Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"He pushes the boundaries of what we perceive as the conventions of art. His is a seminal practice, made up of humble materials (like that of poetry) enveloped by an immense consideration of cultural values that reshapes our perceptions of reality." Barbara Dawson, excerpted from the foreword to Richard Tuttle: Triumphs.
Edited by Madeleine Grynsztejn. Essays by Madeleine Grynsztejn, Cornelia Butler, Richard Shiff, Katy Siegel, and Robert Storr. Texts by Tara McDowell, Elizabeth Smith, Adam D. Weinberg and Charles Wylie.
Clothbound, 11 x 12 in. / 392 pgs / 265 color / 45 bw. | 7/15/2005 | Not available ISBN 9781933045009 | $65.00
A note to Tuttle fans, booksellers, collectors and artist's book aficionados: the Artbook | D.A.P. warehouse has received a very small quantity of Richard Tuttle's extraordinary artist's book Perceived Obstacles, first published in 2000 and out of stock since 2008. read the full post
Published by Walther König, Köln. Edited with text by Dieter Schwarz.
From poems to statements and lectures, the writings of postminimalist virtuoso Richard Tuttle possess the same instinct for materiality and delicacy as his art
Over the course of more than 50 years, American artist Richard Tuttle (born 1941) has invented new possibilities of scale and humor, sometimes adding almost nothing to an object, at other times recklessly heaping up his materials or pressing them to the brink of compositional incoherence. With just the same sensitivity, humor and nuance, Tuttle has also composed numerous texts, mostly in response to specific commissions and publications. Tuttle does not approach writing as a transparent communicative medium, but rather as simply another material. Beautifully designed, as Tuttle books always are, A Fair Sampling brings together a selection of the artist’s writings published in exhibition catalogs, books and newspapers, as well as hitherto unpublished texts. These include not only reflections and commentaries on art and drawing, but also tributes to artist friends, including various texts on Agnes Martin, travel notes, poems and lectures that Tuttle delivered in various institutions.
Making Silver is a new book conceived by Richard Tuttle (born 1941). Featuring new texts and comprehensive installation photos from his exhibition Slide (Bergen Kunsthall, 2012), it documents the five steel sculptures that Tuttle made on site in Bergen, as well as including full-color reproductions of 121 drawings. These "notebook drawings" cover the artist's entire artistic output of a single year (2010), and were exhibited as the front page of the spiralbound notebook, which was mounted on the wall with a nail, emphasizing the notebook itself as sculptural entity. The unique concept for the book—developed by Tuttle himself, who is celebrated for his virtuosity with artist's books—includes an inserted "book within a book," pop-out details and an extensive fold-out cover.
PUBLISHER Bergen Kunsthall
BOOK FORMAT Paperback, 6.75 x 9.75 in. / 88 pgs / 56 pg insert / illustrated throughout.
PUBLISHING STATUS Pub Date 2/24/2015 Out of stock indefinitely
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2015 p. 131
PRODUCT DETAILS ISBN 9788293101208TRADE List Price: $45.00 CDN $60.00
Published by JRP|Ringier. Edited by Christina von Rotenhan. Text by Chris Dercon, Joachim Homann, Armin Kunz, Susan Tallman, Richard Tuttle, James Cuno, Christina von Rotenhan.
Since the 1970s, in collaboration with renowned printers and publishers, Richard Tuttle (born 1941) has produced almost 300 prints. Exploiting the unique possibilities of printmaking to make process, materials and actions visible, Tuttle celebrates the complexity of printmaking. Accompanying an exhibition at the Bowdoin College Museum of Art, Brunswick, and published as Tuttle creates a major installation at the Tate Modern's Turbine Hall (Fall 2014), this volume is the first monograph on Tuttle's printmaking. These works, which he began producing in the early 1970s, span woodcut, lithography, aquatint and etching, and often incorporate printer's errors. Edited by Christina von Rotenhan, it explores not only the artist's unique approach to printmaking with scholarly essays, artist statements and catalogue entries for selected prints between 1973 and 2013, but also Tuttle's deep interest in the collaborative dimension of printmaking.
Published by Hatje Cantz. Foreword by Matthias Haldemann. Text by Marco Obrist.
American postminimalist artist Richard Tuttle (born 1941) has worked in close collaboration with the Kunsthaus Zug in Switzerland as its informal “in-house artist” for almost 20 years now. Through fragile, mostly small, subtle paintings as well as sculptural objects and three-dimensional installations, Tuttle continues to explore special features of the museum’s architecture and selected works from its collection, exploring larger questions of endurance and continuity, rhythm and repetition across cultures globally. Use of Time is a slim, elaborately designed artist’s book--published in a limited edition of 850 copies--with 18 cards loosely bound by square knots and round grommets. The book’s circular design reflects Tuttle’s affinity for the Asian concept of time as a cycle and eternal return of the same, while also demonstrating the currency and reliability of traditional bookbinding through the radical renewal of art.
Published by Dublin City Gallery The Hugh Lane. Text by Barbara Dawson, Thomas McEvilley, Michael Dempsey.
With a quiet but resolute courage, Richard Tuttle (born 1941) has singlehandedly reinvented sculpture after Minimalism. Shrugging off the machismo of most American sculpture being made in the early 1960s, Tuttle created an arena for new possibilities of scale and humor, sometimes adding almost nothing to an object, at other times heaping materials up recklessly or pressing them to the brink of compositional incoherence. Tuttle can thus be said to have introduced a kind of new sensitivity to materials and application of paint to surface--one that brings the artist's proprioceptive body and the materials at hand into an equivalent calibration. Triumphs was published for Tuttle's winter 2010 show at Dublin City Gallery The Hugh Lane, which was arranged in two parts: one of recent work selected and installed by the artist, the other of earlier work curated by Barbara Dawson and Michael Dempsey. Because the act of installation (or re-installation) produces creative variables for Tuttle's work--his famous wire drawings of the early 70s, for example, are made anew each time they are installed--and also because of the particular architectural character of The Hugh Lane documentation of installations of older works is included, alongside Tuttle's fascinating prose meditation on the exhibition, in which the gently revolutionary character of his thought is made plain.
PUBLISHER Dublin City Gallery The Hugh Lane
BOOK FORMAT Paperback, 9.75 x 13.25 in. / 102 pgs / 109 color.
PUBLISHING STATUS Pub Date 2/29/2012 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2011 p. 63
PRODUCT DETAILS ISBN 9781901702378TRADE List Price: $45.00 CDN $55.00
Published by D.A.P./San Francisco Museum of Modern Art. Edited by Madeleine Grynsztejn. Essays by Madeleine Grynsztejn, Cornelia Butler, Richard Shiff, Katy Siegel, and Robert Storr. Texts by Tara McDowell, Elizabeth Smith, Adam D. Weinberg and Charles Wylie.
Over the past four decades, Richard Tuttle has thrown into question nearly every conceivable artistic convention and critical category to create an enormously inventive body of abstract work--one that embraces and intermingles drawing, painting, collage, book-making, sculpture and design. From his spare yet enigmatic forms of the 1960s to his complex, multi-faceted assemblages and installations of more recent years, Tuttle's primary impetus throughout has been to craft unique objects, using everyday, often ephemeral materials, that demand to be confronted on their own terms. The relentless individuality of his aesthetic vision has earned him standing as one of the most provocative and influential artists of his day. This richly illustrated and strikingly designed catalogue, the most authoritative volume ever published on this prolific artist, presents nearly 400 reproductions of artworks from across his oeuvre and documentary photographs of his creative process. Essays by a distinguished group of writers trace the arc of Tuttle's career from its inception in the 1960s to the present day, addressing topics such as the philosophical underpinnings of his artistic method; his sensitive handling of diverse materials; his lifelong engagement with drawing and its expansion into three-dimensional space; his groundbreaking solo exhibitions and their critical reception in the United States and Europe; his complex play with the conventions of language; and his innovative artist's books, many of which are collaborations with poets. The Art of Richard Tuttle is published in conjunction with a major retrospective organized by the San Francisco Museum of Modern Art. The exhibition travels to the Whitney Museum of American Art, New York; the Des Moines Art Center; the Dallas Museum of Art; the Museum of Contemporary Art, Chicago; and the Museum of Contemporary Art, Los Angeles.
Published by Institute of Contemporary Art, University of Pennsylvania. Texts by Ingrid Schaffner and Charles Bernstein.
In In Parts: 1998-2001, Richard Tuttle draws on 13 discrete bodies of work dating from 1998 to the present. Fully illustrated catalogue and designed in collaboration with the Purtill Family Business, this book includes an essay by Ingrid Schaffner, Senior Adjunct Curator at the Institute of Contemporary Art, and text by the poet Charles Bernstein, a frequent collaborator with Tuttle.
Published by Hatje Cantz. Edited by Matthias Haldemann. Essay by Jennifer Gross.
From 1996 to 1999 Richard Tuttle worked for the Kunsthaus Zug, in Switzerland, in an endeavor to provide the institution's collective activities with a new orientation. To this end, Tuttle created four rather different large works that referred to the space of the museum as a whole as well as its immediate surroundings. Astounding in view of Tuttle's body of mostly small and delicate work, these tailor-made objects redefine the space which they inhabit. The works also act in dialogue with each other: Replace the Abstract Picture Plane IV, for instance, consists of no less than forty parts whose asymmetrical arrangement on the first two floors of the southern wing respond to the spiral shape of the green snake located in the northern wing. Conceived by Tuttle, this new monograph constitutes a work of art in itself, and represents a pioneering step in collaborations between artists and museums. Also presented here is a photographic essay by Guido Baselgia, who viewed and documented Tuttle's work at Zug for the duration of its three-year stay.