![]() And at the moment, it has the yellow with the black in it. TUTTLE: You know, that first little piece-you can have the yellow without the black in it, or the yellow with the black in it. ![]() I mean, in some sense, I would think that an artist is really like what Plato might call a true philosopher: you can go to the limit of any and all disciplines.ĪRT21: Are there limits to art making-rules? It’s not just visual-how to see the rooms as what they were intended for, and then to build on that and show artwork off to its best advantage. On some level, the installation (to use a horrible word) would be this weaving between my persona and their persona to create a kind of world. In the Klein situation, you have these six yellows that weave in with another order. Knowing that, I can also play with that and make it even richer. It could be just an awareness of some weird sense of logic that comes out, the more material you have. I know that about my work-one and one equals three and one and two equals six-there’s this kind of exponential leaping. What came to mind was introducing six yellow pieces that were from about 1970–74 in the three consecutive rooms, that were then woven in with works that they had already owned, some from the ’90s and earlier periods. The Kleins in Tesuque are wonderful people they built a new house and have some works of mine that they wanted my input on hanging. TUTTLE: Something magical happens when a group of my work comes together. Even our sentences, the ways we express ourselves, play service to each one of those notions of time.ĪRT21: Talk about what happens when installing your work. ![]() I’ve always been confused why we have this system where we try to balance out original time with non-original time-you know, sequential time by the watch and then the concept of time. Ultimately, you have to come to that flash instant, which is almost un-measurably short and then un-measurably large. That’s one of the things that a picture is supposed to do for us. ![]() One of my favorite artists is Jan van Eyck, who gives you a picture that satisfies all attentiveness to the smallest of the small and all attentiveness to the largest of the large. TUTTLE: A kind of strange part of my work is that one instant is the same as all time, all eternity-microcosm, macrocosm. Richard Tuttle talks about how he first became an artist, and the rules he applies to his art-making process.ĪRT21: Measurement seems to play a big part in your work.
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