Skip to profile content
Discovery
Log In

Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Made in China (Gold Flag) by Andrew Schoultz, Image 2.

    Andrew Schoultz

    Made in China (Gold Flag), 2018

    Acrylic and gold leaf on American flag

    30 x 52 x 2.25 in

  2. The Chief Mourner and the Last Drops by Matthew Couper, Image 1.

    Matthew Couper

    The Chief Mourner and the Last Drops, 2017

    Lithograph on paper

    23.25 x 17.25 in

  3. Matters of the Brain #11 (from the project Once Ocean) by Linda Alterwitz, Image 1.

    Linda Alterwitz

    Matters of the Brain #11 (from the project Once Ocean), 2017

    Jacquard loom digitally woven cotton tapestry

    24.4 x 79 x 4 in

  4. Static by Maureen Halligan, Image 1.

    Maureen Halligan

    Static, 2015

    Acrylic and vinyl on linen on panel

    16 x 16 x 1.5 in

  5. Santa by Alexa Hoyer, Image 1.

    Alexa Hoyer

    Santa, 2015

    Archival pigmented print on Dibond

    43 x 54.75 x 1.75 in

  6. Untitled by Curtis Fairman, Image 1.

    Curtis Fairman

    Untitled, 2012

    Polished stainless steel, plastic, and mesh

    12.5 x 4.5 x 4.5 in

  7. Stationary Front #7 by Branden Koch, Image 1.

    Branden Koch

    Stationary Front #7, 2011

    Ink, gouache, watercolor on paper

    8.5 x 5.5 in

  8. Selected Covers of the Metropolis Chronicle by Kristin Posehn, Image 1.

    Kristin Posehn

    Selected Covers of the Metropolis Chronicle, 2008

    Reprinting of selected covers of the Metropolis Chronicle; unbound, black and white

    18.75 x 13 in

View All Artworks

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