Produced on the occasion of Richard Tuttle’s exhibition Kill Someone: Arbeiten Auf Papier, at Christian Lethert, Köln, 6 September–31 October, 2019.

An elaborate artist book with 18 cards, loosely bound by a weaver knot.

Richard Tuttle has worked in close collaboration with the Kunsthaus Zug as the “in-house artist” for almost twenty years. Through fragile, mostly small, subtle paintings as well as sculptural objects and three-dimensional installations, he continues to explore special features of the museum’s architecture or selected works from its collection. Tuttle poses questions about endurance and continuity, rhythm and repetition in the various cultures of contemporary global society.

Produced on the occasion of Richard Tuttle’s exhibition at Mies Van Der Rohe Haus, Berlin, 1 November 1996–19 January, 1997 & Galerie Volker Siehl, Berlin, 31 October, 1996–18 January, 1997.

Produced on the occasion of Richard Tuttle’s exhibition TheStars at Modern Art, London, 1 October–21 November, 2020.

Bearing a clear resemblance to some of Tuttle’s early work from the 1970s, such as his iconic Rope Piece (1974), which came to typify his bold approach to scale, these new works are made predominantly from plywood, paint, paper and metal wire, each sits atop its own hand-made shelf, annotated by Tuttle with its particular title, and secured to the wall with a single nail. The publication documents the new work alongside a series of Tuttle’s corresponding poems.

Produced on the occasion of Richard Tuttle’s 1985 exhibition at the Städtisches Museum Abteiberg, Mönchengladbach, 22 September–24 November, 1985.

Richard Tuttle’s work exists in the space between painting, sculpture, poetry, assemblage, and drawing. He draws beauty out of humble materials, reflecting the fragility of the world in his poetic works. Without a specific reference point, his investigations of line, volume, color, texture, shape, and form are imbued with a sense of spirituality and informed by a deep intellectual curiosity. Language, spatial relationship, and scale are also central concerns for the artist, who maintains an acute awareness for the viewer’s aesthetic experience.

At the forefront of some of the most significant artistic developments of the sixties was a group of New York–based artists that included Sol LeWitt, Robert Smithson, Mel Bochner, Eva Hesse, Richard Tuttle, and a lesser-known figure named Ruth Vollmer (1903–1982). A German-born émigré, Vollmer devoted her work to the cross-fertilization of science, mathematics, and the visual arts. Drawing from sources as diverse as Plato’s philosophy of mathematics and Bernhard Riemann’s non-Euclidean conception of space, the artist freely experimented with the many permutations of the sphere, from the circle, spiral, and pseudosphere to the ephemeral soap bubble. With her mathematical formalism, Vollmer participated in a constructivist revival, rejecting late-modernist notions of geometric abstraction in favor of “thinking the line.” Featuring selected sculptures and drawings, statements by the artist, and essays by art historians as well as the artists who knew her this book is the first to offer a thorough account of Vollmer’s works.

Texts by Rhea Anastas, Mel Bochner, Ann Reynolds, Nadja Rottner, Kirsten Swenson, Anna Vallye, Lucy R. Lippard, Rolf-Gunther Dienst, Sol LeWitt, Thomas Nozkowski, Richard Tuttle, Ruth Vollmer, Susan Carol Larson.