Richard Tuttle (b. 1941, Rahway, New Jersey) is one of the most significant artists working today. Since the mid-1960s, he has created an extraordinarily varied body of work that eludes historical or stylistic categorization. Tuttle’s work exists in the space between painting, sculpture, poetry, assemblage, and drawing. He draws beauty out of humble materials, reflecting the fragility of the world in his poetic works. Without a specific reference point, his investigations of line, volume, color, texture, shape, and form are imbued with a sense of spirituality and informed by a deep intellectual curiosity. Language, spatial relationship, and scale are also central concerns for the artist, who maintains an acute awareness for the viewer’s aesthetic experience.
Tuttle was the Artist in Residence at the Getty Research Institute from September 2012–June 2013. Across his practice, Tuttle has remained committed to creating works that exist in the present moment and allow for individual experiences of perception. He has been the subject of more than two-hundred solo exhibitions throughout his career, Recent solo exhibitions have been held at The Metropolitan Museum of Art, New York (2016); Kunstmuseum Winterthur, Switzerland (2016); De Hallen Haarlem, Netherlands (2017); Kunstmuseum aan Zee, Oostend, Belgium (2017); The Phillips Collection, Washington, D.C. (2018); and M Woods Museum, Beijing (2019). The artist lives and works in Mount Desert, Maine; Abiquiu, New Mexico and New York City.
London—Pace London is delighted to present The Critical Edge, an exhibition of recent works in fabric by Richard Tuttle, on view from 13 April to 13 May 2017 at 6 Burlington Gardens. First presented at The Metropolitan Museum of Art, New York, in 2016, The Critical Edge follows two other major exhibitions of Tuttle’s work. In 2014, The Whitechapel Gallery surveyed the artist’s career from the 1960s to today and Tate Modern commissioned Tuttle’s largest textile sculpture to date for its iconic Turbine Hall.
A collector of textiles from around the world, Tuttle has focused and expanded his knowledge beyond his collection to understanding the intrinsic qualities of the material. The Critical Edge features a series of seven recent works assembled from layers of vibrant fabric purchased in New York and Maine. Sewn by hand and with a sewing machine, the combined cloths incorporate wood and nails. The delicate works continue Tuttle’s exploration of materiality, space, and three-dimensionality. “I’ve been very interested in how space, defined as two-dimensional (a plane, like a painting), can move into form, three dimensions,” Richard Tuttle states in the catalogue for 26, an exhibition presented at Pace New York in 2016 that spanned fifty years of the artist’s career.
Together with geometric abstraction, the embroidery of each fabric piece blurs the line between background and structure while the subtle falling of the cloth seems to breathe life into the works, hereby stimulating the senses and evoking ideas of sensuality. Without specific reference points, Tuttle’s seductive investigations of line, volume, colour and form are imbued with a sense of spirituality and informed by a deep intellectual curiosity. As reflected in the title of the exhibition, the works’ ambition is to transcend boundaries and invite viewers to contemplation.
The exhibition at Pace coincides with Richard Tuttle: My Birthday Puzzle, presented at Modern Art from 29 March to 13 May 2017.
The Metropolitan Museum of Art’s exhibition Richard Tuttle: The Critical Edge, features six striking new works specifically created for the museum. All created in 2015, the works are made with layers of cut and sewn pieces of fabric that Tuttle sourced in New York and Maine. Together they elaborate the artist’s interest in texture and material, likewise his longstanding use of textile as a medium. Once assembled, these fragments generate lively patterns of varying hues and opacity. A suite of