Nov 6, 2020
30 July 1973, Anne Truitt, 1973, MoMA: Drawings and Prints
Purchase Size: 21 3/4 x 29 3/4" (55.2 x 75.6 cm) Medium: Acrylic and pencil on paper
http://www.moma.org/collection/works/88127
seen from United States
seen from United States
seen from United States
seen from Germany
seen from United States
seen from United States
seen from United States
seen from Kyrgyzstan
seen from Russia
seen from United States
seen from China
seen from United States
seen from Malaysia
seen from United States
seen from United States
seen from United States
seen from United States
seen from China
seen from Iraq
seen from Malaysia
30 July 1973, Anne Truitt, 1973, MoMA: Drawings and Prints
Purchase Size: 21 3/4 x 29 3/4" (55.2 x 75.6 cm) Medium: Acrylic and pencil on paper
http://www.moma.org/collection/works/88127
I love, love, loveeee getting sucked into the library and leaving with a bunch of books for research. I asked the librarian if they have baskets and they said they don’t, hmmm... I usually take out a selection of interesting/relevant titles, then I take them home or to the studio to go through them more in depth before deciding if I want to keep them for the whole check-out date.
Yesterdays goodies from bottom to top are:
Drawing Then: Innovation and Influence in American Drawings of the Sixties - Curated by Kate Ganz
The Language of Less (Then and Now) - Michael Darling
Robert Ryman: Used Paint - Suzanne P. Hudson
Conversations with Gary Snyder - edited by David Stephen Calonne
Zen and the Poetry of Gary Snyder - thesis paper for Doctorate of Philosophy by Roy Kazuaki Okada
Turn: The Journal of an Artist - Anne Truitt
Riprap and Cold Mountain Poems - Gary Snyder
Blog | Podcast | Web Design | YouTube | Cosplay | Chronic Illness Survivor
Blog | Podcast | Web Design | YouTube | Cosplay | Chronic Illness Survivor
Anne Truitt
“My sculptures are in a way analogous to time. The intrinsic nature of what they are made of is emerging: chemical changes in the paint on Gloucester and a characteristic of the poplar wood of which Valley Forge was constructed. When I made the decision to make my sculptures out of wood, I remember calculating that eventually their individuality would be embodied by the determination of their material” - Anne Truitt, Valley Forge, 1963
In 1949 Truitt studied sculpture for one academic year at the Institute of Contemporary Art in Washington, followed by three months at the Dallas Museum of Fine Art. Following this formal training, she experimented with various media and techniques, including clay, cast cement and plaster, and steel welding. In 1961 Truitt began to work in the style for which she later became known: painting multiple delicate layers of colour characterized by subtle variations onto wooden constructions fabricated in accordance with scale drawings; the structural elements of these sculptures constitute armatures supporting colour.
Truitt was the creator of a body of work that was both complex and original and that sought to apply the visual discoveries of minimalist art to three-dimensions since its beginning. She initially relied on architectural elements and a palette inspired by her native east coast of Maryland.
In addition to her work as an artist, Truitt wrote four books that distilled years of journal entries into a vivid account of her life as an artist: ‘Daybook’ (Pantheon, 1982), ‘Turn’ (Viking, 1986), ‘Prospect’ (Scribner, 1996), and ‘Yield’ (Yale University Press, 2022). A book of her selected writings, ‘Always Reaching’, is forthcoming from Yale University Press in 2023. Her contributions to both scholarship and art have been recognized with many honours, including a Guggenheim Fellowship and five honorary doctorates. She was awarded the Cather Medal in 2003.
Love… is the honoring of others in a way that grants them the grace of their own autonomy and allows mutual discovery.
ANNE TRUITT