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Artists Richard Tuttle

Richard Tuttle

American Sculptor, Painter, Print-maker, and Installation Artist

Richard Tuttle Photo
Movements and Styles: Post-Minimalism, Conceptual Art

Born: July 12, 1941 - Rahway, New Jersey

"Everything in life is a drawing, if you want. Drawing is quite essential to knowing the self. Art that survives from one generation to the next is the art that actually carries something that tells society about self."

Summary

One of the most lyrical and spiritually-minded of contemporary artists, Richard Tuttle has produced a body of work that is as difficult to categorize as it is intuitively pleasurable to engage with. Coming of age in the era of Conceptual and Minimalist art in North America, he took and contributed much to both movements, but incorporated a range of artisanal techniques into his practice - including printmaking and weaving - alien to the austere credos of his peers. The result is an art which is both esoteric and immediate in its appeal, both visually pleasurable and conceptually sophisticated, alluding to the everyday world of the materials used to compose it while simultaneously gesturing towards an ineffable or dreamlike plane of being only accessible through creative experience.

Key Ideas

While many male artists of Tuttle's generation created works on an imposing scale - from Land artists such as Robert Smithson to abstract sculptors like Mark di Suvero - Tuttle's work has become a byword for smallness and humility (in spite of the huge scale of his 2014 I Don't Know piece). The use of humdrum, found materials to create works that would sit on a desk or in the palm of a hand, indicates an egalitarian streak, a love for, and celebration of, the everyday routines and the detritus of humanity.
Working with organic and spontaneous-seeming visual and physical forms, a bright color palette, and a clear sense of the significance of artist's touch, Tuttle has moved decisively beyond the impersonal aesthetic of Conceptual and Minimal art. Indeed, it is possible to argue that he has brought an idea of 'soul' or 'spirit' to the methodical and process-based practices that grew out of those genres.
Notwithstanding his sense of the social significance of his work - he has called the artist a "servant [...] of mankind" - Tuttle's practice is also marked out by a strain of esotericism. Describing art as a means of accessing 'the invisible', he has attempted through his work to gesture towards a plane of forms and ideas beyond waking experience, offering a series of related pronouncements leaning on a notion of hidden 'line' or language, as ambiguous and enticing as the practice they describe.
Richard Tuttle Photo

At the age of five, Richard Tuttle realized the profound impact which art would have on his experience of the world. In an interview with curator Molly Donovan, Tuttle recalls sitting in his childhood living room and watching his grandfather draw from across the room, and being mesmerized by the harmony he sensed between "eye/brain, hand and heart/spirit." By his first day of kindergarten, Tuttle knew that he too would be an artist: when the teacher passed out paper and a box of crayons, he remembers, it felt like the first day of his life. He believes that spirit of the work he created as a very young child continues to surface throughout his practice.

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