In L.A. 1980 I took a bus from Downtown to Irvine.
The trip to the new Uni in Irvine took a whole day. Only to visit an Exhibition of an Artist I never heard from, never saw a work of him: Richard Tuttle.
I remember the Day as it was yesterday.
Entering the new Uni-Gallery – a totally huge blinding whitewashed room – I saw in the first moment – nothing.
Slowly I recognized that something was fixed to the walls: simple white typewriter-papers with something on it. After having adapted my eyes I could recognize some childlike signs on them.
The fixing, gluing, sticking of the papers to the wall fascinated me. I couldn’t believe that it functioned.
Unforgettable. The name of the Artist too. Being as old as i was then.
Through this indirect encounter I experienced a never before known FREEDOM OF ART. At least in mounting the light-material stuff in a Gallery.

Strange. I remembered the days in Chicago a bit earlier with the artist Michael Hurson, where I pinned a tiny yellow art-piece of mine on his studio-wall. Without asking him. So he said ironically in my direction: „O, that‘s the new art I see!. You are more modern then I“.
I felt ashamed terribly.
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Bei der Betrachtung eines neueren Werkes von R.Tuttle (im Hintergrund des Videos mit dem Interview).
Im Vergleich zur Retro-Sichtung einer Arbeit Tuttels aus der damaligen 1980-Fruehzeit:
ins Auge springt das Rahmen-Gewese, das heute eine Arbeit von ihm einfaemgt. Fast klobig schwer und prunkvoll.

Haben Tuttle die Gesetzmaessigkeiten der Gallerien inzwischen eigeholt?