PRINT November 1983


IF RICHARD TUTTLE HAS GIVEN more body in his new work to the allusions and associations formerly held in check by the strictures of formal procedure, it is not for the purpose of forming a unity of configuration or image. These clusters of materials and forms of varying degrees of specificity do not aspire to homogenization; they colonize one another in exquisite symbiosis, loosely strung together by string and wire. Tuttle’s disjunctiveness evades art-didactic intent. The openness of his configurations permits no resolution; the chorus of shadows muffles the voices of physicality and returns the viewer to the implacable emptiness of the wall. The route is more circuitous than before, but the end (non)goal is the same. The wire leads to nowhere in its rambling from one event to another, on the vagrant paths of the imagination. What is ritualized is the a-logic of the intuitive rather than

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