new-york

Richard Tuttle

Sperone Westwater

In this culture of big spectacle and loud noise, it’s inevitable that understatement and beautifully modest production will come to be valued, if only by certain cults. Richard Tuttle certainly qualifies as a high priest in this regard. He makes art that’s small but not cute, simple but not smug, minimal but not Minimalist, casual but not sloppy, formal but not rigid. A lot of pitfalls to skirt for one career, much less one series of work.

In “Two With Any To,” Tuttle shows twenty square plywood panels with pieces of two-by-two attached, on which he has painted simple abstractions in acrylic. These are paintings, but they are intended to have a sculptural presence as well. Originally the works had been fixed to the wall with nails through the four corners; unhappy with the effect, Tuttle pried out the bottom nails of each piece, freeing the panels to pop off the wall and throw a shadow.

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