Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"I had hustled my pain, my despair, my delight, my bafflement only paper and into clay and wood and stone, and fixed them there as if in magic enchantment. I had thought to hold them, beyond reexamination, reexperience. Sprung from my deliberately wrought tombs, my most secreet feelings arose alive, bleeding and dazzling, to overwhelm me once more." Anne Truitt, quoted by Kristen Hileman in a Anne Truitt: Perception and Reflection, published by Giles.
Anne Truitt was born in Baltimore, MD, but lived in Washington, D.C. for most of her adult life. After leaving the field of clinical psychology in the mid-1940's, Truitt began making figurative sculptures, but turned toward reduced geometric forms after seeing works by Barnett Newman and Ad Reinhardt in 1961. Despite affinities to the paintings of the Color Field artists often associated with Washington, D.C., and the sculpture of artists who came to be known as Minimalists, Truitt's art was an independent, and largely under-recognized, exploration of abstraction and personal references.
Published by Matthew Marks Gallery. Text by Michael Schreyach.
This is the first book on the paintings of Anne Truitt (1921–2004). Best known for her sculptures—wood columns painted in multiple layers of vibrant acrylic—Truitt also spent more than two decades producing innovative large-format paintings on canvas. Featured here are 16 abstract works made between 1972 and 1993, all generously illustrated, including numerous full-page detail photographs.
In an essay Michael Schreyach provides an incisive formal analysis of the works’ compositional elements, particularly the tension between two- and three-dimensionality that characterizes not only Truitt's paintings but also her sculptures. It was through these pictorial and material qualities that she manifested the metaphysical meaning of her art—or, as she described it, "the sharp delight of watching what has been inside one’s own most intimate self materialize into visibility."
PUBLISHER Matthew Marks Gallery
BOOK FORMAT Clth, 8.5 x 10.25 in. / 76 pgs / 36 color / 1 bw.
PUBLISHING STATUS Pub Date 10/23/2018 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2019 p. 119
PRODUCT DETAILS ISBN 9781944929107TRADE List Price: $40.00 CDN $55.00 GBP £35.00
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Published by Matthew Marks Gallery. Text by Anna Lovatt.
This catalogue focuses on the formative drawings that Anne Truitt (1921–2004) made while living in Tokyo from 1964 to 1967—a pivotal moment for her, both artistically and intellectually. Though she later destroyed the sculptures she produced there (all in aluminum, a material she ultimately found unsuited to her intentions), this process of discovery was essential to the clarification of her sculptural vision. The innovations she developed in Japan, many in the form of drawings, would profoundly inform her lifelong practice. This book presents the full range of these works on paper, from hard-edge polygons to veil-like fields of color. An illustrated chronology provides a detailed account of her experiences in Japan and its impact on her subsequent work. Also reproduced for the first time are photographs of the 23 sculptures she made in Japan, all since lost or destroyed.
PUBLISHER Matthew Marks Gallery
BOOK FORMAT Hardcover, 8.75 x 10.75 in. / 140 pgs / 95 color / 20 bw.
PUBLISHING STATUS Pub Date 3/22/2016 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2016 p. 131
PRODUCT DETAILS ISBN 9781880146927TRADE List Price: $50.00 CDN $67.50 GBP £45.00
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Published by Matthew Marks Gallery. Text by by Anne M. Wagner, Anne Truitt.
Threshold is an in-depth look at a pivotal decade in the career of Anne Truitt (1921–2004): the 1970s. An authoritative essay by acclaimed art historian Anne M. Wagner delivers new insights into the artist and her work, while extensive excerpts from the artist’s writings--including some previously unpublished--open a new window on Truitt’s creative process and its preoccupation with perceptual experiences that hover along an invisible edge--a threshold, as Truitt often called it, or "the point at which the abstract nature of events becomes perceptible." In the 1970s this idea was an ongoing preoccupation, which she repeatedly attempted to define. The plates section includes generous illustrations of works from the period, including drawings, paintings and the sculptures for which she has been heralded as a key figure in postwar American art.
Published by Matthew Marks Gallery. Text by Brenda Richardson.
This retrospective of Anne Truitt’s works on paper spans the four decades of her career, from the early 1960s--when Truitt first developed the totemic sculptures in painted wood for which she is best known--to the last years of her life. Many of the drawings are reproduced here for the first time, and cover the full range of her drawing techniques, from graphite, ink and pastel to acrylic on paper. Edges are variously taped, rolled or sliced; Truitt’s line is sometimes bold, and at other times subtle enough to seem almost invisible. In one group of works from 1976, paint is applied in layers of subtle color (a signature of her work in all media); a 1966 series of distilled, hard-edged abstractions evoke the architecture of the artist’s childhood home with its white clapboard siding and picket fence. This volume offers the first overview of Truitt’s drawings to date.
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.'"
BOOK FORMAT Hardcover, 9.75 x 11.25 in. / 176 pgs / 150 color / 12 bw.
PUBLISHING STATUS Pub Date 11/30/2009 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2009 p. 79
PRODUCT DETAILS ISBN 9781904832614TRADE List Price: $55.00 CDN $65.00