New York

Richard Tuttle

Blumhelman Warehouse

The six works that constitute the series entitled “There’s No Reason a Good Man Is Hard To Find,” 1988, could nominally be regarded as assemblages, but that label hardly seems to do them justice. Made of the most disparate materials—from beautiful gestural drawings to crude remnants of rubberized material—they are hybrid creations, at once theatrical and militantly childlike, figural and abstract, eccentric and heroic. One looks like a ritual site, another like a miniaturized stage set, a third like a backward step in evolution, a sort of platypus in search of a continent. Perhaps the dominant crossing—leading to the most bizarre-looking work—is between creature and toy. All of the works demonstrate a marvelous material irony by yoking together incommensurate materials to idiosyncratic, vaguely tragicomic effect. Indeed, the works’ internal discontinuity becomes its overt mocking point.

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