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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. The Perfect Match by Elena Brokaw, Ramiro García, Image 3.

    Elena Brokaw, Ramiro García

    The Perfect Match, 2023

    Altered black and white photograph

    48 x 36 in

  2. Abigail by Cara Romero, Image 1.

    Cara Romero

    Abigail, 2020

    Archival photograph printed on Legacy Matte paper

    18.5 x 15.25 in

  3. phone rang blocked call by Caralea Cole, Image 1.

    Caralea Cole

    phone rang blocked call, 2018

    Archival Inkjet Mural

    47.5 x 37 in

  4. Red Beam (Winter-Summer 2014) by Chris Duncan, Image 3.

    Chris Duncan

    Red Beam (Winter-Summer 2014), 2015

    Direct sunlight and acrylic on fabric

    80 x 54 x 1 in

  5. Hoover by Tomoko Daido, Image 1.

    Tomoko Daido

    Hoover, 2013

    Black and white photograph

    7 x 7 in

  6. Tool Bag by Thomas Ray Willis, Image 2.

    Thomas Ray Willis

    Tool Bag, 2013

    Canvas, wood, acrylic gesso, metal staples

    13 x 18 x 9.5 in

  7. Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times by Kara Walker, Image 1.

    Kara Walker

    Freedom, a Fable: A Curious Interpretation of the Wit of a Negress in Troubled Times, 1997

    Leatherbound volume, offset lithographs, laser-cut pop-up silhouettes on woven paper

    9.3125 x 8.3125 x 0.75 in

  8. Untitled by Matt Glavin, Image 2.

    Matt Glavin

    Untitled, 1975

    Mixed media collage, fabric, thread, paper

    14.5 x 11 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