Both/And Richard Tuttle Print and Cloth
Friday, May 15 – Summer 2015
The Fabric Workshop and Museum
1214 Arch Street & 1222 Arch Street, Philadelphia, PA
Press Preview: Thursday, May 14 at 10:30 am
Walkthrough of the Installation with the Artist and Curators
Please RSVP for the press event by Tuesday, May 12, 2015
Parking Provided | Reservation Required
To RSVP for the press preview, and for parking reservation and details please email email@example.com
Public Opening Reception: Friday, May 15, 2015 from 6:00 to 8:00 pm
Members Preview: Artist Discussion at 5:30 pm
The Fabric Workshop and Museum (FWM) proudly presents the Philadelphia premiere of Both/And Richard Tuttle Print and Cloth. This unique, multifaceted installation of over five decades of work—from the mid-1960s to present—was conceived by Richard Tuttle, offering one of the most comprehensive experiences ever of this influential, contemporary American artist, who has a long history of collaboration with FWM, beginning in 1978 shortly after the Museum was founded by Artistic Director Marion Boulton Stroud. FWM will host a Press Preview on Thursday, May 14 at 10:30 am, a Public Opening Reception on Friday, May 15, 2015 from 6:00 to 8:00 pm, as well as a 5:30 pm Members Preview: Artist Discussion at FWM, 1214 Arch Street.
This installation will feature work from Tuttle’s two landmark textile and print surveys that originated in 2014:
- Richard Tuttle: I Don’t Know . The Weave of Textile Language organized by Whitechapel Gallery, London, curated by Magnus af Petersens, Chief Curator, with Poppy Bowers, Assistant Curator, Whitechapel Gallery.
As a collector of textiles from all periods around the world, Tuttle approaches the mystery he finds in them by the humble attitude expressed in the exhibition title, ‘I Don’t Know .’ Because textiles run the risk of not being seen he feels we need to sharpen our senses.
Excerpt from Whitechapel Gallery, London. Richard Tuttle interpretation panels (2014): 13 Jan 2015 <http://www.whitechapelgallery.org >.
- Richard Tuttle: A Print Retrospective Bowdoin College Museum of Art, Maine, curated by Independent Curator Christina von Rotenhan.
Ink on paper, oil and water, these two infinities resist. Paper is wetted to receive the greasy ink. The eye can witness minutiae; the mind can receive every degree in the battle between opposites, tell us something accurate and precise not possible in ink alone or water alone.
Richard Tuttle, "A Connoisseurship of Metaphor: Recent Prints by Richard Tuttle,” Art Journal 70, no.4 (Winter 2011), p. 140.
At FWM, the exhibition Both/And Richard Tuttle Print and Cloth will also include new prints from the publishers Universal Limited Art Editions (Bay Shore, New York) and Gemini G.E.L. (Los Angeles, California), as well as the international premiere of new kimono work by the artist.
“Art always comes from art.”
— Richard Tuttle
Richard Tuttle collaborated with FWM in 1978, and nearly twenty years later in 1998, to create new projects using fabric. During his first residency, Tuttle embraced the hand screen-printing process and the idea of fabric to make a series of clothing—Shirts in 1978 and Pants in 1979. These projects were the costumes for a dance performance in 1979, worn by members of the Pennsylvania Ballet. Then in 1998, also utilizing the hand screen-printing process, Tuttle’s project The Thinking Cap maintains a connection to conceptual fashion, yet instead of a shape connecting to the body, this work focuses on the mind. The Thinking Cap, as presented in the press cover image, is displayed on another collaborative project 24, a minimal sculptural table.
Currently an Artist-in-Residence at FWM, Tuttle’s new kimono work "Extraordinary"
from this 2014-2015 residency will be on view in this major exhibition. The hand-sewn yukatas
, or summer kimonos, are made of Sarashi
cloth, a traditional Japanese cotton fabric. There are two editions of 20 plus 4 artist proofs, one for men
and one for woman
. The design and pattern in this edition of new work are Chusen
dyed, a traditional Japanese method of dyeing using stencil paper, by Miyamoto Co., Ltd., in Osaka, Japan. The pattern in the woman’s yukata
design is rotated 90 degrees when compared with the man’s design. As Tuttle stated in a conversation with the FWM studio staff, “By changing direction of the bars, dynamic energy is achieved.”
An exhibition brochure with an introduction by Marion Boulton Stroud, and contributions by FWM’s Artistic Advisor Mark Rosenthal and Curators Magnus af Petersens and Christina von Rotenhan, accompanies Tuttle’s dynamic work, which exists in the space between painting, sculpture, poetry, assemblage, drawing, and printmaking. The brochure checklist will pair the works of art on view with poems by the artist that are directly inspired by his pieces.
About the Artist
Richard Tuttle (born 1941, New Jersey), one of the most significant artists working today, has created an extraordinarily varied body of work that eludes historical or stylistic categorization. Following his studies at Trinity College in Hartford, Connecticut (BA, 1963), he worked in New Mexico as an assistant to painter Agnes Martin. Tuttle’s first solo exhibition was in 1965 at the Betty Parsons Gallery in New York, and since that time his work has been shown in hundreds of one-person and group exhibitions and has become part of major private and public collections around the world. Early important exhibitions included a 1972 Projects series installation at the Museum of Modern Art, New York (1972), and a 1975 show at the Whitney Museum of American Art, New York. Tuttle’s work was the subject of an exhibition at the Institute of Contemporary Art, Philadelphia (2002), and was included in the Venice Biennale in 1997 and 2001. A recent retrospective of Tuttle's work, organized by the San Francisco Museum of Modern Art (2005), traveled to the Whitney Museum of American Art, New York (2005-2006), the Des Moines Art Center (2006), the Dallas Museum of Art (2006), the Museum of Contemporary Art, Chicago (2006-2007), and the Museum of Contemporary Art, Los Angeles (2007). Tuttle was the 2012-2013 Artist-in-Residence at the Getty Research Institute. In 2014, Tuttle was the subject of two landmark textile and print surveys: Richard Tuttle: I Don't Know . The Weave of Textile Language originally conceived as a 3-part project organized by Whitechapel Gallery in association with Tate Modern, London; and Richard Tuttle: A Print Retrospective at the Bowdoin College Museum of Art, Brunswick, Maine. The artist lives and works in Mount Desert, Maine; Abiquiu, New Mexico; and New York City.
The Fabric Workshop and Museum Membership
Free parking on Friday, May 15, 2015 provided for Members and Donors for the artist discussion and opening.
Individual Membership $35 and up.
Upcoming Summer Programming
By the Work of Her Hands
Thursday, June 4 – Summer 2015
Public Workshop: Thursday, June 4, 2015 from 11:30 am to 1:00 pm: Moroccan Embroidery Workshop
Public Opening Reception: Friday, June 5, 2015 from 6:00 to 8:00 pm
The Fabric Workshop and Museum (FWM) is pleased to announce By the Work of Her Hands, an exhibition of quilted and embroidered textiles that demonstrate stories of a unique cultural exchange between the Brooklyn Quilters of Color (New York, NY) and the embroidery artists of the Moroccan Au Grain de Sésame (Rabat, Morocco). The installation will also include video, photography, and oral histories created to sustain and preserve traditional textile-making applications compiled by participating students from New York University (NYU) and L'Institut Spécialisé du Cinéma et de l'Audiovisuel (ISCA). By the Work of Her Hands, a Museums ConnectSM project, is funded in part by a grant from the US Department of State’s Bureau of Educational and Cultural Affairs and is administered by the American Alliance of Museums. The opinions, findings, and conclusions stated herein are those of the authors and do not necessarily reflect those of the United States Department of State.
The programs of The Fabric Workshop and Museum are supported by Agnes Gund; Amy Stone, Art Ancora; The Andy Warhol Foundation for the Visual Arts; The Arcadia Foundation; The Barra Foundation; Christian R. and Mary F. Lindback Foundation; Claneil Foundation; The Coby Foundation, Ltd.; The Dedalus Foundation, Inc.; Dolfinger-McMahon Foundation; E. Rhodes and Leona B. Carpenter Foundation; Edna W. Andrade Fund of The Philadelphia Foundation; The Honickman Foundation; Independence Foundation; Institute of Museum and Library Services; The Judith Rothschild Foundation; Knight Foundation; LEF Foundation; LLWW Foundation; Longwood Plantation Foundation, Inc.; Louis N. Cassett Foundation; Mondriaan Foundation; Museums ConnectSM made possible by the US Department of State’s Bureau of Educational and Cultural Affairs and administered by the American Alliance of Museums; National Endowment for the Arts; New Millennium Charitable Foundation; The New York Community Trust; Nimoy Foundation; Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency; The Pew Center for Arts & Heritage; The Philadelphia Cultural Fund; PNC Foundation; PNC Arts Alive; Public Funds from the Netherlands Cultural Service; The Quaker Chemical Foundation; Samuel S. Fels Fund; Individual Trustee Discretionary Grant, of the W. Clement and Jessie V. Stone Foundation; Uplands Family Foundation; and the Board of Directors and Members of The Fabric Workshop and Museum.