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| | | | GILESAnne Truitt: Perception and ReflectionText by Kristen Hileman, James Meyer.
Anne Truitt (1921-2004) is a heroine of American Minimalism, an increasingly admired artist whose journals (Daybook, Prospect, Turn) have a longstanding and devoted readership, but whose art has not previously been the subject of a substantial monograph. Perception and Reflection remedies this historical oversight superbly and decisively. The evolution of Truitt's sensibility is at once a classic Minimalist story and the tale of a truly independent spirit: following an encounter with the black paintings of Ad Reinhardt at the Guggenheim in 1961, she abandoned her earlier sculptural style and began to make stark, columnar works inscribed with bands of sometimes bright and sometimes quiet color. Truitt's account of this transition betrays her rare clarity and sensitivity: "I thought to myself, 'If I make a sculpture, it will just stand up straight and the seasons will go around it and the light will go around it and it will record time.'"
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| | | | |  | MATTHEW MARKS GALLERYISBN: 9781944929107
USD $40.00 | CAN $55 UK £ 35Pub Date: 10/23/2018
Active | Out of stock
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|  | MATTHEW MARKS GALLERYISBN: 9781880146927
USD $50.00 | CAN $67.5 UK £ 45Pub Date: 3/22/2016
Active | In stock
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|  | MATTHEW MARKS GALLERYISBN: 9781880146583
USD $65.00 | CAN $87 UK £ 57Pub Date: 11/30/2012
Active | Out of stock
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FORMAT: Hbk, 9.75 x 11.25 in. / 176 pgs / 150 color / 12 b&w.
LIST PRICE: U.S. $55.00
LIST PRICE: CANADA $65
ISBN: 9781904832614
PUBLISHER: Giles
AVAILABLE: 11/30/2009
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Out of print
AVAILABILITY: Not available
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| Anne Truitt: Perception and Reflection Published by Giles.
Text by Kristen Hileman, James Meyer. Anne Truitt (1921-2004) is a heroine of American Minimalism, an increasingly admired artist whose journals (Daybook, Prospect, Turn) have a longstanding and devoted readership, but whose art has not previously been the subject of a substantial monograph. Perception and Reflection remedies this historical oversight superbly and decisively. The evolution of Truitt's sensibility is at once a classic Minimalist story and the tale of a truly independent spirit: following an encounter with the black paintings of Ad Reinhardt at the Guggenheim in 1961, she abandoned her earlier sculptural style and began to make stark, columnar works inscribed with bands of sometimes bright and sometimes quiet color. Truitt's account of this transition betrays her rare clarity and sensitivity: "I thought to myself, 'If I make a sculpture, it will just stand up straight and the seasons will go around it and the light will go around it and it will record time.'"
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