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Additional Artworks

From UNLV Marjorie Barrick Museum of Art

  1. One Glad Morning by Brent Holmes, Image 3.

    Brent Holmes

    One Glad Morning, 2020

    Assemblage: boots, wood, paint, powdered indigo, flowers, gold, antler, hat, shirt, neon

  2. The Home of The Addams Family (The Addams Family) by Mark Bennett, Image 1.

    Mark Bennett

    The Home of The Addams Family (The Addams Family), 2017

    Archival pigment print on hot press cotton rag

    24 x 36 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. Sedan Crater by Eric LoPresti, Image 1.

    Eric LoPresti

    Sedan Crater, 2015

    Watercolor, pencil on paper

  5. Little Miss Lover (Study #4) by Tim Bavington, Image 4.

    Tim Bavington

    Little Miss Lover (Study #4), 2010

    Acrylic on paper

    10.5 x 9.5 x 0.5 in

  6. Tropo 3 by Bradley Corman, Image 2.

    Bradley Corman

    Tropo 3, 2007

    Hard anodized 6061 aluminum

    12 x 120 x 1.75 in

  7. Hugs 'End of the Rainbow' Series XVIII by Michael Ogilvie, Image 1.

    Michael Ogilvie

    Hugs 'End of the Rainbow' Series XVIII, 2005

    Pencil, ink, acrylic

    20 x 30 in

  8. Morocco II by Mark Brandvik, Image 1.

    Mark Brandvik

    Morocco II, 2003

    Enamels on panel

    32 x 24.5 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