Art Sales Biography
(Source google.com)
A vital force in the development
of Conceptualism and post-Minimalism, Richard Tuttle is one of the most
influential artists of his generation. Tuttle’s work usually relies on
seemingly understated uses of common materials, such as plywood, rope,
Styrofoam, fabric, and cardboard. His careful use of simple media is intended
to call attention to their manipulation, display, and materiality, as well as
their effects upon the viewer’s perceptual awareness. Unlike many of his
Minimalist contemporaries, Tuttle is a vocal proponent of beauty and the
persuasive power of aestheticism. Wire and wood, in his work, may refer to
drawing and Baroque decoration, while blank paper renders invisibility as a
palpable but ineffable presence. Although much in Tuttle’s assemblages may
appear haphazard, aleatory, or improvisational, his reputation is that of a
master craftsman. His extensive planning, design, and carefully considered
execution yields a body of work that emphasizes the importance of the details.
Curious, also, is the modest scale of most of Tuttle’s artworks. Their
smallness is deliberately antithetical to, and in confrontation with, the
industrial monoliths of his peers, such as Judd, Serra, and di Suvero. In
addition to his visual art, Tuttle writes poetry and has previously
collaborated with poets such as Charles Bernstein and Mei-mei Berssenbrugge.
Though Tuttle’s work is now
canonical, it was met with fierce criticism early in his career: the artist’s
1975 solo exhibition at the Whitney Museum of American Art was received
terribly by many prominent critics, relies on seemingly understated uses of common materials, such as plywood, rope, Styrofoam, fabric, and cardboard. His careful use of simple media is intended to call attention to their manipulation, display, and materiality, as well as their effects upon the viewer’s perceptual awareness. Unlike many of his Minimalist contemporaries, Tuttle is a vocal proponent of beauty and the persuasive power of aestheticism. Wire and wood, in his work, may refer to drawing and Baroque decoration, while blank paper renders invisibility as a palpable but ineffable presence. Although much in Tuttle’s assemblages may appear haphazard, aleatory, or improvisational, his reputation is that of a master craftsman. His extensive planning, design, and carefully considered execution yields a body of work that emphasizes the importance of the details. Curious, also, is the modest scale of most of Tuttle’s artworks. Their smallness is deliberately antithetical to, and in confrontation with, the industrial monoliths of his peers, such as Judd, Serra, and di Suvero. In addition to his visual art, most famously by Hilton Kramer of the New
York Times, and curator Marcia Tucker—who went on to found the New Museum of
Contemporary Art later that year—was fired from the museum, allegedly because
of the controversy surrounding the show. 30 years later, Tuttle’s 2005
retrospective at the Whitney was welcomed with great enthusiasm from critics and
audiences alike.
Tuttle has been the subject of
numerous solo exhibitions and retrospectives, at venues including the Whitney
Museum, Chicago’s Museum of Contemporary Art, the Dallas Musuem of Art, New York, the ICA London, the Musée d’art modern de la ville de Paris, among many others. His work was also included in the Venice Biennale in 2001 and 1997; the Whitney Biennial in and 2000; and Documenta. the
Drawing Center in New York, the ICA London, the Musée d’art modern de la ville
de Paris, among many others. His work was also included in the Venice Biennale
in 2001 and 1997; the Whitney Biennial in 1977, 1979, 1987, and 2000; and
Documenta 5 (1972), 6 (1977), and 7 (1982).
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