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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. nonono by Caralea Cole, Image 5.

    Caralea Cole

    nonono, 2018

    Archival Inkjet Mural

    47.5 x 37 in

  2. Breakfast in America by Ash Ferlito, Matt Taber, Image 4.

    Ash Ferlito, Matt Taber

    Breakfast in America, 2012

    Video

  3. Stationary Front #4 by Branden Koch, Image 1.

    Branden Koch

    Stationary Front #4, 2011

    Ink, gouache, watercolor on paper

    8.5 x 5.5 in

  4. David Hockney (Hockney in London) by Michael Childers, Image 1.

    Michael Childers

    David Hockney (Hockney in London), 2007

    Color photograph

    11 x 14 in

  5. Bright Light Over the Field by Barry Gealt, Image 1.

    Barry Gealt

    Bright Light Over the Field, 2000

    Painting

    21.5 x 59.375 in

  6. Upload Ghost by Stephen Hendee, Image 1.

    Stephen Hendee

    Upload Ghost, 2000

    Transparency in light box

    24.5 x 20.5 x 5 in

  7. Untitled by Steve Keister, Image 1.

    Steve Keister

    Untitled, 1998

    Guache on paper

    12 x 8 in

  8. Thermo by Philip Argent, Image 1.

    Philip Argent

    Thermo, 1992

    Oil on canvas

    62 x 68 x 1.5 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