New York — Pace is pleased to announce an exhibition of new works by Richard Tuttle at 510 West 25th Street. Coinciding with Tuttle’s exhibition of ninety-four drawings from the 1970s on view at Pace’s neighboring headquarters at 540 West 25th Street, this exhibition will feature over twenty new works produced over the summer of 2019 at the artist’s new studio in Maine. Split into three series, Days, Muses, and Stars, these works explore the relationship between what is directly portrayed through picture making and the act of perception. Like all of Tuttle’s work, these new pieces reveal his continuous ability to create a unique visual language that defies categorization and blurs the boundaries between drawing, sculpture, and painting. Richard Tuttle: Days, Muses and Stars will be on view from November 12 through December 21, 2019 with an opening reception on Tuesday, November 12 from 6-8pm.

In conjunction with the opening reception for this exhibition, Pace will host a special book signing with the artist in celebration of his forthcoming publication: Richard Tuttle: A Fair Sampling. Collected Writings 1965–2018. Theevent will take place from 5-7pm at the gallery’s newly opened research library at 540 West 25th street, which holds over 10,000 volumes of Pace’s vast archival materials and catalogues. The 500-page book, edited by Dieter Schwarz, spans Tuttle’s prolific career as both a poet and artist. Published by Buchhandlung Walther König in Germany, the monograph will be released in January 2020. Advance copies of the book will be available at the event.

 rd Tuttle: Days, Muses and Stars stemmed from his time spent at his recently acquired property in Mount Desert, Maine. His expansive new studio and the vast surrounding landscape energized  Tuttle with an influx of new ideas, resulting in one of the most productive and fertile times of his artistic career.

Comprised largely of plywood and spray paint, these new assemblages draw on a range of influences from the nine muses in Greek mythology, after which some of the works are titled, to broader themes concerning nature and the cosmos. In Tuttle’s own words:

“The entire

Body of work

Was produced

In the summer

Of 2019

After ar

Duous beg

Ginings where

No consis

Tent forms

Or materials

Took place, dom

Inated, a

Breakthrough

Took place

That showed

Itself as

A zig zag be

Tween two

Surfaces

That let

Light into

A darkness

Much the

Same as

When light

Penetrates

The dense for

Rests of

Maine How a

A little piece

Of light can

Get through

(Or a deer

Can so ele

Gantly slip

Through the

Density) is

Astonishing

And pictoral

The density

Is also pic

Toral In fact

It is known

Just as much

As the light

Penetrating

It All the

Elements of

A picture are

Here So much

So they can mine

Picture making

In ways never

Before possible

It is so rich

In fact it has

To be held

Together by

Humanity

For the au

Diance it is

Intended

To serve

The group

of work called

Stars are this

group The

Group called

Muses shows

The capacity

For portrayal

Each work

Showing each

Of the nine

Muses from

Theogony

Not as il

Lustration

But from his

Source Days

Shows the

Ability to

Play and dis

Play from the

Same source,

Love, and light.”

— Richard Tuttle, Zurich, November 1, 2019

Richard Tuttle has revolutionized the landscape of contemporary art, challenging rules and notions of genre and media. His work exceeds rational determinations, sensitizing viewers to perception and the unconscious, and engages aspects of painting, drawing, sculpture, bookmaking, printmaking, and installation.

Exposed to the Pop movement and the beginnings of Minimalism as a young artist, Tuttle began to explore the possibilities of material and form freed from historical allusion and precedent. Early investigations into the merging of painting and sculpture are evident in his “Constructed” paintings which exist in a liminal space between mediums. For Tuttle, the 1980s and 1990s marked wider experimentation with material and a move toward in-the-round constructions. He began incorporating the frame as an element in his compositions, collapsing the boundaries between the artwork and its surrounding space.

Tuttle’s engagement with scale, light, and systems of display have endured throughout his oeuvre and can be seen in his attention to marginal spaces such as floors, corners, and over door frames. Rejecting the rationality and precision of Minimalism, Tuttle embraced a handmade quality and the invention of forms that emphasize the occupation of these spaces along with volume. Over the course of his career, he has continued to overturn traditional constraints of material, medium, and method that engage a variety of traditional and non-traditional processes such as in his wire, small-scale collage, dyed cloth, and octagonal pieces. The beauty and poetry that Tuttle draws out of everyday materials can be experienced in works that exist in the present moment, reflect the fragility of the world, and allow for individual experiences of perception.

Pace is a leading contemporary art gallery representing many of the most significant international artists and estates of the twentieth and twenty-first centuries. Under the leadership of President and CEO Marc Glimcher, Pace is a vital force within the art world and plays a critical role in shaping the history, creation, and engagement with modern and contemporary art. Since its founding by Arne Glimcher in 1960, Pace has developed a distinguished legacy for vibrant and dedicated relationships with renowned artists. As the gallery approaches the start of its seventh decade, Pace’s mission continues to be inspired by our drive to support the world’s most influential and innovative artists and to share their visionary work with people around the world.

Pace advances this mission through its dynamic global program, comprising ambitious exhibitions, artist projects, public installations, institutional collaborations, and curatorial research and writing. Today, Pace has seven locations worldwide: two galleries in New York—including its newly opened headquarters at 540 West 25th Street, and an adjacent 8,000 sq. ft exhibition space at 510 West 25th Street—as well as galleries in Palo Alto, London, Geneva, Hong Kong, and Seoul