Art.
	www.cca.edu /about/press/2006/doctorates (705 words)

	Marco Island Sun Times - Local author receives a highest book rating (Site not responding. Last check: 2007-09-09)
		Richard explained that the first three books each deal with one of those individual characters.
		Richard hopes to get the last two books of the series published by the middle of next year.
		Richard has toyed with the idea of printing and distributing the books, but he thinks it's too early at this point.
	www.zwire.com /site/news.cfm?newsid=10736252&BRD=2256&PAG=461&dept_id=455823&rfi=6 (765 words)

	artnet® Magazine - Features - Art Market Guide 2005 by Richard Polsky
		Tuttle can be classified as a "collector’s artist." When his galleries sell a work, it tends to stay put.
		Tuttle is an artist who makes things -- a throwback to the days when kids carefully, but not too perfectly, built model airplanes; often, the finished project was flawed -- a little too much enamel here, a sloppily applied decal there -- but because of these imperfections, the toy had an undeniable charm.
		Chances are, Tuttle’s achievement will be rated somewhere above artists such as John McCracken, John McLaughlin and Fred Sandback, but a little below the paintings of Robert Mangold and the sculpture of Walter de Maria and Jene Highstein.
	www.artnet.com /magazineus/features/polsky/polsky8-10-05.asp (769 words)

	Bookstorming.com Richard Tuttle : Replace the Abstract Picture Plane, Richard Tuttle,
		From 1996 to 1999, the American artist Richard Tuttle worked for the Kunsthaus Zug in an endeavour to provide its collection activities with a new orientation.
		In light of the usually quite fragile, predominantly small and ephemeral works by Tuttle these tailor-made objects are astounding, contributing to a new definition of space within the architecture.
		The book, featuring this extensive joint pioneer project by an artist and a museum, was conceived by the artist himself, thus constituting a work of art in its own right.
	www.bookstorming.com /fiche.asp?idlivre=2147468535&page=titre.asp (199 words)

	PORT - Portland art + news + reviews
		Tuttle is also massively influential to artists like Phoebe Washburn, Sarah Sze, Mitzi Pederson and a host of others.
		Tuttle is especially influential in San Francisco as Pulliam Deffenbaugh's Bay Area Bazzar show illustrated.
		Tuttle is a master of insinuation and that extends to how he manages the viewer's expectations.
	www.portlandart.net /archives/2006/06/the_art_of_rich.html (1127 words)

	The Art of Richard Tuttle at the Whitney Museum - New York Magazine Art Review
		Tuttle even had his own Whistler moment in 1975, when an exhibit of his at the Whitney created an uproar that probably led to the firing of the curator Marcia Tucker.
		In the late sixties and seventies, Tuttle also made hundreds of eccentric drawings—inspired, serious doodles—on paper that was often torn from notebooks, and made rough-looking but poetic sculptures.
		A small painted construction or assemblage by Tuttle looks like a present he made for someone that morning, a kind of throwaway to be kept.
	www.newyorkmetro.com /nymetro/arts/art/reviews/15039 (709 words)

	D M A C :: E X H I B I T I O N S
		Since the mid-1960s, when Richard Tuttle first emerged as an artist, he has been an essential participant in the groundbreaking developments of contemporary art.
		Richard Tuttle with Madeleine Grynsztejn, Elise S. Haas senior curator of painting and sculpture, San Francisco Museum of Modern Art and Patricia Hickson, curator and gallery manager.
		Richard Tuttle’s work “flirts on the edge of nothingness,” according to chief curator of drawings at MOMA, Cornelia Butler, in this sensitive and illuminating film about the artist.
	www.desmoinesartcenter.org /exhibitions/ex_meredith.html (812 words)

	DVD Empire - Item - Richard Tuttle: Never Not An Artist / DVD-Video
		Richard Tuttle’s extraordinary work has exuded vitality and energy for over four decades a remarkable feat, particularly since his art is so modest, vulnerable and daringly simplified.
		An elegant iconoclast who never hesitates to take risks, Tuttle uses frail and transitory materials such as plywood, tissue, wire, cloth even shadows to create entire worlds of thought, while challenging the ‘super-size’ aesthetic with his minor-scaled works.
		From his early years as assistant at the famed Betty Parsons Gallery in New York to his major retrospective launched in San Francisco in Summer 2005, Tuttle’s commitment to the small, the anti-heroic, the barely visible, has inspired generations of younger artists to follow one’s own personal vision.
	www.dvdempire.com /Exec/v4_item.asp?item_id=873190&site_id=4 (223 words)

	ZWIRNER & WIRTH
		Drawing has often been a daily practice for Tuttle, and occupies a primary position within his entire body of work: the artist often refers to his artworks, whatever their medium, as “drawing,” in the sense that drawing can be understood as a metaphor for improvisation, process, or, ultimately, for thinking.
		With his works, Tuttle invites the viewer to pay attention to that which is normally overlooked: his drawings emphasize texture, form, and the contingent relationship between a work of art and the space surrounding it.
		Tuttle’s Vienna Series (1981) will be exhibited, presenting the artist’s impressions of his travels in the city of Vienna.
	www.zwirnerandwirth.com /exhibitions/2006/0106RT/press.html (589 words)

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