Since the 1960s, Richard Tuttle has been developing a visual language entirely his own, breaking from the conventions of artmaking by prioritizing form and material over historical precedent. Canvas Dark Blue, 1967, in Glenstone’s collection, is from a series of loose, unstretched canvas works that can be installed in multiple manners. Tuttle’s shaped canvases do away with stretcher bars, a frame, a frontal view, even paint itself: they are dyed, have no fixed orientation, no specified front or back, and can be displayed on the wall or on the floor. Is this a painting? Is this a sculpture? Tuttle, by way of humor and a disregard for precedent, makes his own rules.

–Yuri Stone, from the Glenstone Field Guide