Richard Tuttle

Richard Dean Tuttle (born July 12, 1941) is an American postminimalist artist known for his small, casual, subtle, intimate works.

[7] Beginning in the mid-1960s, he began to create eccentrically-shaped painted wood reliefs, followed by ideograms made of galvanized tin, and unstretched, shaped canvases dyed in offbeat colors.

The exhibit was controversial and the show's curator Marcia Tucker lost her job as a result, after a scathing review by Hilton Kramer.

[10] In 1983, Tuttle made Monkey's Recovery for a Darkened Room (Bluebird), a wall relief of branches, wire, cloth, string and wood scraps, which he says formally relates to Jan van Eyck's Crucifixion and Last Judgement diptych.

[8] In 2004, Tuttle installed Splash, his first public art project, a mural 90 by 150 feet with about 140,000 pieces of colored glass and white ceramic tiles.

It stretches up the side of a luxury condominium building designed by Walter Chatham for a private, guarded island community in Miami Beach called Aqua.

[12] Tuttle has always "privileged newness, not found or weathered elements that refer to past lives and experiences," Sharon Butler wrote in a Two Coats of Paint review of "Days, Muses and Stars," his 2019 expansive multiple-gallery exhibition at Pace.

His objects, though they may convey a sense of wabi-sabi precariousness, are invariably made of pristine materials that reflect the proximate experience of making."

I Don't Know, Or The Weave of Textile Language, on view at the Tate Modern in 2014,[14] was made for the museum's turbine hall and is Tuttle's largest to date spanning nearly 40 feet in length.

[17] He presented a lecture in collaboration with his poet wife, Mei-Mei Berssenbrugge, through the Visiting Artists Program at the School of the Art Institute of Chicago in April 2009.