Richard tuttle

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two pieces of wood are sitting on top of each other, one is pink and the other is green

Richard Tuttle’s first solo exhibition, at the prestigious Betty Parsons Gallery in 1965, consisted of painted constructions such as Drift III, a conjoined pair of plywood forms whose wobbly contours attest to the inexact hand-drawn lines of their paper templates. The work hovers between image and object, organic and geometric, and seems to be adrift on the wall, the pale green and mauve units weightlessly lingering like grace notes. Although Tuttle usually avoids identifying the sources for…

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a drawing of a tall piece of paper with stripes on it's side and the letter i in the middle

Richard Tuttle. XI from Stacked Color Drawings, 1971. 1975. One from a portfolio of eleven offset lithographs. composition (irreg.): 6 1/8 x 1 5/16" (15.6 x 3.3cm). Ruth Vollmer Bequest. 268.1982.11. © 2025 Richard Tuttle. Portfolio. Drawings & Prints

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an image of the letter i made out of colored crayon pencils on paper

Richard Tuttle. II from Stacked Color Drawings, 1971. 1975. One from a portfolio of eleven offset lithographs. composition (irreg.): 7 11/16 x 2 15/16" (19.5 x 7.5cm). Ruth Vollmer Bequest. 268.1982.2. © 2025 Richard Tuttle. Portfolio. Drawings & Prints

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a man with glasses is pointing at something in front of him and wearing a black jacket

Art21 is the world’s leading source to learn directly from the artists of our time. The mission of Art21 is to educate and expand access to contemporary art through the production of documentary films, resources, and public programs.

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an abstract painting with white and brown lines

Richard Tuttle. Untitled. 1965. Gouache and pencil on notebook paper. 14 x 16 3/4" (35.6 x 42.5 cm). The Judith Rothschild Foundation Contemporary Drawings Collection Gift (purchase, and gift, in part, of The Eileen and Michael Cohen Collection). 3289.2005. © 2025 Richard Tuttle. Drawings & Prints

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a piece of clothing is hanging on a wooden stand with a blue net covering it

One could associate the crease of his octagonal clothes / With Georgia O’Keeffe’s and Agnes Martin’s facial geography / Evocative of Santa Fe’s dry topography. I came just / To treasure the imperfection of corners meeting, / To engender each of their physiologies.

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