Throughout his impressive forty-year career, Richard Tuttle has pursued an artistic practice that is not easily categorized, incorporating drawing, painting, and sculpture into an idiosyncratic, intensely personal hybrid.
In the great Danish film director Carl Theodore Dreyers The Passion of Joan of Arc, the close-ups of the face of the tough, enigmatic Falconetti, strapped to the burning stake, are passages in which one can literally watch her inner transcendence.
When I leaned those four eight-by-three foot, thin-gauge metal sheets against the wall, predictably they naturally sagged in the center. There was something wrong with the way my body experienced that sag. When leaning, the panels didnt push back at me.
Books reviewed in this essay: Decoys and Disruptions: Selected Writings 1975-2001by Martha Rosler MIT Press, 2004 Leave Any Information at the Signal: Writings, Interviews, Bits, Pagesby Ed RuschaMIT Press, 2002 Foul Perfection: Essays and Criticismby Mike Kelley MIT Press 2003 Minor Histories: Statements, Conversations, Proposalsby Mike KelleyMIT Press, 2004
Look no farther than the streets of our city to observe the extent the art world has been blanketed in money. Garnering a great deal of media attention is the reopening of the Museum of Modern Art in Manhattan, following a nine-figure gutting.
There is only one crime. After eighteen months of cleaning and restoration, Picassos Demoiselles dAvignon is lost. Picasso called it his exorcism painting, and he meant it. The roughness and clashes he so thoughtfully invoked are now pale and dreadfully harmonious, enclosed in a heavy gray frame. Restorers are the new philistines.