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Red Canvas, 1967, Corcoran Gallery of Art
July 12, 1941 |
Rahway, New Jersey
|Known for||Painting, Sculpture, Installation art|
|Notable work||Paper Octagonals (1970),|
|Awards||Skowhegan Medal for Sculpture (1998), Aachen Art Prize (1998)|
Richard Dean Tuttle (born July 12, 1941) is an American postminimalist artist known for his small, subtle, intimate works. His art makes use of scale and line. His works span a range of media, from sculpture, painting, drawing, printmaking, and artist’s books to installation and furniture. He lives and works in New York City, Abiquiú, New Mexico, and Mount Desert, Maine.
Tuttle was born in Rahway, New Jersey and raised in nearby Roselle. He studied art, philosophy and literature at Trinity College in Hartford, Connecticut from 1959 to 1963. After receiving his B.A. in 1963, he moved to New York where he spent a semester at the Cooper Union and had a brief stint in the U.S. Air Force. He then began working at the Betty Parsons Gallery. One year after taking a job as an assistant to Betty Parsons, she gave him his first show in 1965.
Tuttle's reputation as a master was secured in Europe as it swiftly embraced Tuttle's minimalist art. In the United States, however, acceptance of his work was slower. His works on paper are considered seminal works in American art. His first works, small monochrome reliefs, were followed by making palm-size paper cubes with cut-out designs and shaped wood reliefs that seemed like a twist on geometric abstraction. Beginning in the mid-1960s, he began to create eccentrically-shaped painted wood reliefs, followed by ideograms made of galvanized tin, and unstretched, shaped canvases dyed in offbeat colors. Tuttle had a survey exhibition in 1975 at the Whitney Museum of American Art. The exhibit was controversial and the show's curator Marcia Tucker lost her job as a result, after a scathing review by Hilton Kramer. Kramer, then art critic for the New York Times wrote, referring to Ludwig Mies van der Rohe's dictum "less is more", "in Mr. Tuttle's work, less is unmistakably less...One is tempted to say, where art is concerned, less has never been as less than this". According to art critic Christopher Knight of the Los Angeles Times, Tuttle's Wire pieces, which the artist made in 1971 and 1972, "collectively rank as his most distinctive contribution to art history". In 1983, Tuttle made Monkey's Recovery for a Darkened Room (Bluebird), a wall relief of branches, wire, cloth, string and wood scraps, which he says formally relates to Jan van Eyck's Crucifixion and Last Judgement diptych.
His works in the 1990s mark a return to smaller-sized work, followed by bodies of low-relief wall-bound pieces that integrate painting, sculpture, and drawing.
In 2004, Tuttle installed Splash, his first public art project, a mural 90 by 150 feet with about 140,000 pieces of colored glass and white ceramic tiles. It stretches up the side of a luxury condominium building designed by Walter Chatham for a private, guarded island community in Miami Beach called Aqua.
During a residency at The Fabric Workshop and Museum in 1978, Tuttle embraced the silkscreen printing process and the idea of fabric to make a series of clothing — Shirts in 1978 and Pants in 1979. I Don’t Know, Or The Weave of Textile Language, on view at the Tate Modern in 2014, was made for the museum's turbine hall and is Tuttle's largest to date spanning nearly 40 feet in length. Featuring the textiles he designed and fabricated, the work is suspended from the ceiling in contrast to the hall’s industrial architecture.
Tuttle is often referred to as an "artist's artist" and, as such, his work has been influential to a generation of contemporary artists such as Kiki Smith, Jim Hodges, David Hammons, Michael Oman-Reagan, Tom Friedman, and Jessica Stockholder. He was a very close friend of minimalist painter Agnes Martin until her death in 2004.
Tuttle's first major museum exhibition in 1975 was covering his first ten years of work organized by the Whitney Museum in New York. Tuttle has since been the subject of museum exhibitions around the world, and included in the Venice Biennale (1976, 1997, 2001), three documenta (1972, 1977 and 1987) and three Whitney Biennial exhibitions (1977, 1987, 2000). In 2005, the San Francisco Museum of Modern Art organized a major retrospective of Tuttle's 40-year career. The exhibition traveled to museums throughout the United States, including the Whitney Museum of American Art in November 2005. Tuttle continues a 20-year relationship with the Kunsthaus Zug in Zug, Switzerland, out of which have grown five exhibitions and many publications from catalogues to posters and ephemera.
An exhibition of his new fabric sculptures, Richard Tuttle: Walking on Air, was on view through April 25, 2009 at The Pace Gallery's 534 West 25th Street gallery. A series of his colored aquatints was on exhibit at the Dubner Moderne gallery in Lausanne, Switzerland from February 11 through March 15, 2010.
Tuttle's work is in the collection of several world-renowned art museums, including the Whitney Museum of American Art and the Metropolitan Museum of Art in New York; Kunsthaus Zug in Switzerland; Stedelijk Museum, Amsterdam; Museu Serralves, Porto; Tate, London; the Centre Pompidou, Paris; Kunstmuseum Winterthur, Switzerland; the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, and the National Gallery of Art in Washington, D.C.
Tuttle has been the recipient of many awards for his work, including the 74th American Exhibition, Art Institute of Chicago Biennial Prize, the Skowhegan Medal for Sculpture in 1998, and the Aachen Art Prize in 1998 from the Ludwig Forum für Internationale Kunst. In 2012, he was elected to the National Academy and in 2013 he was invited to become a member of the American Academy of Arts and Letters. Tuttle was the artist in residence at the Getty Research Institute from September 2012 through June 2013.
Tuttle is represented by the Pace Gallery in New York, Galerie Schmela in Düsseldorf, and by the Annemarie Verna Galerie in Zurich. In 2002, a tin wall piece called Letters (The 26 Series) (1966) sold at auction for $1 million.
Tuttle is married to the poet Mei-mei Berssenbrugge. For their residence in Abiquiú, New Mexico, they commissioned architect Steven Holl to design a 1,300-square-foot guest cottage, built between 2001 and 2005.
- Birmingham Museum of Art (2010). Birmingham Museum of Art : guide to the collection. [Birmingham, Ala]: Birmingham Museum of Art. p. 247. ISBN 978-1-904832-77-5.
- "The Art of Richard Tuttle". Museum of Contemporary Art Chicago. Retrieved July 26, 2012.
- Richard Tuttle: Matter, September 21 - October 31, 2013 Marian Goodman Gallery, Paris.
- Richard Tuttle: Looking for the Map, February 7 – March 15, 2014 Pace Gallery, New York.
- Christopher Miles (July 31, 2005), Branching in all directions Los Angeles Times.
- Richard Tuttle Museum of Modern Art, New York.
- Michael Kimmelman (May 14, 1999), At the Met with Richard Tuttle: Influence Cast In Stone New York Times.
- The Art of Richard Tuttle, November 11, 2006 – February 4, 2007 Museum of Contemporary Art, Chicago.
- Julie Ault, Alternative Art New York, 1965-1985: A Cultural Politics Book for the Social Text Collective, University of Minnesota Press, 2002, p205. ISBN 0-8166-3794-6
- Christopher Knight (April 28, 2007), Whispered, not shouted Los Angeles Times.
- Julie Salamon (December 3, 2004), Artist or Guru, He Aims Deep New York Times.
- Richard Tuttle: I Don't Know, Or The Weave of Textile Language Tate Modern, London.
- Richard Tuttle: The Place in the Window, April 26 - June 1, 2013 Tomio Koyama Gallery, Tokyo.
- "Richard Tuttle Awarded the Aachen Art Prize". Sperone Westwater. 11 December 1998. Retrieved 26 July 2012.
- Getty Research Institute Announces 2012/13 Scholars, Richard Tuttle is Artist in Residence Getty Research Institute.
- Mark Stevens (November 21, 2005), Deadpan Alley New York Magazine.
- Carol Vogel (May 16, 2002), Richter and Warhol Rule at Contemporary-Art Sale New York Times.
- Michael Kimmelman (May 21, 2006), The Architect, His Client, Her Husband and a House Named Turbulence New York Times Magazine.
- Madeleine Grynsztejn (2005). The Art of Richard Tuttle. Distributed Art Publishers/San Francisco Museum of Modern Art. ISBN 978-1933045009.
- Douglas Walla (1987). Metaphor: Myron Stout, Richard Tuttle, Richard Wentworth, Win Knowlton. Kent Fine Art/New York.
- Richard Tuttle at Brooke Alexander Gallery
- Richard Tuttle at Stuart Shave/Modern Art
- The Pace Gallery
- Biography, interviews, essays, artwork images and video clips from PBS series Art:21 -- Art in the Twenty-First Century - Season 3 (2005).
- SFMOMA: The Art of Richard Tuttle
- Current exhibitions on Artfacts.Net
- Richard Tuttle represented by Sperone Westwater
- Living Latin, Dying English a compact "video-gram" between Tuttle and the American poet Charles Bernstein
- Close Listening Tuttle reading from selected pieces and in conversation with Charles Bernstein: this is a re-play of a radio program "Close Listening", from WPS1 Radio, NYC (recorded December 4, 2006)
- Artist's bio at Crown Point Press
- Tuttle at New Mexico Museum of Art