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Visual Arts

Richard Tuttle: I Dont know or The Weave of Textile Language, Whitechapel Gallery

14 Oct 14 – 14 Dec 14, 10:00 AM – 6:00 PM

Parallel with his monumental installation in Tate Modern’s Turbine hall, Richard Tuttle's retrospective is at the Whitechapel Gallery

By CW Contributor on 4/8/2014

1 CW reader is interested
Richard Tuttle  Walking on Air, C10, (2009) Cotton with Rit dyes, grommets, thread  2x panels, overall installed: 1ft 11 inches x 10ft 3 inches/58.4 x 312.4 cm, courtesy Stuart Shave/Modern Art, London  and Pace Gallery, New York
Richard Tuttle Walking on Air, C10, (2009) Cotton with Rit dyes, grommets, thread 2x panels, overall installed: 1ft 11 inches x 10ft 3 inches/58.4 x 312.4 cm, courtesy Stuart Shave/Modern Art, London and Pace Gallery, New York
Richard Tuttle: I Dont know or The Weave of Textile Language, Whitechapel Gallery Richard Tuttle: I Dont know or The Weave of Textile Language, Whitechapel Gallery Alice Stride
Introduction  
In October London’s Whitechapel Gallery will play host to the largest gathering of works by celebrated artist Richard Tuttle ever seen in the UK. Incorporating pieces from across his career, starting in the 1960’s continuing to the present day, the exhibition will be complemented by the unveiling of a new work in Tate Modern’s Turbine Hall. Once described as an ‘artist’s artist’, expect a resistance to definition.
The artist
Born in 1941 in New Jersey, Richard Tuttle studied at Trinity College in Connecticut before suffering a brief stint in the United States Air Force. He had been a gallery assistant at the Betty Parson Gallery in New York for only a year when he was given his own show at the tender age of twenty-four. It is a troublesome task to pigeonhole Tuttle into a single neat medium as he travels between printmaking, painting, installation art and the written word. If your arm were twisted you would be closest to the mark by defining him as a sculptor, although this in itself is a deceptively loose term. For the purpose of this upcoming collaboration between Whitechapel and Tate however, it is perhaps sensible to think of Tuttle as a textile artist. This is because the over-arching sentiment of the show is the role that textiles play not only in art, but also in everyday life. 
The exhibition
Tuttle’s works in textiles and mixed media have always been intimate, especially in the first half of his prolific career. The Whitechapel exhibition will highlight this close relationship of the artist to fibre and thread. In a lay out designed by the artist himself, the works will respond both to each other and to the Whitechapel’s celebrated exhibition spaces, rather than map the chronological development of Tuttle’s career. We are particularly looking forward to seeing Tuttle’s radical canvases, which were ripped from the stretcher to be hung directly on the wall in works such as Purple Octagonal (1967).  

What Richard Tuttle: I Dont know or The Weave of Textile Language, Whitechapel Gallery
Where Whitechapel Gallery, 72-78 Whitechapel High Street, London, E1 7QX | MAP
Nearest tube Aldgate East (underground)
When 14 Oct 14 – 14 Dec 14, 10:00 AM – 6:00 PM
Price £Free
Website Click here for more information



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  • Practical Information

    IN THE AREA

    Dating from the 1300s and sat right between the Tate and Whitechapel, Leadenhall Market offers stalls selling cheese, meat and fresh foods not to mention a variety of pubs and restaurants. Those with small children in tow it is worth mentioning that Leadenhall Market was used for the filming of Diagon Alley in the wildly successful Harry Potter films. 

    Did you know?

    Founded in 1901, the Whitechapel Gallery is well known for exhibiting pivotal pieces of art. In 1939 it showed Picasso's Guernica as part of a protest to the Spanish Civil War. This was the first and last time this exhibition was shown in Britain. Throughout the 20th Century its succession of 'firsts' continued: exhibiting Pollock's first major show in Britain (1958), home to the British premier of Rothko (1961), introducing London to little known Frida Kahlo (1982). Today, it stands as a central part of the continued growth of the contemporary art quarter in which it finds itself.

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