Richard Tuttle discusses his philosophical relationship to art and life in his New Mexico studio.
Richard Tuttle commonly refers to his art as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his work. He subverts the conventions of modernist sculptural practice by creating small, eccentrically playful objects in decidedly humble materials. Influences on his work include calligraphy, architecture, and poetry.
VIDEO | Producer: Wesley Miller and Nick Ravich. Interview: Susan Sollins. Camera & Sound: Bob Elfstrom and Ray Day. Editor: Jenny Chiurco. Artwork Courtesy: Richard Tuttle.
In some sense, we think an artist is really like Plato might call, a true philosopher. We don’t stop with an illustration
but you can go to the limit of any in all disciplines that might be touched upon.
You know a whole lifetime for example doesn’t seem enough to use all those doors. Part of this artistic breakthrough,
which perhaps have some historical sensitivity to both in the making and the critiquing. There is all of life
and there has to be all life because if you don’t have all of life then how can you make anything that has some importance.
I also aboard anything that I personally feel reduces the scope of art and there is a division leftover from 20th century
where certain people might think that art something that is made outside of any personal expression like Joseph Albers or the Bell House people that it's really cooly detached.
And then there is the other kind where it is full of personal expression.
Personal expression is great but we couldn't get an art, which is just an expression of some twisted personal idiosyncrasy.
I find in order to get over those polarities between no personal expression and personal expression, the only possible personal expression is one of
some sort of sublimation where one is not reduced to some caricature or characterization.
Art is life it in fact has to be all of life.
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