5
Results 41—49 of 49
- To Have It About You: The Dorothy and Herbert Vogel Collection
To Have It About You: The Dorothy and Herbert Vogel Collection. Weisman Art Museum, Minneapolis, Minnesota, October 23, 2009 – January 10, 2010.
- Frederick R. Weisman Art Museum, University of Minnesota
Loose-leaf Notebook Drawings - Box 1, Group 7
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.
Loose-leaf Notebook Drawings - Box 1, Group 8
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.
Loose-leaf Notebook Drawings - Box 1, Group 9
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.
Loose-leaf Notebook Drawings - Box 1, Group 10
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.
Loose-leaf Notebook Drawings - Box 1, Group 11
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.
Loose-leaf Notebook Drawings - Box 8, Group 23
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.
Loose-leaf Notebook Drawings - Box 8, Group 25
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.
Loose-leaf Notebook Drawings - Box 8, Group 26
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.
Loose-leaf Notebook Drawings - Box 8, Group 27
Painting
Richard Tittle calls all of his works “drawings,” even his three-dimensional scuptures, to emphasize the small-scale and idea-based nature of his artistic practice. By doing this, Tuttle subverts the grand heroic gestures, monumental scale, and hyper-masculine materials associated with sculpture.
The Vogels and Tuttle have enjoyed a long relationship. The artist has acknowledged the productive nature of his conversations with the collectors, and Herb and Dorothy believe that their interaction with Tuttle has not only expanded their knowledge of his work but of all art.