Richard Tuttle

Annemarie Verna Galerie

In Richard Tuttle’s “According to the Dawn II,” 1992, one can clearly read the complex process that unfolds when a vague sensation is transferred onto a two-dimensional surface. The 12 monumental drawings in graphite and charcoal on paper are pasted onto stretched canvases. Wedged between the stretcher and the wall, a piece of cardboard, peeping out several millimeters on all four sides, constitutes a sort of frame behind the canvas. Every paper surface is subdivided into a grid of more or less regular pencil lines, interwoven with charcoal marks as plain as droplets on a windowpane. The lineation suggests spatial and temporal continuity, while the marks seem to register a unique event, a momentary impulse.

During the first few days of the show, the cardboard peering out from behind the canvases was covered with loose white paper. But, like Turner or Bonnard, who retouched their paintings

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