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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Tamarisk and Clam Auto-Fossilization Memorial by Emily Budd, Image 1.

    Emily Budd

    Tamarisk and Clam Auto-Fossilization Memorial, 2024

    Found object, cast bronze

    26 x 20 x 11 in

  2. Make a Merkin Great Again (Merkin #4) by Steven Baskin, Diane Bush, Image 1.

    Steven Baskin, Diane Bush

    Make a Merkin Great Again (Merkin #4), 2019

    Crocheted hand-spun pussy-cat hair, patriotic ribbons, veteran flag frame, spray paint

  3. Diptych #1, (Small Miracles) from the project THERMAL by Linda Alterwitz, Image 1.

    Linda Alterwitz

    Diptych #1, (Small Miracles) from the project THERMAL, 2017

    Color lithograph on Rives BFK

    20 x 16 in

  4. Familiar (II) by Sean Slattery, Image 2.

    Sean Slattery

    Familiar (II), 2017

    Dye-sublimation on aluminum

    30 x 24 x 0.5 in

  5. BEAUTIFUL NOTHING #19 by Audrey Barcio, Image 2.

    Audrey Barcio

    BEAUTIFUL NOTHING #19, 2014

    Polystyrene foam, Hydrocal, spray paint and faux fur

    8 x 4.5 x 4.25 in

  6. Disco Garden Two by Mary Warner, Image 2.

    Mary Warner

    Disco Garden Two, 2013

    Oil on canvas

    72.25 x 36.25 x 1.5 in

  7. The Book of Lies, Volume 1 by Eugenia Butler, Image 6.

    Eugenia Butler

    The Book of Lies, Volume 1, 1996

    Ashes of love letters, hand embroidery, handwritten and mechanically reproduced images and text on paper, safety pins, wooden stick, etc

    14.375 x 11.875 x 1 in

  8. Untitled #103 by Ted Kuykendall, Image 1.

    Ted Kuykendall

    Untitled #103, 1995

    Photograph

    9.25 x 7.25 in

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About the artist

Richard Tuttle

b. 1941

Richard Tuttle was born in Rahway, New Jersey. He graduated from Trinity College, Hartford, in 1963, with a BA in studio arts. Once in New York he took classes at Cooper Union and Pratt Institute, and began to work at the Betty Parsons Gallery, where he held his first solo show in 1965. Married to the Language poet Mei-Mei Berssenbrugge, he sees his work underpinned by words. “On the first real painting that I made in New York, I wrote out three different texts from the philosopher, Alfred North Whitehead, and then painted them out,” he told BOMB magazine in 1992. “At the time I thought, okay, I’m going to eliminate language from my efforts to communicate. But as I went on I saw that there had to be words there before I painted them out. In a way, words were the structure in which I made the decision not to use words.” Space and site are important to his works -- the precise arrangement of a length of string on a concrete floor near a pillar, or the height of the piece on the wall. His materials are humble: twigs, cloth, cheap paper. The Vogels met him at a solo exhibition in 1968 and they became lifelong friends. Dorothy, in The Art of Richard Tuttle, spoke about “days spent looking with Tuttle.” “We would focus on very slight details,” she said. Tuttle said of the couple: “Most of us go through the world never seeing anything. Then you meet somebody like Herb and Dorothy, who have eyes that see. Something goes from the eye to the soul without going through the brain.” His work has appeared in a large number of group shows, solo shows, and retrospective shows from the 1960s to the present day.

Deanne Sole, UNLV Marjorie Barrick Museum, 2013
Image of artist