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Richard Dean Tuttle (born July 12, 1941) is an American postminimalist artist known for his small, subtle, intimate works. His art makes use of scale and line. His works span a range of media, from sculpture, painting, drawing, printmaking, and artist’s books to installation and furniture.〔(【引用サイトリンク】url=http://www.mcachicago.org/exhibitions/now/2012/54 )〕 He lives and works in New York City, Abiquiú, New Mexico,〔(Richard Tuttle: Matter, September 21 - October 31, 2013 ) Marian Goodman Gallery, Paris.〕 and Mount Desert, Maine.〔(Richard Tuttle: Looking for the Map, February 7 – March 15, 2014 ) Pace Gallery, New York.〕 == Biography == Tuttle was born in Rahway, New Jersey and raised in nearby Roselle.〔Christopher Miles (July 31, 2005), (Branching in all directions ) ''Los Angeles Times''.〕 He studied art, philosophy and literature at Trinity College in Hartford, Connecticut from 1959 to 1963.〔 After receiving his B.A. in 1963, he moved to New York where he spent a semester at the Cooper Union and had a brief stint in the U.S. Air Force.〔 He then began working at the Betty Parsons Gallery. One year after taking a job as an assistant to Betty Parsons, she gave him his first show in 1965. Tuttle's reputation as a master was secured in Europe as it swiftly embraced Tuttle's minimalist art. In the United States, however, acceptance of his work was slower. His works on paper are considered seminal works in American art. His first works, small monochrome reliefs,〔(Richard Tuttle ) Museum of Modern Art, New York.〕 were followed by making palm-size paper cubes with cut-out designs and shaped wood reliefs that seemed like a twist on geometric abstraction.〔Michael Kimmelman (May 14, 1999), (At the Met with Richard Tuttle: Influence Cast In Stone ) ''New York Times''.〕 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 Art of Richard Tuttle, November 11, 2006 – February 4, 2007 ) Museum of Contemporary Art, Chicago.〕 Tuttle had a survey exhibition in 1975 at the Whitney Museum of American Art. The exhibit was controversial and the show's curator Marcia Tucker lost her job as a result, after a scathing review by Hilton Kramer.〔Julie Ault, ''Alternative Art New York, 1965-1985: A Cultural Politics Book for the Social Text Collective'', University of Minnesota Press, 2002, p205. ISBN 0-8166-3794-6〕 Kramer, then art critic for the ''New York Times'' wrote, referring to Ludwig Mies van der Rohe's dictum "less is more", "in Mr. Tuttle's work, less is unmistakably less...One is tempted to say, where art is concerned, less has never been as less than this". According to art critic Christopher Knight of the ''Los Angeles Times'', Tuttle's ''Wire pieces'', which the artist made in 1971 and 1972, "collectively rank as his most distinctive contribution to art history".〔Christopher Knight (April 28, 2007), (Whispered, not shouted ) ''Los Angeles Times''.〕 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''.〔 His works in the 1990s mark a return to smaller-sized work, followed by bodies of low-relief wall-bound pieces that integrate painting, sculpture, and drawing.〔 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.〔Julie Salamon (December 3, 2004), (Artist or Guru, He Aims Deep ) ''New York Times''.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Richard Tuttle」の詳細全文を読む スポンサード リンク
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