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Thanks to talented writers the studio has been featured in numerous publications over the years. Collected here are some of the stories. Atelier Richard Tullis 1992-2006 PRESSING MATTERS - BEHIND DOOR NINE - Joseph Woodard Richard Tullis is one of those prominent yet also slightly mysterious figures in Santa Barbara's art community. Having run the respected Atelier Richard Tullis for 20 years and counting, he's a force to reckon with and a facilitator and workshop-keeper to artists both renowned and emerging, and he casts a large shadow. But who is he? The question is both raised, and in many ways, answered in a large exhibition, "Behind Door # 9: 20 Years of Atelier Richard Tullis in Santa Barbara," at UCSB's University Art Museum. One of the answers gleaned from this diverse sampling from his workshop is that he's pursuing neither a particular method or stylistic movement. Work, experimentation and creative results are the main products that seem to come out of his place. It has been an ongoing life's work for Tullis, going back to a childhood spent helping out at his father Garner Tullis' International Institute of Experimental Printmaking in Santa Cruz. Richard started working there at age 10, and was 13 when he first started helping abstractionist poet Sam Francis. The operation moved to Santa Barbara 20 years ago, and Richard carried on after his father moved to New York City in 1992, renaming the workshop Atelier Richard Tullis. Suffice to say, it's one of the hipper and more creatively motivated operations down in the industrial zone on Calle Cesar Chavez. Visitors can view exhibitions of work done there by appointment, or get a broad overview at UCSB, an eclectic sweep of ideas and techniques testing the limits of what we thought we knew about printmaking. Some indication of the conceptual stretching in the show is given by Martin Beck's "Favorite Painters Series," on the wall facing the exhibition entrance. Irony, ersatz science and systematic visual planning blend in the series of images, reputedly arrived at in response to polled artistic taste. There are plenty of lovely and intense examples of image-making using traditional printmaking techniques in the show, including Roger Herman's loosely linear "Self Portrait" and David Trowbridge's pulpy-textured, rusticated Minimalism. But the odder works, made under peculiar condition, tend to leap out for attention under the circumstances. Joan Tanner's "Bolted Paper" is a decidedly sculptural aggregate, with 19 handmade paper panels attached to a central axis, treated, embossed and painted in various ways. John Millei's "Terra Sub-Terra" is a floor-to-ceiling scaled triptych, with gooey black palimpsest of unknown origin or reference. One might ask where the printmaking ends and the dada-ist art mischief begins in Italo Scanga's oil painting of a vessel on a "found" plywood desk scrap. Here, physical object and the process of reproduction embrace, cautiously. And yet this artistic world's underlying physical creative process is a running theme in the exhibition. All aspects of the printmaking act - and what could be called anti-printmaking - and materials become integrated. The process behind the product can become almost dramatized by the specific descriptions of the works, many of which were created under 800 tons of pressure. Sam Messer's dark-comical diptych "Couple," we learn, is a "hand-rubbed engraved plastic plate, pressed into Awagami Washi by a 1940s Chas. Wagner Lithography, Offset Proof Press." Thus, armed with knowledge, our respect for what went into the creation of the images bumps up a notch or three. David Florimbi's "Project 2 Parcel 10" (the titles often refer to the ongoing processes rather than to fixed end products) is an odd, mostly sky landscape image, made partly on aluminum tiles applied to acrylic sheeting. The "real world" sneaks into view in a different way in Lawrence Carroll's "Obituary Series," of which pieces in homage to Mike Kelly and Robert Ryman are seen here. The "pulpy" reality of newspaper death notices are filtered through the idealized methods of art-making, using screens, prints, and canvas wrapped panel to put death into more poetic terms. In the museum's back gallery, Arnaldo Pomodoro's seven-panel work fills a wall, as if telling a vague narrative story. It's abstract, white, embossed paper state makes it at once elegant and wily, possibly alluding to topography, anatomy and sexuality. Though austere, on one level, this work is also imposing by virtue of the work and physical intensity behind its creation. The artist's muse willed that a 1,000-ton Anderson-Vreland Hydraulic Platen Press be involved. That's no sketch in the park. Tullis, the man behind the scenes, is very much intertwined into what we're seeing on the wall. His input is further demonstrated by a series of photographs from the Atelier, including such artists as Richard Diebenkorn, Sam Francis and Sean Scully. The photographic documentation continues at Santa Barbara Contemporary Arts Forum in Tullis' small selection of images shot in his space. That little show, fittingly, is called "Where Artists Work." Work, as verb and noun, is the critical word in these 20th anniversary shows. By Josef Woodard 2004 NEWS-PRESS CORRESPONDENT FROM RAGS TO PAPER - Charles Donelan Behind Door # 9: 20 Years of Atelier Richard Tullis in Santa Barbara - 2004. An artist himself, Santa Barbara resident Richard Tullis is also, to paraphrase Falstaff, "the cause that art is in others." This stimulating 20-year retrospective brings together works produced at his Door #9 workplace on Salsipuedes Street. Despite its generous size of approximately 50 images, the show only hints at the productivity of the last 20 years in the atelier. The exhibit records a unique, historically significant situation. Tullis uses his talent and experience, along with specialized equipment and radical techniques, to empower and provoke the many world-renowned artists who travel to Santa Barbara to live and work with him. The results of these prolific collaborations are beautiful and instructive. They give the immediate pleasure of sensory gratification and the more subtle, hard-earned one of insight into the nature and possibilities of the various media. While there is no such thing as "the Tullis method," there are signature elements in Tullis' approach to artmaking. Such works as the large, untitled seven-panel white relief by Arnoldo Pomodoro (1996) that dominates the back wall of the rear gallery are made on a high-tech, high-pressure press that can handle very large sheets of handmade paper. "Bottled Paper" (2004), a freestanding work by Joan Tanner on view in the main room, displays the sculptural qualities of pressed pulp. Shirley Kaneda is represented by an untitled piece from 1997 in which yellow vertical stripes, green and brown checks, and pink ovals are combined to emphasize the signature Tullis effects of highly saturated color and sensuous dimensionality. One of the largest and most striking pieces on display is a 1988 work by John Walker from his "Salsipuedes Series." It's a big blue duality animated by dark, spiraling figure eights. Nicole Strasburg's brilliant "Overpass Series" (2000) mines the potential of multiple cuttings and impressions made from the same piece of wood. It's a great piece - simple and sophisticated, down to earth and sublime - in other words, pure Atelier Tullis. Reviewed by Charles Donelan 2004 Atelier Richard Tullis - A printmaker and painter who shares his art. Atelier Richard Tullis - A printmaker and painter who shares his art. Santa Barbara Magazine - 2001 BY JANE ELLISON “When the mobile above your crib is an original Calder, you grow up knowing something about making art,” Richard Tullis reflects. That knowledge and the fulfillment it brings is the inspiration behind the unique art produced at the widely recognized Atelier Richard Tullis. It’s clear watching him in the studio and listen- ing as he describes what happens there, that making art has never lost its excitement. It’s an excitement that’s infectious as you step from the barren parking lot along Calle César Chávez into the studio’s soaring space. The quality and quantity of the abstract, representative and conceptual works resulting from Tullis’ collaborations over the past 20 years is nothing short of astounding. Artists come from all over the world to work here. A few are students; most are established. They all share a common interest in exploring new avenues of expression. Although his own training is in photography and ceramic sculpture, Tullis most often invites painters into the studio whose works have caught his attention. “I’ve pretty well edited before the artist arrives,” he reveals, “although there are no predetermined outcomes because the process invites spontaneity.” Tullis describes himself as more facilitator than collaborator. “Artists may rediscover aspects of their previous work or be introduced to materials that inspire them to move in entirely new directions,” he notes. “They’re passionate about the work and I allow them the freedom to experiment by lending sup- port through my expertise in techniques, processes and materials. I’m also curator, photographer and chief cook and bottle washer—the ultimate studio assistant,” he laughs. “While here, the artist is the most important person, whether it’s the supplies provided, music selected or the meals prepared,” he continues. “Richard provides a real service to Santa Barbara, bringing internationally known artists here and infusing the community with the larger contemporary art scene,” notes Meg Linton, executive director of the Contemporary Arts Forum. “Best of all, it’s a working studio that’s open to the public, providing firsthand knowledge of art making,” she adds. “I’ve never known another atelier like it; Richard is unique in the art world.” Among the artists who recently have been privileged to be in residence are Los Angeles painter, Lawrence Gipe, whose work is represented locally in the collections of the Santa Barbara Museum of Art and The Norton Simon Museum; and Per Kirkeby, internationally acclaimed Danish painter, sculptor and poet. Other artists working with Tullis have included painters Lawrence Carroll, David Florimbi, Nancy Haynes, Roger Herman, Shirley Kaneda, as well as Santa Barbara landscape painter and UCSB alum, Nicole Strasburg. Huge tables combined with supplies the presses and create unique works on paper that defy the conventional idea of printmaking. While one may be satisfied with the printed surface, another may work the surface with additional paint and graphite, blurring the line between printmaking, painting and drawing. New York artist, Jacqueline Humphries, has said of her experience at Atelier Richard Tullis, “...it’s not drawing, not prints and not painting. For me, it is a very fertile way of working, very process-oriented.” Tullis’ passion for the work comes from a lifelong exposure to art as the son of renowned printmaker, Garner Tullis. As an apprentice at his father’s International Institute of Experimental Printmaking he played a supporting role to such luminaries as Sam Francis, Richard Diebenkorn and Louise Nevelson. “There aren’t many people who could claim they cleaned plates and brushes for Sam Fran- cis,” he boasts. By 10 years of age he was learning the art of papermaking and running presses. Today the distinctive Tullis paper is available only in his studio. His education in the arts continued during four years at The Principia in St. Louis as a student in photography. Another four years studying photography and ceramic sculpture followed at Cal State, Humboldt and UC Davis. He returned to work in his father’s studio, ultimately moving to Santa Barbara in 1985, when Garner asked him to set up the Garner Tullis Workshop here. It was renamed Atelier Richard Tullis after he acquired it in 1992, serving notice of his independent vision. “Working side by side with artists is a rare calling, definitely a job for the young and energetic,” notes Santa Barbara artist and printmaker, Elaine Le Vasseur. “Richard has determination, courage and above all, good taste. That explains why his work is so respected. He carries on a 500-year- old tradition without any hype; it’s the real thing.”❖ Jane Ellison is a frequent contributor to Santa Barbara Magazine. MAKING THEIR MARK - THE ART OF ATELIER RICHARD TULLIS - Niki Richards “It's about making your mark.” For most people, these cliched words conjure dreams of personal success and leaving a lasting impression. But coming from the mouth of Richard Tullis, the remark carries both metaphorical and literal meanings. As the creative force behind Santa Barbara's Atelier Richard Tullis/ART 9, Tullis endeavors along with the rest of us to make an enduring contribution. Though substantial, Tullis's impact on the arts is a well kept secret. Tucked between industrial warehouses at the end of Calle Cesar Chavez, Tullis invites artists from around the world to find creative refuge in his atelier and collaborate in an ongoing exploration of aesthetic mark making under the force of an 800 ton press. Though well situated in the history of American printmaking through the legacy of his father Garner Tullis, Richard Tullis's individuality is manifest in the unbounded quality of the works produced at his atelier. Not weighed down by the sheer mass of the presses that link his production to the art of printmaking, Tullis facilitates the creation of unique works on paper by encouraging artists to experiment with an array of techniques and materials for mark-making. Print techniques are united with painting and drawing to create complex patterns, nuanced textures, and rich color combinations. Standing before a work by Lawrence Gipe, Tullis poses the facetious question, "Is it a print or is it a painting?" The ambiguity enables ART 9 to step outside the limits of traditional printmaking in a collaborative pursuit of new ideas, new directions, and new types of mark making that artists can take back to their studios. Over the past seven years, ART 9 has evolved into a working retreat that supports artistic freedom, experimentation, and reflection. In an attempt to preserve this environment, Tullis collaborations have unfolded beyond the public eye. Nevertheless, Tullis's passion for the art emerging from his workshop periodically transcends his modesty and quiet intensity. Sharing this enthusiasm while offering support to local organizations, including Hospice and Planned Parenthood, this month Tullis has opened his workshop to a series of events that coincide with a survey exhibition of works on paper produced at the Richard Tullis atelier. Curated by Diana DuPont of the Santa Barbara Museum of Art, the show reviews the entire production of the atelier since Richard Tullis stepped up to the plate in 1992. Works resulting from numerous collaborations are represented in an eclectic body of abstract, representative, and conceptual pieces. Uniting the various approaches to mark-making explored at ART9, the works selected by DuPont from Tullis's extensive archives collectively foreground the versatility, material sensitivity, and technical ingenuity that Tullis stares with artists invited to work in his studio. Describing the characteristics of Tullis collaborations, DuPont invites the viewer to relish the way in which “lyrical abstraction, beauty of color and the accident of mark-making lend a sense of intuition to ART9 production that keeps the work in the realm of poetry.” Tullis's affinity for color, shape, and materiality infuses the imagery produced at ART9 and can be identified as the underlying theme of this exhibition. In the playful work of Michelle Fierro, for example, paint and graphite are layered on a printed background of Tullis's handmade paper, creating a web of hypnotic visions and associations. Similarly, the accretion of the painted surface by John Millei explores the material attributes of paint and paper in an obsessive manner that parallels Tullis's approach to his own artwork, some of which is also included in the show. Even within the stark geometry of Martin Beck's conceptual work, Tullis's enjoyment of pigment is embodied in color relationships used to graph the popularity of artists across social class. April 29, 1999 The Santa Barbara Independent by Niki Richards The 800 Ton Secret - Rachael Howard The 800 Ton Secret – The Presses of Atelier Richard Tullis Richard Tullis would almost prefer not to have an article written about him or his art studio. Having run a highly respected creative haven for over a decade, Tullis is aware of the fine line between recognition and hype—and treads it lightly. Even at 8:30 a.m., however, he’s remarkably indulgent of my curiosity as we tour Atelier Richard Tullis, explaining how an intimidating 800ton press—only one among several bulky, brutish machines he’s expert in handling is used to create finely tuned pieces of art. Perhaps this tolerance is prompted by a realization that his days as Santa Barbara’s best kept art secret may be over. Made In Santa Barbara:Work from Atelier Richard Tullis / A.R.T.9 on display in the County’s Channing Peake Gallery through August, is only the latest step in Tullis’s gradual and somewhat reluctant local emergence. Although Tullis and a host of renowned artists have collaborated within the former Lemon packing plant on Salsipuedes Street since 1985, their work has been carried on quietly beneath Santa Barbara’s art scene, finding notice instead within New York circles. For Tullis, that’s been just fine. “I run a very private studio,” he said simply. “I’ve done a really good job of not being well known in Santa Barbara. I don’t want people knocking on my door and disrupting the art process.” Seeing the quality of work that privacy nurtures, one understands why Tullis has safeguarded it so passionately. But in recent years he’s opened his studio to exposure, and begun the balancing act between promoting his artists’ works and protecting the sanctity of their studio time, by donating a selection of Atelier Richard Tullis prints to UCSB’s University Art Museum and participating in a handful of Santa Barbara exhibitions. This latest exhibit features the work of Michelle Fierro, Thérèse Oulton, Jacqueline Humphries, Shirley Kaneda, Nancy Haynes, and Joan Tanner, produced during intense individual residencies with Tullis. Only Tanner, however, is actually from Santa Barbara, making this show an interesting twist in the gallery’s functioning.“It’s the first show they’ve had without Santa Barbara artists,”Tullis said.“They’re bending the rules a little because I live and work here, and I love Santa Barbara, but the artists are actually from many different places.” By happy coincidence, Tullis selected all female artists to represent his workshop at a time when female focused exhibitions are dominating the Santa Barbara scene.“It was fortuitous that so many other galleries are focusing on women right now,” Tullis said. But beyond the gender solidarity, the diverse works of these artists speak of the workshop’s range of capabilities. “I have six artists in this show, but none of them work in the same methods,” Tullis said. “My job is to help them learn how the materials in my workshop are similar but different to what they’ve already worked with. If I do my job well, artists will come back to me and say they have a whole new body of work.” Tullis learned the trade of facilitating talent from his father, Garner, who founded the International Institute of Experimental Printmaking in Santa Cruz. The studio later moved to San Francisco, and finally to Santa Barbara.“Garner brought me down from San Francisco in‘85 to build this place,”Tullis said.“My plan was to go back to San Francisco, but he sold that press in ‘87.” Tullis assumed full control of the Santa Barbara press in 1992. His father now runs his own workshop on the East Coast. Overcoming the shadow of his father’s incredible reputation hasn’t been easy, but Tullis has taken pains to establish himself in his own right, in part by working with artists his father passed over. “Nancy Haynes and Thésèse Oulton are both artist my father introduced me to,” he said.“But I had been impressed with Jacqueline Humphries’s work, and that was something my father didn’t want to do.” To the uninitiated, the tools of Tullis’s studio seem more suited to destruction than art. In fact, the offset proof press Tullis’s artists use to create their prints was originally used to manufacture B29 bomber struts during World War II.That piece of equipment and a massive hydraulic platen press (built in 1935 to print newspaper) are so heavy that they have to be supported on their own foundations of steel beams to avoid sinking the entire building.“It’s like stacking hundreds of elephants on top of your piece of paper,” Tullis said of the hydraulic press’s power. It’s not surprising that Tullis’s expertise is crucial to transforming artists’ ideas into unique works on paper.While a works components seem simple enough usually oil paint, aluminum cutouts, and wood only Tullis, through decades of experience, knows how they will perform under extreme forces. “Basically, an artist will come here with ideas, sometimes with sketches,” he said.“There’s a learning period where what the artists wants to achieve isn’t happening because the materials aren’t behaving like they thought they would.The artists have to learn to work in a more fluid manner.” But Tullis strives to do more than provide mechanical tools within his atelier he offers the artist an atmosphere conducive to creativity. During his or her residency, each artist is given the complete run of Tullis’s studio.“Only one artist is invited to work here at a time,”Tullis said.“I try to keep the walls free of anyone else’s art.This really becomes their studio.They’re got my technical assistance, but the phones not ringing for them. They’re left to their own devices as far as how fast they want to work, how much they want to get done.” During his busiest period with his father, Tullis would work with up to 40 artists each year. Now he prefers to concentrate on six to eight projects within that time span.This significant down scaling is in part due to Tullis’s return to paper making.As if the two presses weren’t enough, Tullis also owns a 250gallon hydropulper, and spends two consecutive months each year making special papers for his artists to work on. Tullis works with both new and experienced, well known and just being discovered artists. He worked with Sam Francis and Charles Arnoldi, two artists he finds most inspirational, for over a decade each; but Michelle Fierro, among others, is relatively new to his studio and the scene.This balance helps his studio keep afloat financially! “The old people help the young people, and they pretty well know that. It works somehow, Tullis said. Something by Per Kirkeby will help cover the expenses for something by Michelle Fierro.” None of his artists sell much in Santa Barbara, however. “I sell almost nothing here,” Tullis said “It’s a tough market.” It will be interesting to see how much longer Tullis’s achievements will go virtually undetected. Rachael Howard, July 10, 1997 Santa Barbara Independent Behind Door Nine - Michael Darling Underneath the noses of so many of us who follow the art scene in Santa Barbara, Richard Tullis has been operating one of the most exciting laboratories for artistic experimentation in the state. Situated in an old Sunkist lemon processing plant at the end of Salsipuedes Street, Tullis has quietly facilitated the creation of numerous bodies of works on paper by an eclectic range of artists from all over the world. Although the operation has technically been active since 1985, it is only within the last three years that the studio has come under the ownership of Richard, and been guided by his own particular vision. Formerly the Garner Tullis Workshop, Richard took over the business in 1992 from his father and changed the name to Atelier Richard Tullis / A.R.T.9, emphasizing the individuality of his enterprise. Trained in ceramics, printmaking, and photography, it is painters that have attracted Richard’s attention for projects during the last two years, looking to artists with a particular facility for paint handling and distinctive image-making for his collaborations. Artists as far-ranging as Shirley Kaneda, Christopher Le Brun, Jacqueline Humphries, Per Kirkeby, Thérèse Oulton, Chuck Arnoldi, Idelle Weber, and Joan Tanner have come to push their craft within the cavernous warehouse space of the Tullis Atelier, relying on the two enormous presses, hand-made Tullis paper, and Richard’s encouraging expertise for a variety of undertakings. Artists usually stay for a two week period, during which time it usually takes a few days to work through some adjustments to the technology before they really get into a rhythm of familiarity and facility. The works created are never made in multiple editions, but are instead made as singular works, one at a time, using the uncommon technology of 800 ton presses to open up new creative avenues in their practice. Joan Tanner, for instance, who engaged in a short but prodigious stint at the Atelier, put the funky materials with which she has been working lately together into intriguing compositions that are given a whole new dimension when pressed against paper. Copper wire, plywood, rubber, aluminum sheeting, solder, and roofing material were all employed in Tanner’s extraordinary prints, resulting in stained and compressed plates that hold as much interest as the complicated prints from which they were made. New York painter Shirley Kaneda’s recent residency introduced an element of expediency into her work that is usually absent in the paintings she builds up and adjusts over a long period of time. The complex interrelationships of patterns, colors and shapes that Kaneda balances in her paintings were complicated further by the exciting shifts of depth created by the bas-relief of the embossed prints. The Danish artist Per Kirkeby exploited the immediacy and largescale capabilities of Tullis’ large offset proof press, a machine that was refitted to artistic tasks after its original purpose of printing B-29 Bomber struts during World War II. Kirkeby created numerous human-scaled impressions around nature-based themes. Exhibited as a group, as in the recent “Untitled” exhibition at UC Santa Barbara’s University Art Museum, these works become environmental in both their scope and feeling. Tullis is just beginning to expand the visibility of his Atelier, making the products of his labors more accessible to a wider audience. His recent collaboration with Chuck Arnoldi, resulting in a large body of wildly colorful and expressive works on paper, was featured in the Venice Art Walk in Los Angeles in May. A selection of Atelier Richard Tullis prints were recently donated to the collection of the University Art Museum at UCSB, some of which were part of the Museum’s permanent collection exhibition, “From Warhol to Baule,” on view this summer. “Works from the Atelier Richard Tullis,” a sampling of artist’s projects fresh from the Tullis presses, was also presented at Sullivan and Goss in Santa Barbara. As these various showings have proved, increasing accessibility to this challenging material, for audiences both near and far, is a welcomed development, as this work is just too good to keep hidden. Michael Darling, June 14, 1995 Santa Barbara News Press Richard Tullis II - Brief History Richard Tullis was ten when he began working for his father, Garner Tullis, at Garner's International Institute of Experimental Printmaking in Santa Cruz, California. Richard began to learn about his father's world by making paper. Using found natural fibers ground into pulp by a macerator, Richard's earliest paper making experiments included anise, grass, foxtail, wool and cotton. Printing experiences began for Richard shortly after his introduction to paper making. Etching, blind embossing and monotype were the first printing skills he learned. Fletcher Benton, the first visiting artist Richard worked with, encouraged the ten year old to help with his project. Richard's job was to coat sheets of handmade paper with hot paraffin wax. These sheets were then embossed hot in a hydraulic platen press and hand colored. Afternoons in Santa Cruz found Richard at the Institute helping with University of California, Santa Cruz, students studying with Garner. Over the years, many experiences and experiments wove their way into Richard's life. One morning Richard went to get dressed only to find that his favorite red cotton shirt was missing. Visiting artist Ken Noland had taken a liking to the red color and the shirt had been ground up the previous day into red [paper pulp and incorporated into the center of a Noland Target. Unfortunately for Richard, the sacrifice of his shirt didn't entitle him to the cast paper piece. When Richard was thirteen Garner began collaborating with Sam Francis, and Sam has had a profound influence on Richard's life since then. Early on, Sam and Garner put Richard to work cleaning brushes and printing plates. Later, Richard learned to mix paints, cut and prepare plates with flat colors and eventually to construct presses and print for Sam during his many monotype sessions. At fourteen, Richard accompanied his father to Bennington College for a summer paper workshop, where he was an assistant teacher for the summer course Garner was teaching. Students including Riva Castleman, Anthony Caro, Friedel Dzubas and Ken Noland were taught to build molds and deckles then to use them to make traditional vat molded sheets of paper as works of art. In 1977 Richard was fifteen. The Institute moved from Santa Cruz to San Francisco and shortened its name to Experimental Printmaking. Richard spent high school summers at the studio casting Louise Nevelson paper multiples, Robert Arneson Paper Heads from the series "Up Against It," Arnoldo Pomodoro sculptures combining cast paper with polyester resin, and Helen Frankenthaller's "Bay Area Monotypes." It was in San Francisco that Richard began working with a young artist named Charles Arnoldi. Like the lasting relationship that Garner and Sam Francis always shared, Richard has carried on the tradition of long term relationships with artists collaborating at the Tullis Workshop in Santa Barbara. Arnoldi began working at Experimental Printmaking in 1980 and continues to work with Richard to this day. In 1982 Garner opened the Garner Tullis Workshop in Emeryville, California. There he built "the Big Press," a hydraulic platen press for Sam Francis and the largest platen press to be used for art in the world. Platens 6' x 10' and hydraulic rams exerting six million pounds of pressure made this press the ultimate printing experience. Paper making activities were temporarily suspended in Emeryville, where the focus was exclusively on paper making. It was at the Big Press that Richard's real printing experiences began. Commuting from University of California, Davis, after classes and on weekends, and working full time after graduating in 1984 with a degree in Fine Arts, Richard helped print large scale monotypes with Sam Francis, Charles Arnoldi, Ken Noland, Friedel Dzubas, Beverly Pepper, Yvonne Jacquette, William Tucker, Re Grooms, Tom Lieber and John Zurier. Beginning yet another chapter in printing history, the Garner Tullis Workshop moved from the Bay Area to Santa Barbara, California in 1985. For the new studio Garner bought an offset proof press with the capacity to print a flat sheet of paper 4' x 7'. Originally used to print the strut of the B-29 Bomber during WW2, it was a full year before the press was refurbished and brought to a usable condition. While waiting for the press to be restored, Richard constructed the new studio on Salsipuedes Street in Santa Barbara. In 1990 Richard visited Japan to learn the art of Japanese paper making. His introduction to Japanese handmade paper (Washi) began in Mino City with a visit to the living national treasure of Gampi ( Gampi is a very thin kind of washi). The real work began as he travelled south to Skoku Island and the Awagami Paper Mill. To learn the art of washi one must start with traditional methods. Richard began by washing the Kozo (mulberry bark - the fiber used for most Japanese papers) in a cold mountain stream with his feet. He then prepared the fiber by stripping off the outer bark from the inner bark, and boiling and pounding the remaining fiber into pulp. After days of preparation the pulp was ready. The Kozo fiber was dispersed in water and the sheet forming process ready to begin. Richard became owner of the Santa Barbara studio in 1992 and changed the name to Atelier Richard Tullis. Printing continues today and paper making has resumed. Richard has perfected a vacuum system for casting paper sheets up to 6' x 8' and 1/4" in thickness. These sheets are used for projects done with artists invited to work at the Santa Barbara studio making unique works on paper. Richard also supplies his father, who relocated to New York City and opened a new studio there, with handmade sheets specially made for Garner's presses. COLLABORATIONS WITH ARTISTS 1983-1992 Richard Aber, Charles Arnoldi, Martin Beck, Billy Al Bengston, Jake Berthot, Jean Charles Blais, Stanley Boxer, Louisa Chase, Peggy Wirta Dahl, Roy de Forest, Laddie John Dill, Richard Diebenkorn, Friedel Dzubas, Eric Erickson, Robert Feintuck, Margarit Smith Francis, Sam Francis, Christian Garnett, John Gillen, John Groom, Red Grooms, Don Gummer, Mary Hambleton, Joseph Haske, Nancy Haynes, Roger Herman, Tom Holland, Roni Horn, Yvonne Jacquette, Ron Janowich, Wolf Kahn, Ken Kiff, Per Kirkeby, Catherine Lee, Margrit Lewczuk, Tom Lieber, Robert Lobe, Emily Mason, Sam Messer, John Monks, Jim Muehlemann, Kathy Muehlemann, John Millei, Richard Nonas, Thérèse Oulton, Beverly Pepper, William Perehudoff, Rona Pondick, David Reed, David Row, Italo Scanga, Sean Scully, Carol Seborovski, Andrew Spence, Rick Stitch, Clinton Storm, Trevor Sutton, Yoshito Takahashi, David Trowbridge, Emilio Vedova, Peter Voulkos, John Walker, and John Zurier. 1992-2006 Gregory Amenof, Charles Arnoldi, Martin Beck, Peter Brandes, Lawrence Carroll, Xiaowen Chen, Emily Cheng, Michelle Fierro, David Florimbi, Lawrence Gipe, Roger Herman, Nancy Haynes, Jacqueline Humphries, Shirley Kaneda, Per Kirkeby, Gary Lang, David Lasry, Christopher LeBrun, Hugh Margerum, Kim McCarty, John Millei, Thérèse Oulton, Michael Reafsnyder, Lucas Reiner, Carol Robertson, Nicole Strasburg, Trevor Sutton, Joan Tanner, John Walker, Idelle Weber, Dan Weldon and John Zurier

Introduction to Photographer Richard Tullis and the Studio Tullis Archive JUST THE TIP OF MY ICEBERG: EXPAND YOUR MIND; LEARN A LITTLE ABOUT MINE Richard Tullis - Visual Artist Discover Creative My Expressions Welcome to Studio Tullis, the online art gallery that showcases the unique and imaginative work of Richard Tullis. Through his exploration of imaging, Tullis has created a vast collection of creative and inspiring photography and digital manipulations. Tullis also worked with artists to help them achieve their best works on paper. Studio T ullis : Collaborations Art work of others; in a past life Richard helped other artists to achieve their best expressions on paper . Looking for an opportunity to add some beautiful and unique fine art prints to your collection? Look no further than my extensive collection, featuring works on handmade paper, monoprints, and monotypes created with artists between 1980 and 2006. Whether you're a seasoned collector or just starting out, my collection offers a range of pieces for every taste. Art Index

Richard Tullis is a visual artist with a deep history in the arts. Photographer, printmaker, paper maker, collaborator, curator, gallerist, framer, and business owner are a few of his many accolades. A Bit About Richard Tullis + Studio Tullis ABSTRACT: Garner Tullis launched Experimental Impressions Graphic Workshop in Philadelphia in 1961 using a hydraulic platen press to make monotypes. Unsatisfied with traditional printing papers, Garner visited Scott Paper Company in 1962 and began making his own paper, adapting the paper fabrication process to fit his printing needs. Garner’s enthusiasm for paper and monotype printing spread through his teaching at the University of Pennsylvania, Stanford, UC Berkeley, Stanislaus State College, UC Davis, Harvard and Yale. Tullis’ unconventional approach to materials started early in Philadelphia. Handmade paper formed around large timbers was the first of many award-winning cast paper sculptures. After winning a Fulbright scholarship—not in printmaking for which he applied but in sculpture for his deeply embossed wood cut monotypes—he studied bronze casting in Florence, Italy. His foundry work influenced his inventive papermaking and in 1972 Tullis fueled the cast paper movement in Santa Cruz, California, continuing in San Francisco, with his International Institute of Experimental Printmaking. Using paper as the casting medium he achieved results resembling cast bronze—but with the weight of paper. Collaborations with artists produced cast paper heads, dustpans, lingerie and figures, and exhibited the paper pulp’s flexibility, pliability and moldability. Richard Tullis learned hand papermaking growing up in this unique, innovative environment. After studying photography and ceramic sculpture at Humboldt State University and UC Davis, Richard joined his father at Garner Tullis Workshop in Emeryville, California in 1982. There, Richard learned monotype and collaboration on a hydraulic platen press Garner built that was capable of printing a sheet of paper 6 x 10 feet. 1984-85 brought the Tullis’ to Santa Barbara. Still unsatisfied with conventional printing papers and unwilling to cast their signature sheets using the traditional method of removing water with gravity and a sponge, they incorporated vacuum technology, creating a labor saving way to produce their thick cast sheets. Tullis’ Santa Barbara paper mill specialized in flat white waterleaf sheets. Clean white cotton pulp is hand cast into sheets 1/4”-1/2” thick up to 43”x75”. This special paper is ideal for printing on their hydraulic platen presses and is utilized in artistic collaborations. Paper production is limited and only available for use in the Tullis Studios. RICHARD TULLIS BIOGRAPHY Richard Tullis was ten when he began working for his father, Garner Tullis, at Garner's International Institute of Experimental Printmaking in Santa Cruz, California. Garner had begun printing experimentally during the early 1960s in Philadelphia and his approach to materials and printmaking was inventive and unconventional. Growing up in Garner’s studios, Richard wasn’t taught to approach anything in the usual manner. Richard began to learn about his father's world by making paper. Using found natural fibers ground into pulp by a macerator, Richard's earliest paper making experiments incorporated anise, grass, foxtail, wool and cotton. He was encouraged to help in the studio and learned how to solve problems with an open mind and willingness to innovate and experiment to reach his final goal. During the sixties and seventies handmade and cast paper became the focus of the International Institute of Experimental Printmaking. By inviting artists to the Institute to collaborate on making monoprints and monotypes on handmade papers, Garner paved the way for artists to approach print making and art in a new and exciting way. Encouraged by Garner, Richard would help after school with whatever they would let him do. Casting paper, cutting rags and occasionally helping with artists’ projects hooked him on helping artists make art. Printing experiences began for Richard shortly after his introduction to paper making. Etching, blind embossing and monotype were the first printing skills he learned. Fletcher Benton, the first visiting artist Richard worked with, encouraged the ten-year old to help with his project. Richard's job was to coat sheets of handmade paper with hot paraffin wax. These sheets were then embossed in a hydraulic platen press and hand colored. Over the years, many experiences and experiments wove their way into Richard's life. One morning Richard went to get dressed only to find that his favorite red cotton shirt was missing. Visiting artist Ken Noland had taken a liking to the color; the shirt had been ground up the previous day into red paper pulp and incorporated into the center of a Noland Target. Unfortunately for Richard, the sacrifice of his shirt didn't entitle him to the cast paper piece. When Richard was thirteen Garner began collaborating with Sam Francis, and Sam has had a profound influence on Richard's life since then. Garner bought a vacuum silkscreen machine, loaded it with color, and he and Sam began making unique prints, also known as monotypes. Early on, Sam and Garner put Richard to work cleaning brushes and printing plates. Later, Richard learned to mix paints, cut and prepare plates with flat colors, and eventually to construct presses and print for Sam during his many monotype sessions. During these projects Garner pushed Richard in ways he wouldn’t fully understand until much later: Garner was setting the ground rules for assisting artists. Teaching was always important to Garner. When he wasn’t on tenure tract at a university he’d teach classes in the studio. Paper courses brought students from all over. Teaching the joys of paper and the many facets of casting, Garner was something of a pied piper during the late sixties and early seventies. At fourteen, Richard accompanied his father to Bennington College for a summer paper workshop, where he was an assistant teacher for the summer course Garner was teaching. Students including Riva Castleman, Anthony Caro, Friedel Dzubas and Ken Noland were taught to build molds and deckles then use them to make traditional vat molded-sheets of paper as works of art. During high school Richard began photographing artists working at the studio. Sam Francis was a willing subject. Years later at a birthday party for Sam’s young son, Augustus, Richard was asked where he’d gone to school. Before he had a chance to reply, Sam offered, “the school of hard knocks—and I’ve given him most of them”. Richard thought the comment was funny and later set about remembering many of those experiences. Fortunately the hard knocks part of that education was tempered with the outrageous behavior of Garner and many of the artists that ventured through the studios. In 1977 Richard was fifteen. The Institute moved from Santa Cruz to San Francisco and shortened its name to Experimental Printmaking. Richard spent high school summers at the studio casting Louise Nevelson paper multiples, Robert Arneson paper heads from the series "Up Against It," Arnoldo Pomodoro sculptures combining cast paper with polyester resin, and Helen Frankenthaller's "Bay Area Monotypes". Throughout the seventies and early eighties the paper movement at Experimental Printmaking transitioned from teaching to editions. Through alliances with Pace prints and Andre Emmerich, Garner produced paper multiples, cast paper paintings and a variety of other innovative paper products. Emphasis shifted from paper-as-an-end to paper-as-a-slave in the experimental printmaking process. A signature paper began to be produced. Cast heavy sheets made by pouring pulp into deckles, covering it with cheese cloth, then removing the water with sponges became a favorite of artists printing with Tullis. Sam Francis continually pushed Garner. His requests for bigger, thicker paper and ever-increasing hydraulic pressure prompted Garner to increase the size of his presses as well as the size and shape of the cast paper he and his talented staff at Experimental Printmaking produced. It was in San Francisco that Richard began working with a young artist named Charles Arnoldi. Like the lasting relationship that Garner and Sam Francis shared, Richard has carried on the tradition of long-term relationships with artists collaborating at his studio in Santa Barbara. Arnoldi began working at Experimental Printmaking in 1980 and continued to work with Richard through the mid-1990s. In 1982 Garner parted ways with Experimental Printmaking and opened the Garner Tullis Workshop across the Bay in Emeryville, California. There he built the “Big Press", a hydraulic platen press for Sam Francis and the largest platen press to be used for art in the world. Platens 6' x 10' and hydraulic rams exerting six million pounds of pressure made this press the ultimate printing experience. Paper making activities were temporarily suspended in Emeryville, and the focus turned exclusively to printmaking. It was in Emeryville that Richard's real printing experiences began. Commuting from the University of California, Davis, after classes and on weekends, and working full time after graduating in 1984 with a degree in Fine Arts, Richard helped print large scale monotypes with Sam Francis, Charles Arnoldi, Ken Noland, Friedel Dzubas, Beverly Pepper, Yvonne Jacquette, William Tucker, Red Grooms, Tom Lieber and John Zurier. Accepted by most of the artists that came through the studio, he also continued the intimate task of photographing the artists during their projects. Beginning yet another chapter in printing history, the Garner Tullis Workshop moved from the Bay Area to Santa Barbara, California in 1984. Garner had married Pamela Auchincloss, an art dealer with a gallery in Santa Barbara, and his new home was there. For his new studio Garner bought an offset proof press with the capacity to print a flat sheet of paper 4' x 7'. Originally used to print the strut of the B-29 Bomber during WW2, it was a full year before the press was refurbished and brought to a usable condition. In addition to the offset press, the new studio would house a small hydraulic platen press. Paper making stayed in the Bay Area with Experimental Workshop. Richard, meanwhile, continued running the press in Emeryville. After about a year of doing this full-time, Garner summoned him to Santa Barbara to build out the interior of the new studio while they waited for the new press to be restored. Located in a retired lemon processing plant near the beach in the industrial section of Santa Barbara, the studio space was large and open and bathed in natural light. After months of sheetrock and paint, the space was finished, the presses ready, and Richard was set to return to Emeryville. Unfortunately, one aspect of the new studio didn’t go according to plan: “Stop the presses” was the advice of the structural engineer on the first attempt to bring the presses inside. No one had mentioned that although the building could hold the weight of the presses, the soil on which the building stood could not. Only two blocks from the beach and a foot or two above sea level, the name of the street—Salsipuedes (Spanish for “get out if you can”)—was taking on new meaning. Having spent a small fortune renovating the space and signing a long lease, Garner was not deterred. They spent the next few months tearing up the floor and installing concrete pads with steel pipes and platforms so the presses could sit free of the building and not sink it into the ground. Finally the day arrived when the riggers and haulers, with their trucks and forklifts, moved the presses in. Richard was ready to head north and resume duties at the Emeryville studio. Much to his shock and dismay, this was not to happen. Garner had sold the Big Press and turned over the leasehold for the space in Emeryville to Sam Francis. Richard was heartbroken, for although the new offset press could print a 4’x7’ sheet, it was a toy compared to the 120,000 pound behemoth capable of crushing a 6’x10’ sheet of paper with six million pounds of pressure. Garner assured Richard that Sam had tried to purchase him with the press, but Garner wasn’t ready or willing to let him go that easily. And so life in Santa Barbara began for Richard. The year was 1985. Pamela had just started to bring in work by important artists from outside the area. With Garner on board she increased her visibility, and with his art world contacts, made a name for herself showing famous artists from New York and Europe. Her energy and ambition propelled her forward and her contact with younger artists began to show an influence on Garner. Already established from his lifelong pursuit of artistic collaborations, he was excited to start this new chapter. He’d already worked with some of the masters: Sam Francis, Kenneth Noland, Louise Nevelson, Arnaldo Pomodoro, Helen Frankenthaller, Friedel Dzubas and many others in his studios in Santa Cruz and San Francisco. He wanted Santa Barbara to be different, to focus not just on older and successful blue chip artists, but on the younger, ambitious, yet-unproven artists that Pamela was introducing to him. Between the gallery and the studio they made an interesting team: Pamela would want to show an artist and Garner would invite them to work in his studio. During this time Richard acted as his father’s studio assistant (the title master printer would come later) and spent his time preparing the artists’ work areas, mixing materials, fabricating plates, selecting paper and helping the artists learn the monoprinting process. He also set up a darkroom in the studio in order to continue his photographic projects. He was still taking pictures of artists working, as well as fitting in time for experimentations of his own. The paper bug never left Garner and in the late eighties he bought back his paper mill from Experimental Printmaking and enlisted Richard to further the pursuits of Tullis handmade paper. Having grown up experimenting with different ways to use paper as a medium for art, Richard began to specialize in sheets for monoprinting. Casting cotton linter into 1/4”-1/2” thick waterleaf sheets for use in his presses was his goal. By factoring in the viscosity of painters’ oil pigments and the pressure of the presses, he was able to achieve a specialized sheet. By excluding sizing and optimizing the absorbency of the paper, artists could realize results closer to those in their studios. Papermaking was again up and running, this time in Santa Barbara and guided by Richard’s vision. 1987-1988 was a pivotal time in the history of the Tullis studios. Garner and Pamela left Santa Barbara for New York in 1987 after realizing the limitations of the art world in a small provincial town like Santa Barbara. Pamela at one point observed that more people visited her New York gallery in a week than had visited most months in Santa Barbara. Work was selling at an unreal pace, prices were increasing daily and no end seemed in sight for the art market. Richard stayed in Santa Barbara and continued working with artists and fine-tuning his papermaking processes. By 1988 a new era was unfolding in Garner’s career, and thus in Richard’s. Garner’s New York studio, designed by famed New York architect Richard Gluckman, was complete. Pamela had opened a new gallery on Broadway. They both loved being in New York. With Garner’s New York space in various stages of construction, much of the work sold through New York in the late eighties came from collaborations done in Santa Barbara. 1988 brought 52 projects to the Santa Barbara studio, and most were with artists Richard had never met—they came to California to work with Richard at Garner’s invitation. Later the same year Garner decided the Santa Barbara collaborations no longer fit his program. His studio was up and running and by the end of the year, the flow of artists was redirected from California to New York. Richard shifted his focus to papermaking and providing the substrate for most of Garner’s New York art production for the next few years. In 1990 Richard visited Japan to learn the art of Japanese paper making. His introduction to Japanese handmade paper (washi) began in Mino City with a visit to the living national treasure of gampi (gampi is a very thin type of washi). The real work began as he traveled south to Skoku Island and the Awagami Paper Mill. To learn the art of washi one must start with traditional methods. Richard began by washing the Kozo (mulberry bark - the fiber used for most Japanese papers) in a cold mountain stream with his feet. He then prepared the fiber by stripping off the outer bark from the inner bark, and boiling and pounding the remaining fiber into pulp. After days of preparation the pulp was ready. The Kozo fiber was dispersed in water and the sheet forming process ready to begin. Richard became owner of the Santa Barbara studio in 1992 and changed the name to Atelier Richard Tullis. Artists projects, papermaking and innovations with new materials and processes continue today. Richard has perfected a vacuum system for casting paper sheets up to 43” x 75” x 1/2" thick; these he is able to print on the large offset press. In addition to the collaborations, Richard’s time is spent on his own experimentations with painting and digital manipulations. Twenty o Five brought a huge change to the studios' future. Richard lost the lease to the Santa Barbara studio and with that development inspired him to shift his focus North with a move to Oregon. Leaving the presses behind it was now time for Richard to focus on his own creative needs. Richard Tullis - CV RICHARD BARCLAY TULLIS II PERSONAL 1962 Born Philadelphia, Pennsylvania. 1983-1984 Assistant Printer, Garner Tullis Workshop, Emeryville, California. 1985-1992 Master Printer, Tullis Workshop, Santa Barbara, California. 1992-2006 Owner, Atelier Richard Tullis, Santa Barbara, California. 1980-present Owner Richard Tullis Photography, various locations. 2006-present Owner Studio Tullis, Northwest Oregon. EDUCATION 1972-1976 Apprenticeship at the International Institute of Experimental Printmaking. Paper making, Paper casting, Etching, Monotype, Monoprint, and Relief Printmaking Techniques under the supervision of Garner Tullis. 1976 Assistant Teacher Bennington College, Bennington, Vermont, Summer Arts Program. 1976-1980 The Principia, Saint Louis, Missouri. Introduction to photography. 1980-1982 Humboldt State University, Arcata, California. Studied Photography and Ceramic Sculpture. 1982-1984 University of California at Davis, Davis, California, BA Art. Continued study in Photography and Ceramic Sculpture. EXHIBITIONS 1980 The Principia, Saint Louis, Missouri. Multi-media Visual Presentation and Still Photography. “Sleeping Bear Dunes”. 1984 Basement Gallery, University of California at Davis, Davis, California Experimental Photographic Technique, “Chemical & Light Drawings.” 1991 Castello di Pietrarubia, Pietrarubia, Italia. “Immagini Fotografiche di un Workshop”. 1992 Bobbie Greenfield Fine Art, Venice, California. Photographs of Sean Scully in conjunction with “Sean Scully, Works from the Garner Tullis Workshop” Design Gallery, Sarasota, Florida. “Artists Working”. Santa Barbara Museum of Art, Santa Barbara, California. Alternative Process Photography, Santa Barbara Photographers”. 1994 Santa Barbara Museum of Art, Santa Barbara, California. “The Santa Barbara Connection, Ten Santa Barbara Photographers.” Santa Barbara Contemporary Arts Forum, “Charity” 1995 Santa Barbara Contemporary Arts Forum, “Homework” 1996 KCBX Auction 1997 KCBX Auction Santa Barbara Contemporary Arts Forum “Xcite Auction” 1998 KCBX Auction 1999 KCBX Auction 2000 “Santa Barbara Printmakers” Elaine LeVasseur, Falkner Gallery, Santa Barbara Public Library b. sakata garo, Sacramento, California Santa Barbara Contemporary Arts Forum “Valentine Auction” 2001 Matrix and the Monoprint, Maudette, Santa Barbara County Arts Administration, Santa Barbara County Building 30 Arlington, Santa Barbara, California “Santa Barbara Printmakers” Susanne Munchnic, Falkner Gallery, Santa Barbara Public Library H.Pollock Fine Art, Summerland, Calilfornia the Arts Fund auction, Santa Barbara, California 2004 “Behind Door Nine: Twenty Years of Art Collaborations with Richard Tullis in Santa Barbara” University Art Museum, UCSB, Santa Barbara California “Artists Working” Santa Barbara Contemporary Arts Forum 2005 “Made In Santa Barbara” Santa Barbara Museum of Art 2009 Central Coast Wine Classic Barrel Painting Avila Beach, California PUBLIC COLLECTIONS Arkin Museum, Denmark The Cleveland Museum of Art The Jane Voorhees Zimmerli Art Museum, Rutgers, Luria Library, Santa Barbara City College, Santa Barbara, California. MOMA Museo Pomodoro, Pietrarubbia, Italia Museum of Art, U. of N.C. Chapel Hill , North Carolina The Museum of Contemporary Art, Milwaukee Museum Without Walls, Santa Cruz, CA Puskin Museum, Moskova Ringling Museum, Sarasota Florida Santa Barbara Museum of Art, Santa Barbara, California The State University of New Jersey University Art Museum, University of California at Santa Barbara PUBLICATIONS 1983 Casa & Gardino, Italia. Magazine Photo Spread. 1984 Peter Voulkos, Hope and Charity in Hope Gallery. Catalog 1987 Sean Scully, Pamela Auchincloss Gallery. Catalog 1988 Collaborations in Monotypes, University of California at Santa Barbara. Catalog - ISBN# 0-942006-15-1 Richard Diebenkorn, Pamela Auchincloss Gallery. Catalog Garner Tullis: The Art of Collaboration - David Carrier - Photographs by Richard Tullis ISBN # 978-0963099013 1989 Collaborations in Monotype II by Phyllis Plous and J. David Farmer, University Art Museum, UCSB, Catalog Charles Arnoldi, Pamela Auchincloss Gallery. Catalog ASIN B00ZF5BT00 Garner Tullis by Charles Millard, Print Quarterly, June 1989, Periodical 1990 Kenneth Noland, Karen Wilkin, Rizzoli NY, Book - photo pages 12,15 - ISBN #0-8478-1240-5 Emilio Vedova, Museo Nationale S. Ravenna, Italia,. Catalog Emilio Vedova, Pamela Auchincloss Gallery. Catalog 1991 Sean Scully, Monotypes from the Garner Tullis Workshop. Pamela Auchincloss Gallery Catalog ASIN B000HY9352 Sean Scully: Prints from the Garner Tullis Workshop - Garner Tullis · ISBN# 978-0963099006 1994 Sam Francis, Book of Monotypes, Daco Verlag, Book ISBN # 978-3871350139 1996 Per Kirkeby, Stotter Arken Museum for Modern Kunst, Catalog - Monoprint collaborations plates 47-58 Photograph by Richard Tullis page 112 - ISBN # 877875-005-9 1997 David Carrier, Garner Tullis: The Art of Collaboration, Book 1998 Riviera Living in Santa Barbara, Sunset Magazine, June 1998 2001 Atelier Richard Tullis, A printmaker and painter who shares his art, Curators Choice by Jane Ellison, Santa Barbara Magazine Summer 2001 2005 Made In Santa Barbara, Santa Barbara Museum of Art, Catalog 2011 Richard Diebenkorn The Ocean Park Series - Orange County Museum of Art / DelMonico Books - Prestel Richard Tullis Photographs on page 200 - ISBN # 978-3-7913-5138-4 2012 Portrayal / Betrayal Santa Barbara Museum of Art Photographic Portraits from the Permanent Collection Santa Barbara Museum of Art -Show publication - Full-color photography exhibition catalogue. Portrayal/Betrayal explores the endlessly interesting terrain of the face, both human and animal, in over 100 photographic portraits dating from the mid-twentieth century to the present, which are drawn largely from the Santa Barbara Museum of Art's permanent collection. Organized into nine distinct groups, each section reflects a different conceptual approach and explores the shifting negotiation of control from the person behind the camera to the one in front of the camera and, finally, to the viewer. Sitters may collide, collude, or simply submit to the process, but the viewer ultimately has the power to analyze and interpret "what's in a face?” 2015 Per Kirkeby Polar Breeze and Gentle Lapping Waves- Hate Cantz - ISBN978-3-7757-3956-62015 2016 Dave Hickey, 25 Women, Essays on Their Art - The University of Chicago Press - Richard Tullis, Photo: front cover dust jacket: Michelle Fierro - ISBN 978-0226-33315-1 2019 Patricia L Lewy: Friedel Dzubas catalogue raisonné - SKIRA April 23, 2019 - Richard Tullis photographs of Friedel Dzubas p. - ISBN 978-8857232805 coming soon Richard Diebenkorn: The Catalogue Raisonné of Prints - Edited by Andrea Liguor COLLABORATIONS WITH ARTISTS 1983-1991 Richard Aber, Charles Arnoldi , Lillian Ball , Martin Beck , Billy Al Bengston, Jake Berthot, Jean Charles Blais , Stanley Boxer , Louisa Chase , Peggy Wirta Dahl, Roy de Forest, Laddie John Dill, Richard Diebenkorn, Michael Dvortcsak , Friedel Dzubas , Eric Erickson , Robert Feintuck , Margarit Smith Francis, Sam Francis, Christian Garnett , John Gillen , Jon Groom , Red Grooms, Don Gummer, Mary Hambleton , Joseph Haske , Nancy Haynes, Tom Holland , Roni Horn, Yvonne Jacquette, Ron Janowich , Wolf Kahn, Ken Kiff, Per Kirkeby, Christopher LeBrun , Catherine Lee , Margrit Lewczuk , Tom Lieber , Robert Lobe , Emily Mason, Sam Messer , John Monks, Jim Muehlemann , Kathy Muehlemann , Richard Nonas , Thérèse Oulton , Beverly Pepper, William Perehudoff, Rona Pondick, David Reed, David Row , Italo Scanga , Sean Scully , Carol Seborovski , Andrew Spence , Rick Stitch, Clinton Storm , Trevor Sutton , Yoshito Takahashi , David Trowbridge, William Tucker , Emilio Vedova , Peter Voulkos , John Walker , and John Zurier. 1992-2006 Gregory Amenof, Charles Arnoldi , Martin Beck , Peter Brandes, Lawrence Carroll , Xiaowen Chen , Emily Cheng , Michelle Fierro , David Florimbi, Lawrence Gipe, Nancy Haynes , Roger Herman , Jacqueline Humphries , Shirley Kaneda , Per Kirkeby, Gary Lang , David Paul Lasry , Christopher LeBrun , Hugh Margerum, Kim McCarty, John Millei, Thérèse Oulton , Arnaldo Pomodoro , Michael Reafsnyder, Lucas Reiner , Carol Robertson , Nicole Strasburg, Trevor Sutton , Joan Tanner , Charlotte Verity , John Walker , Idelle Weber, Dan Weldon and John Zurier. Richard Tullis - I do what...* Pretty much everything these days, with a dedicated team. And of course your help. Thank you for looking. Email: Contact Me Address: Pacific Northwest Oregon

Studio Tullis, Northwest, OR 2006-present day Atelier Richard Tullis, Santa Barbara, CA 1992-2006 Garner Tullis Ca'Boso, Italy 2001-2019 Garner Tullis New York, NY 1988-2001 Tullis Workshop, Santa Barbara, CA 1985-1992 Garner Tullis Workshop, Emeryville, CA 1982-1985 Experimental Printmaking, San Francisco, CA 1976-1982 International Institute of Experimental Printmaking, Santa Cruz, CA 1973-1976 Experimental Impressions Graphic Workshop, Philadelphia, PA 1961-1963 The International Institute of Experimental Printmaking 1974. Humble beginnings casting Louise Nevelson paper multiples. photographer unknown History of Tullis Studio Richard Tullis Studio Tullis, Northwest, OR 2006-present day Historic Studio Tullis locations: Atelier Richard Tullis, Santa Barbara, CA 1992-2006 Garner Tullis Ca'Boso, Italy 2001-2019 Garner Tullis New York, NY 1988-2001 Tullis Workshop, Santa Barbara, CA 1985-1992 Garner Tullis Workshop, Emeryville, CA 1982-1985 Experimental Printmaking, San Francisco, CA 1976-1982 International Institute of Experimental Printmaking, Santa Cruz, CA 1973-1976 Garner Tullis Bronze Foundry, Redwood City, CA 1964-1967 Experimental Impressions Graphic Workshop, Philadelphia, PA 1961-1963 Garner Tullis; my father, started Experimental Impressions Graphic Workshop in Philadelphia, Pa during the early sixties. His vision was to collaborate with artists to push the boundaries of paper, paper making and fine art printing by using experimental techniques not embraced by the establishment of the time. His efforts to break printmaking norms of his time garnered him a Fulbright scholarship in sculpture for his monumental embossed paper works. He headed to Florence Italy to learn bronze casting. After his studies in Florence foundries it was a journey to the west coast of America to pursue graduate studies at Stanford University. During these years opened a bronze foundry with skills he learned in Florence Italy. In the early seventies Garner opened the International Institute of Experimental Printmaking in Santa Cruz, California. I was eleven when I got my first job after school at the IIEP, I learned the art of hand paper making, etching and monoprinting after school and on weekends. Our crew over the years Thank you to all those not included here, so many interns and names I cannot remember. Over the years there have been so many wonderful people. Who have made the studio run a well oiled machine. Thank you for all the unsung heroes . Founder 1961 - 2018 b.1939- d.2019 Garner Tullis Co-founder International Institute of Experimental Printmaking, Experimental Printmaking 1973-1984 b.1946 - 2012 Ann McLaughlin Tullis Foo Administrator / Communications / Marketing / Curatorial / Studio Supervisor Tullis Workshop Garner Tullis New York 1986-1992 Elizabeth Tullis Thompson Studio Builder / Master Printer Tullis Workshop Garner Tullis New York 1984-2000 Emanuele Cacciatore Papermaking Machine, printer Tullis Workshop Atelier Richard Tullis Garner Tullis New York 1990's Jeffery Warda Art Director - Creative - Photographer - Visual Artist - Owner 1973 - continuing engagement International Institute of Experimental Printmaking Experimental Printmaking Garner Tullis Workshop Tullis Workshop Atelier Richard Tullis Richard Tullis

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Interviews by Michael Darling of Studio Tullis Artists - Lawrence Carroll, Michelle Fierro, Lawrence Gipe, Nancy Haynes, Jacqueline Humphries, Shirley Kaneda, John Millei, Lucas Reiner, Joan Tanner Interviews - Michael Darling The Artist Makes The Art. The artists hand is always involved in Tullis collaborations. Unlike many print shops the artist is actually making the artwork with their own hand. Since mark making is such an important focus of the projects done at Tullis it’s important to remember its original not a reproduction. Printers generally make copies of an image, striving to make exact duplicates of an artists original creation. The artist provides the original and leaves the printer to replicate it as an edition. The artist often times does little else but sign the numbered edition and collect whatever royalties are due. The Tullis studios didn’t work that way. Artists were invited to work in the studio by invitation. They had proven their worthiness by exhibiting and selling their creations. It’s a critical eye that chose who did or didn’t make the cut and get the chance to use the incredible studio facility. It was quite at time and place, I'm so glad I got to participate in the creation of many great pieces of art. Richard Tullis LAWRENCE CARROLL Interview w/ Michael Darling MD: Did you go into your project at ART9 with any thing in particular in mind, any goals? LC: No, not really. Drawing for me has always been like taking a walk, very casual and easy. For me it's a place to find something. I had some vague notes I took while on a trip in Italy, but other than that nothing. The process is a place for taking things in, and also letting things out of your system, sometimes for good. MD: Did you gravitate towards a particular way of working while there? LC: I mainly dove into the process and started to look for things. Some forms just began to come out. There's a certain type of mark-making and language that comes out and continues from one piece to the next as an inherent part of the process. I don't have a very procedural way of working, and I don't usually do printing projects because of the time constraints. Richard is not like that. He facilitates me in looking for things and lets the process carry itself out. For me, it's all about meandering and finding something. Like taking a walk and seeing what sticks to your shoe. MD: This seems to be one of the unusual qualities about working at ART9. LC: Richard is very receptive to experimentation. It is like a laboratory there. You're there, and that's all you think about. No distractions. It's very concentrated and intense, and really becomes your own studio. MD: Does the space itself promote this feeling? LC: It's just conducive. It's quite large, a great viewing space, with lots of neutral settings to see art. It's enviable. There are great tables, great presses, and wonderful light coming in from the skylights. MD: Is light important to your work? LC: No. There is no light in my studios. I like privacy. I like to bury myself in the studio. The less outside world, the better. MD: Is it a departure for you to work so concentratedly on paper, or are works on paper integral to your normal practice? LC: I do a lot of works on paper, but I don't show them. I draw every night, just before I go to sleep, but they're very private. They just go into journals. But there's a quietness to them that I really like. I also do preparatory drawings for paintings, but it is not a really regular part of my studio work. MD: Does the printing process accord with your usual approach to making paintings? LC: The work I do up there [at ART9] comes out of a collage mentality, and I am comfortable with that. It is very similar in many ways to what I do in my studio. The process of subtraction and addition is the same except that it is on thin sheets of paper. But there is a real similarity to it. MD: What is Richard's role during your work at ART9, his level of participation? LC: Richard knows when to stay out. He is quite confident of knowing what to say and when to stay away. He knows that comments are not necessary at some point, especially at the early stages when things can be a little ugly. I often work when he leaves. I enjoy the quietness. We have a certain rapport though, and it is fine working with Richard. He was raised in this environment, knows this process intimately, and knows how to act. MD: What else makes working at ART9 a special experience for you? LC: It is a luxury to be able to go up there and explore things, to look for things. There is a quietude I enjoy. It's very private, which feels good to me. It teaches me a lot about what is necessary to do other things. And I do find things. It's just about trusting the process. Michelle Fierro Interview w/ Michael Darling 2001 MD: How has your work at ART9 impacted your painting? MF: The experience got me to start reintroducing more color into my work again. Previously, I was working with line on vacated canvases, but with Richard, I started to use really saturated colors. In a way, I brought my studio practices to his atelier and imposed them on the traditions of printing. MD: Your paintings typically feature a lot of three-dimensional relief elements. How did you relate those interests to the very two-dimensional process of working with printing presses? MF: The woodcut process made me think about space. I began to dig into the paper and then build it back up with paint. Embossing became an additive process different than building up with paint, as I normally do. I loved working with the woodcut, but it was hard work, and the rough look was not something that I initially liked, but I smoothed it out. Working with a hard material made easy manipulation a challenge, but the very pliable nature of the paper was also difficult. Each roll of the press yielded a different effect. I liked that element of surprise in working on the press, whereas in the studio I usually know what to expect. MD: What role did Richard play during your work at the studio? MF: I didn't ask for art suggestions, but he helped me with technique. He told me about limitations of certain methods, but left things open for me to explore. For me, the process doesn't really change when there is another person around, and Richard let me be on my own. MD: How did working at ART9 differ from your own studio? MF: It was very freeing to be in the space, with the gorgeous light, the wide open atmosphere, lots of tables to work on, instead of the small Hollywood apartment that I paint in. Richard's music and cooking also helped and made it very special. MD: What else did you find valuable about your project at ART9? MF: I like delving into other aspects of artmaking, and think about artists like Miró who did textiles or ceramics. I like exploring different media because it is bound to open up possibilities for me, from different formats, to new colors, and so forth. Lawrence Gipe Interview w/ Michael Darling 2001 MD: How did working at ART9 correlate with the ways you work on a daily basis? LG: When I began working at Richard’s, I was interested in translating the images that I often work with onto his incredible paper. I have been looking a lot at color separations and components of photographs, and tried to explore that through the printing method. For instance, I took a picture of a cloud with a tiny plane and printed it in blue, red, and yellow then butted all three up against one another as if to imply that they would combine to form a color photograph. I didn’t know how that would translate to painting, but now I am working on a canvas with the same idea, in this case using a still from a Fritz Lang film. Working on the presses at Richard’s is a very different experience from what happens in a painting studio—the process directs you. It’s like painting into a carpet, Richard’s hand-made paper just sucks up paint and the subtlety of the color can’t compare to that you achieve with any other painterly support. MD: Is your painterly mode compatible with what is possible at ART9? LG: I shift into another way of working when I’m there. At Richard’s I use my hands constantly which I don’t do at the studio. This makes it very intimate. The closest thing to it is working on the lithographic stone, but that is so cold. And yet, I don’t really think of what I do at Richard’s as printmaking at all, I approach it as making a unique work on paper. I just kind of freefall with the process. The freedom of that and the touch makes it a seductive process. MD: What is Richard’s role while you are working at ART9? LG: He doesn’t participate very much except in the beginning. Then he lets me go on for hours and hours. He does come in for a chat when it’s 70% there. He has a very informed voice in the discussion. Richard will give me an honest opinion when I ask for it, and is usually very encouraging. Richard brings me images too. Sometimes he will go to the computer and download images and tack them up on the wall and walk away without saying anything. MD: Does the environment at ART9 affect your way of working? LG: I’m pretty used to the light and wide open spaces out here in California, so that is not such a factor for me. But the sheer space of the studio can be daunting—talk about a big white wall to fill! The best thing for me about working at ART9 is that you can put up everything you’ve done during two weeks of working on a fifty foot wall and see it all at once. This gives you a real sense of accomplishment. It’s not like looking through a drawer of stuff in a back room. MD: Is there anything else that is particularly appealing about working at Richard’s? LG: At ART9 it begins and ends with the paper and how paper can be turned into such an object. Previous to working with Richard, I never thought of a piece of paper as something with an identity of its own. Here, you start with a three by six foot piece of paper that begins with an object-like presence because of its heft and beauty. That amazes me. Nancy Haynes Interview w/ Michael Darling 2001 MD: How did you approach your last visit to Tullis? NH: I was intentionally unorganized about it so that I would hopefully be free from the beginning to try strange things. This is really important for me, to try opposite approaches that I otherwise wouldn't take. With all the space at the atelier and the great presses, it is a wonderful time to do things out of the ordinary. I sometimes carry over ideas from earlier series, but I rarely bring the same attitude that I have in my studio to the work I do at Tullis. MD: What in particular makes working at Tullis worthwhile? NH: The light there is wonderful… and the high ceilings, openness, and the enormous space. When I work, I like it completely quiet, and am indulged by the quietude. I also turn on the music sometimes, and work all day long, completely unaware of time passing. MD: What sorts of things can you do at Tullis that you are not able to do in your own studio? NH: I make my paintings on linen-over-board. With Richard it is of course all on paper, and the monoprints are like drawings for me, completely unique. There is a physical way of making them that can't be transferred to the painting process. Working on the plates is just so much different than working on linen-on-board. Monoprinting also allows me to explore the concept of memory in a different way. In my studio I deal with memory by using glow in the dark paints. At Tullis, memory is evoked in the diptychs I make with a print and the ghost of that print, especially in the “Thus/Gone” series. MD: What other painterly interests of yours are served by the printing process? NH: Unlike many painters, my interest really lies in light rather than in color. Aspects of light in the monoprints come from the transparent layering I do, and through the application and removal of paint. With this process, the paper makes the light, whereas in a painting, it is painted in. MD: What is Richard's role in your working process at Tullis? NH: Richard doesn't interject at all. I'm indulged by music when I'm there. It is great to listen to music in that room. Richard is a terrific cook too. When I'm in Santa Barbara I feel pampered, spoiled, and indulged. He generally leaves me alone to do my thing. Jacqueline Humphries Interview w/ Michael Darling 2001 MD: How did the work you did at ART9 affect the work you made after your time in Santa Barbara? JH: It mostly affected my work in terms of ideas about drawing. We did a sort of layering with the presses that I began to use in my own studio, even though I had already been thinking about it. For me working at ART9 is mostly about a reinterpretation of technical acts, not an illustration of ideas. MD: How did you find working with printing plates as opposed to the work you do on canvas or paper? JH: There are physical restraints in monoprinting, such as you can't glob on paint. MD: Do you work on paper much in your own studio? JH: Not as much as I do at ART9 of course, more for preparation, or sketches for paintings. The works on paper I do with Richard tend to be more completely realized. Monoprinting has an interesting place between drawing and painting--it is not drawing, not prints, and not painting. For me, it is a very fertile way of working, very process-oriented. Each pull is different, and I keep spinning off from previous information. It is very generative of ideas, more so than lithography. MD: Your work seems less about traditional composition and more about a process-based approach to making images. How does this affect your approach with the presses? JH: I find the image as I work, in the process. For this reason, working with the press is very well-suited to my process. MD: What are some of the special qualities of ART9? JH: It is a really special place, with great space, great equipment. Santa Barbara is also a very nice place to be, especially if you're coming from New York. Seeing the mountains outside the big doors is really beautiful, so is watching the fog and the changing light. It is like a giant window. I also like the give-and-take of the process, getting another person's input. Richard's technical help is very useful and new ideas spring from that knowledge. Richard also has a fantastic music collection. Shirley Kaneda Interview w/ Michael Darling 2001 MD: Did you approach the work you did at ART9 in a different way than how you make paintings in New York? SK: My approach to making work is very predetermined. I make drawings first, then the shapes are blown up and put to canvas. That was eliminated when working with Richard. I went straight from the drawing to the finished work. It makes for a degree of spontaneity that was different. Process and image became one. I still cut out shapes as usual, but there was more involvement with the medium and paint with Richard. I have a much more distanced relationship with paint in my studio. With monoprints, I really have to get in there and mess around. I find it hard. In a way, the process is better for painters who draw with paint, but the challenge was liberating. I brought a lot of that back to my painting. MD: I remember you telling me that a lot of the work you did at ART9 was destroyed because you were unsatisfied with it, but the ideas in the lost work came back into your work at a later date. Is this typical of the process? SK: You are there for a limited time and don't get much time to spend with the work. The last time, I got there and started making prints and wasn't happy with them so I ripped them up. Then I was able to move beyond that in a different direction. If you keep pushing yourself you will eventually come up with something successful. MD: What was Richard's involvement in the process at ART9? SK: I don't really rely on what Richard sees or thinks when I'm working. It is nice that he can leave you alone without distractions and interference. He leaves me quite alone, which is good for me. He is sensitive to artist's needs. On the other hand, I do like to take advantage of his expertise with techniques, processes, or how to achieve another kind of surface. MD: How is it to work in the space of ART9? SK: It is liberating. The space is wonderful. There is as much room as possible in which to work. It is very relaxing. If things are going well, you can take a leisurely lunch, and Richard is always willing to please you with his food and wine. I work constantly when I'm there, however, and never saw the beach. I'm not really so affected by the lush environment of Santa Barbara. MD: Do you see the works on paper you make at ART9 differently from those you make in your studio? SK: The saturation of the oil paint into paper with this process produces an incredible kind of color. Watercolors (which I use at home) are softer and don't get the same kind of contrast. With oils you get really vibrant colors. I like how paint saturates the paper Richard uses. MD: Have you tried any unusual experiments with the presses at ART9? SK: The last time I was at ART9, I was most interested in the painted surface than in making other kinds of surfaces. I haven't experimented that much with strange materials. John Millei Interview w/ Michael Darling 2001 MD: What is the relationship between the work you do inside and outside of ART9? JM: It has been an ongoing and evolving relationship. It started out by translating a group of paintings I had already made into works on paper. But once I learned a little about how it all works, I became much freer. Now, I go up to Santa Barbara with no ideas. I go and play. And that usually informs other bodies of work. I find something in the process which I follow-up on later. In many ways, the printing process is like preparation for paintings, and I see it like drawing in that sense. Being in Santa Barbara allows me to work out things that are only a question when I arrive. MD: What is particularly unusual about working at ART9? JM: For one, Richard let me treat the atelier like I would my own studio. No one in this business lets artists do this. I come up and I do what I want, and he never says a word. He is not a loyalist to the printing tradition. He allows the artist's mind to wander. The only thing he is fanatical about is that every piece produced is a unique work of art. MD: Does Richard play any role during your stay at the atelier? JM: Richard and I have an intense relationship. Sometimes I need to be alone and I do everything--push the buttons, etc. Other times, he comes in and shows me new techniques and sets me off in a new direction. Sometimes he is like a studio assistant. Sometimes I really seek out his opinion. Richard is like a good movie director or producer who knows when to let the artist alone and when to jump in. He knows this. It's a good give-and-take. He knows when to go into the office and be a dj and mix music for me and also when to bring a glass of scotch. MD: Do you work on paper as much in your own studio as when you are at ART9? JM: When I'm working on paper at ART9, it's about paper. At my studio, they're not so precious, and are secondary to the canvases. At ART9 it is all realized on paper. Sometimes these works on paper serve as springboards to new bodies of work, others have been specific to ART9 and never incorporated later into paintings. MD: What about the process? How do the facilities at ART9 challenge your typical working methods? JM: It is different, but not a complete stretch. I don't believe in style. It is a byproduct of intent. My work changes a lot. I see my work like a filmmaker: if I want to do a comedy, I do it one way, a historical piece, another way. Currently in my studio I have four completely different bodies of work. It's just how I work. Richard's studio is just part of the cycle of how I work. And he is very curious about that in me. It causes trepidation because no one knows what I will come up with when I get there. Richard has that faith in me. Other printers want to do what I've already done. I can't do that. Richard wants it to be a unique experience for the artist and also to make a project that is unlike any other atelier project. Richard is the only person who treats his studio like that. It never seems to be about money when we are there working. He understands the artist like no other person in his profession. That's what makes him unique and what makes so many of us want to work with him. Lucas Reiner Interview w/ Michael Darling 2001 MD: What sorts of activities do you explore at ART9 that you don't in your own studio? LR: Working with someone else is very different, that aspect of collaboration. In my studio I am all alone. Working on a plate is also a real departure for me, as I had never done any kind of printing in the past. The working backwards that you must do really threw me off at first, and then became more comfortable. After doing a lot of works on paper, we started to try some things with Mylar, but I knew we had just scratched the surface of its potential. When I finished at Richard's, I continued to work with the Mylar--also in reverse--knowing that when I put something down on it it would be in a different place when I flipped it over. Another new experience for me was a real exploration of different materials, something that Richard really encouraged. MD: How did you treat Richard's input during your sessions at ART9? LR: Richard really helped guide me through different processes, working with plates and materials. For me, it was a slow medium at first, and kind of jarring. I wanted to make it faster and faster, and was able to get it moving along. In terms of content, Richard has a very good eye and being around him with that in your mind keeps you on your toes. He wouldn't say "that's good," "that's bad," but knowing that someone with a good eye is there looking too makes it an interesting sort of collaboration. MD: Are there any other processes or materials that you picked up while working with Richard? LR: He really pushed oil pastels on me for drawing on the plate, and the immediacy of that fit with what I was doing, and I have taken that back into my own studio practice. MD: Was working on paper in a concentrated way a departure for you? LR: I like to show paintings and drawings together, and feel that drawings can really let you see how an artist's mind is working. There is a casualness, and directness of thought as opposed to a dressing-up and formality in paintings. I'm very interested in process and how drawings can show that. MD: And did the press do that? LR: At first I was hung up on the idea of making a finished drawing, but Richard's encouragement of using the "ghost" to start the next drawing kept it all loose and moving, with one leading into the other in an organic way. It was a way of making it more like drawing and establishing a rhythm. MD: What was the relationship between the work you did before coming to ART9 and the work you made there? LR: The work I was doing came out of a show I did which featured a lot of distorted organic forms. When I came up to Santa Barbara, it was not like I had a project in mind, I just wanted to see what happened. I went in without any preconceived ideas. I went in with a fast, scribbly line, but that's it. MD: Did you want to make something different happen? LR: Yes. It was a very free and open situation, which is rare. The works ended up being pretty automatic, and the best ones of them are the most automatic. MD: Some artists have a hard time judging between good and bad when it comes to the new products they create with the presses. When do you know? LR: I made so many pieces, and it was pretty evident which were good. But it is hard to really see what is good without years of hindsight. MD: As a painter, was there anything particularly useful or sympathetic to your own process about working with a press? LR: I was very pleased with the inherent qualities of the medium--there is lots of room for accidents, surprises, and play with composition. One frustration I had, was that I fuss with my work a lot, and it is hard to go back when working in this medium. But I was able to work back into them. The Mylar helped that. Now I know so many more things that the next time I will bring a lot more to the process. As a painter, I liked not knowing what was going to come out of the process. Joan Tanner Interview w/ Michael Darling 2001 MD: Were there methods you discovered while working at ART9 that became applicablein your own studio practice? JT: I'm not a printmaker, so didn't take techniques that I used with Richard back to the work do in my studio but there were materials used in my Tullis project: that interlaced with things was already using and have continued to use such as vulcanized rubber, plywood. and wire. Now I am dipping objects in brightly colored rubber and would like to find a way to bring that to working with paper and presses. The total convolution of work is what interests me most- I would like to do some monoprints that incorporate this yellow rubber dripping process. Maybe press some of the Plasti-dip into the paper and then work back around this... I think I was a bit of an odd duck as far as working at Richard's because the kind of artwork that needs framing is not so interesting to me. If I go back, I'd like to do big, self-sufficient things that don't require framing. MD: Was working at Tullis in some ways like a return to the traditional ways of painting which you have in some ways abandoned! JT: It was a relief to get back to the specifics of working on paper- imbedding images and forms in the paper is where the interest lies for me, I tried not to make it so painterly and play with shapes against shapes and between materials. For me, the more the paper pieces approach abstract painting, the less successful they are to me. In my most current work, I'm dipping objects in a material that masks their identity and then making photographs so they're like portraits. If I were to draw them via printing, it would also be interesting. The dimensional capabilities of monoprinting embossing. etc.- -is one way to explore this. MD: Does the collaborative nature of working at Tullis inhibit you? JT: I thought it was extraordinary. Richard would appear and then I wouldn't see him at all. He was very subtle, and once I got in a groove he would just keep encouraging me and bringing out more materials to me. Richard was very open about allowing me to keep using different things. He is very eager to push what he does in different, unexpected directions, and I think this is exactly what he should do. Because I wonder how such hand-oriented work as is made at Tullis relates to our current artistic moment MD: How does the space at ART affect your attitude toward working? JR: The ample space was very inspiring. All your sensory desires are met- open, extremely high ceilings, for example. One night we were looking up to the Riviera and the clouds and the sky were breathtaking. All the flat tables and room to work is amazing. It's like working in a sculptural landscape. The press itself as an object is absolutely beautiful. Working there could either be liberating or intimidating for artists. I personally think it is fantastic. It allows me to get out of my own way of working which is really liberating. It encourages me to experiment. Richard gives artists a hell of a lot of leeway. I don't think he sees himself as a critic, but the dialogues that develop while working are very stimulating. When I first came to work with Richard I tried to identify immediately how could get the most our of the extraordinary paper. I wasn't as worried about painterly possibilities because of my history as a painter, nor did I find it particularly fascinating that I could keep feeding an image through the press. But once I started bringing all these different materials to bear on the process. it became very exciting. MD: So did you approach working with the presses as if it you were making collages? JT: In some ways, yes, but it was more about making paper works whose parts were completely integrated in the end result. Lots of the work from Tullis shows painterly concerns, but I like to link the process with the resulting qualities of the paper. I would like to use this medium in a way that would enhance and exploit its sculptural potential. Richard Tullis Michael Darling 1995 In Studio: Richard Tullis Underneath the noses of so many of us who follow the art scene in Santa Barbara, Richard Tullis has been operating one of the most exciting laboratories for artistic experimentation in the state. Situated in an old Sunkist lemon processing plant at the end of Salsipuedes Street,Tullis has quietly facilitated the creation of numerous bodies of works on paper by an eclectic range of artists from all over the world. Although the operation has technically been active since 1985, it is only within the last three years that the studio has come under the ownership of Richard, and been guided by his own particular vision. Formerly the Garner Tullis Workshop, Richard took over the business in 1992 from his father and changed the name to Atelier Richard Tullis / A.R.T.9, emphasizing the individuality of his enterprise. Trained in ceramics, printmaking, and photography, it is painters that have attracted Richard’s attention for projects during the last two years, looking to artists with a particular facility for paint handling and distinctive image-making for his collaborations. Artists as far-ranging as Shirley Kaneda, Christopher Le Brun, Jacqueline Humphries, Per Kirkeby, Thérèse Oulton, Chuck Arnoldi, Idelle Weber, and Joan Tanner have come to push their craft within the cavernous warehouse space of the Tullis Atelier, relying on the two enormous presses, hand-made Tullis paper, and Richard’s encouraging expertise for a variety of undertakings. Artists usually stay for a two week period, during which time it usually takes a few days to work through some adjustments to the technology before they really get into a rhythm of familiarity and facility.The works created are never made in multiple edi- tions, but are instead made as singular works, one at a time, using the uncommon technology of 800 ton presses to open up new creative avenues in their practice. Joan Tanner, for instance, who engaged in a short but prodigious stint at the Atelier, put the funky materials with which she has been working lately together into intriguing compositions that are given a whole new dimension when pressed against paper. Copper wire, plywood, rubber, aluminum sheeting, solder, and roofing material were all employed in Tanner’s extraordinary prints, resulting in stained and compressed plates that hold as much interest as the complicated prints from which they were made. New York painter Shirley Kaneda’s recent residency introduced an element of expediency into her work that is usually absent in the paintings she builds up and adjusts over a long period of time.The complex interrelation- ships of patterns, colors and shapes that Kaneda balances in her paintings were complicated further by the exciting shifts of depth created by the bas-relief of the embossed prints.The Danish artist Per Kirkeby exploited the immediacy and large- scale capabilities of Tullis’ large offset proof press, a machine that was refitted to artistic tasks after its original purpose of printing B-29 Bomber struts duringWorld War II. Kirkeby created numerous human-scaled impressions around nature-based themes. Exhibited as a group, as in the recent “Untitled” exhibition at UC Santa Barbara’s University Art Museum, these works become environmental in both their scope and feeling. Tullis is just beginning to expand the visibility of his Atelier, making the products of his labors more accessible to a wider audience. His recent collaboration with Chuck Arnoldi, resulting in a large body of wildly colorful and expressive works on paper, was featured in the Venice Art Walk in Los Angeles in May. A selection of Atelier Richard Tullis prints were recently donated to the collection of the University Art Museum at UCSB, some of which were part of the Museum’s perma- nent collection exhibition, “From Warhol to Baule,” on view this summer. “Works from the Atelier Richard Tullis,” a sampling of artist’s projects fresh from the Tullis presses, was also presented at Sullivan and Goss in Santa Barbara. As these various showings have proved, increasing accessibility to this challenging material, for audi- ences both near and far, is a welcomed development, as this work is just too good to keep hidden. —Michael Darling June 14, 1995 Santa Barbara Barbara News Press

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digital visual art by richard tullis Richard Tullis Visual Journey My images are the result of a lifetime of creative pursuits. As a photographer, gardener, and builder, I've honed a diverse array of skills that enable me to capture stunning moments from unique perspectives. Each image is crafted with care and attention to detail, resulting in breathtaking art that tells a story and evokes emotion. Not a self portrait... Nature Observed wildlife photographer As a photographer, I have spent years of practice honing my craft and developing a keen eye for detail. Capturing a great photo is a combination of timing, luck, and skill. Every moment I capture is a new opportunity to tell a story through my lens. Coastal Visions Exploring the PNW Through my lens, I strive to capture the essence of the Pacific Northwest and share it with the rest of the world. As a wonderer, I am constantly exploring and discovering new perspectives that inspire my work. Check out my recent projects to see how my passion and talent have come together to create breathtaking photography. Organic Adventures Farmer : The Allotment Get ready to experience the documentary-style photography that showcases the wonder of organic gardening. As an expert gardener, I have a passion for capturing the hard work and dedication that goes into creating a magnificent garden. From planting seedlings to harvesting crops, my photos will take you on a journey through the entire process. Digital Adventures Creativity digits As an artist who loves exploring and experimenting, I've been able to create some truly unique projects through my passion for photography. I'm inspired by the journey, and I believe that every project I take on is an opportunity for growth and creativity. Visit my website to learn more about my recent projects and explore the endless possibilities of digital imaging. Not As It Seems digital manipulations Experimental and alternative photographic techniques have always fascinated me. That's why I continue to explore them today and showcase my work in this experimental photography section. These photographs are a testament to breaking boundaries and offering unique perspectives of everyday objects. I hope they inspire you to experiment with your own photography. Working Portraits People caught in the act Capturing life through my lens for over four decades. This journey has led me to take thousands of spontaneous portraits over the years. I believe that working portraits have the power to capture the essence of a person's unique story. Explore my portfolio below to see the magic come to life. Edge of Dreams Fiddling with Images I believe that imagination and creativity are key to creating truly memorable images. By merging the real and the unreal, I am able to transport my viewers to another world. With my advanced technological skills, I am able to create intricately layered images that bring dreams to life. Discover more about my recent projects and see how my photography can add a touch of magic to your world. Darker facinations Digital exploration has opened up a whole new world of possibilities for my photography. By experimenting with new techniques and tools, I am able to create truly original pieces that grab viewers attention and spark their imaginations. Below are some of my latest projects. Explore them how fascinating digital imaging can be.

More than 100 Online Gallery Portfolios. View online. Inquire for availability. Reg# and Artist name for better response. STUDIO TULLIS A Fine Art Experience Studio Tullis Artists - Online Galleries Artist Galleries A-L Artist Galleries M-Z Studio Tullis specializes in Unique Works on Paper Artists from around the world worked on an invitation-only basis to work at the Studios. During their stay, which may have ranged from several days to several weeks, the space became the artists’ studio-away-from-home, a place where the pursuit of new ideas was encouraged and explored. Assisted by Richard Tullis, each artist created a body of original work on paper handmade at the Studio, or on one of a variety of papers from around the world. Metal, plastic, wood, artists’ oil color, pastel, pencil, stencils, brushes, rollers, squeegees, grinders, and chisels become instruments of art making. Using his or her media of choice, the artist created a painting on a wood, aluminum, or plastic plate, or combination of plates, depending on the desired end result. When the painting was completed, the plate then loaded onto the bed of one of two presses. A sheet of paper carefully placed over the plate, and the press run, using tremendous pressure to transfer the painted image to the sheet of paper. The paper absorbs roughly 90% of the paint, leaving a faint ghost of the original image on the plate and little more. The result is a unique and original work of art. The process begins anew for each piece. Archives of work from Studio Tullis are on view at the Luria Library and Business Center on the west campus of Santa Barbara City College, and a collection of work the University of California Santa Barbara Museum, where a study collection was started in 1994. Art work created at the Atelier is sold through galleries representing the artists, and directly through the Atelier. Inquire about availability COLLABORATIONS WITH ARTISTS + RICHARD TULLIS 1983-1991 Richard Aber, Charles Arnoldi , Lillian Ball , Martin Beck , Billy Al Bengston, Jake Berthot, Jean Charles Blais , Stanley Boxer , Louisa Chase , Peggy Wirta Dahl, Roy de Forest, Laddie John Dill, Richard Diebenkorn, Michael Dvortcsak , Friedel Dzubas , Eric Erickson , Robert Feintuck , Margarit Smith Francis, Sam Francis, Christian Garnett , John Gillen , Jon Groom , Red Grooms, Don Gummer, Mary Hambleton , Joseph Haske , Nancy Haynes, Tom Holland , Roni Horn, Yvonne Jacquette, Ron Janowich , Wolf Kahn, Ken Kiff, Per Kirkeby, Christopher LeBrun , Catherine Lee , Margrit Lewczuk , Tom Lieber , Robert Lobe , Emily Mason, Sam Messer , John Monks, Jim Muehlemann , Kathy Muehlemann , Richard Nonas , Thérèse Oulton , Beverly Pepper, William Perehudoff, Rona Pondick, David Reed, David Row , Italo Scanga , Sean Scully , Carol Seborovski , Andrew Spence , Rick Stitch, Clinton Storm , Trevor Sutton , Yoshito Takahashi , David Trowbridge, William Tucker , Emilio Vedova , Peter Voulkos , John Walker , and John Zurier. 1992-2006 Gregory Amenof, Charles Arnoldi , Martin Beck , Peter Brandes, Lawrence Carroll , Xiaowen Chen , Emily Cheng , Michelle Fierro , David Florimbi, Lawrence Gipe, Nancy Haynes , Roger Herman , Jacqueline Humphries , Shirley Kaneda , Per Kirkeby, Gary Lang , David Paul Lasry , Christopher LeBrun , Hugh Margerum, Kim McCarty, John Millei, Thérèse Oulton , Arnaldo Pomodoro , Michael Reafsnyder, Lucas Reiner , Carol Robertson , Nicole Strasburg, Trevor Sutton , Joan Tanner , Charlotte Verity , John Walker , Idelle Weber, Dan Weldon and John Zurier.

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