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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. Sand & Stone by Cara Romero, Image 1.

    Cara Romero

    Sand & Stone, 2020

    Archival photograph printed on Legacy Matte paper

    20.5 x 15.25 in

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

    Caralea Cole

    phone rang blocked call, 2018

    Archival Inkjet Mural

    47.5 x 37 in

  3. Thomas by Jenna Gribbon, Image 1.

    Jenna Gribbon

    Thomas, 2007

    Oil on linen

    24 x 36 x 0.5 in

  4. Julius Shulman (with camera) by Michael Childers, Image 1.

    Michael Childers

    Julius Shulman (with camera), 2006

    Color photograph

    14 x 11 in

  5. Hugs 'End of the Rainbow' Series IV by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Hugs 'End of the Rainbow' Series IV, 2005

    Pencil, ink, acrylic

    30 x 20 in

  6. Hugs 'End of the Rainbow' Series II by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Hugs 'End of the Rainbow' Series II, 2005

    Pencil, ink, acrylic

    30 x 20 in

  7. Mata Hari by Wayne Littlejohn, Image 2.

    Wayne Littlejohn

    Mata Hari, 2000

    Cast fiberglass and oil laquer

    30 x 13 x 10.5 in

  8. Arizona by David Bottini, Image 2.

    David Bottini

    Arizona, 1977

    Steel, oil, pastel, varnish

    11 x 6.25 x 5.25 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