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DUBLIN CITY GALLERY THE HUGH LANE
Richard Tuttle: Triumphs
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.
"Trout, 1989--what does it remind you of? A leaping fish, a bird, or a boat crossing over a sand bar or reef? How deliberate are the shadows? Kites, bridges, landscapes--looking atthem inspires the confidence to move more and more into the work and to see something of ourselves in response to it. Richard Tuttle's work is polysemous."
Barbara Dawson, excerpted from the foreword to Richard Tuttle: Triumphs. Featured image, Trout, 1989, is reproduced from Richard Tuttle: Triumphs.
"What do you see when you look at a work by Richard Tuttle? Objects made from the most ordinary of materials put together with pinpoint precision. The materials are familiar, yet when put together, they mean something else entirely. Coming upon them, it is shocking to see these workaday materials take on new form. But these humble constructs, made up of materials such as board, wire, canvas, cardboard and strong, when viewed with reciprocal humility, encourage empathy and open up many possibilities for new perceptions and personal associations. They are imbued with significance and reward your seeing without prejudice or cynicism. Cézanne observed that when he turned his head a few centimeters to the left he saw a whole new world; Tuttle's work can likewise reveal many different things, depending how you see it."
FORMAT: Pbk, 9.75 x 13.25 in. / 102 pgs / 109 color. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $55 ISBN: 9781901702378 PUBLISHER: Dublin City Gallery The Hugh Lane AVAILABLE: 2/29/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available TERRITORY: *not available
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.
