The American Minimalist artist Anne Truitt’s bold use of color and geometry in her sculptures and paintings signaled, in the 1960s, a new direction for modern art. Today she is renowned not only for extraordinary artworks, but for her four volumes of published journals, the last of which, Yield, has just been posthumously published by Yale University Press.
The unflinching honesty that was a hallmark of her three earlier volumes of journals — Daybook, Turn, and Prospect — is again on display in Yield, which comprises journals the artist kept from the winter of 2001 to the spring of 2002, two years before her death. “Yield has a tone that is rich and spare, considered and sensuous, inward-looking and utterly vibrant and vivid, fully alive in the world, inspiring for the reader,” says the award-winning Irish writer Colm Tóibín.
Truitt contemplates her place in the world, coming to terms with the intellectual, practical, emotional, and spiritual issues that an artist faces when reconciling her art with her life, even as that life approaches its end. As Megan O’Grady wrote recently for the New Yorker, “[I]n her journals, Truitt is often pushing to articulate something at the edge of discernment; much of the pleasure of reading them is in experiencing her thoughts still in formation as she sought to illuminate ‘the dark, driving run’ of art-making.”
An excerpt from Yield is currently available on the Yale University Press blog, and Yale University Press’s most recent podcast episode is an insightful conversation with Anne Truitt’s eldest daughter Alexandra Truitt, who prepared Yield for publication.
For more information, visit yalebooks.yale.edu.
The last few years at the museum have not been without controversy, and Decatur will inherit a record of workforce struggles.
Refugees of the Moria camp in Lesvos, Greece are behind the camera in the film Nothing About Us Without Us.
Helen Molesworth’s true-crime sensation marginalizes the artist’s life and legacy.
Members of NatSoc Florida performed the Nazi salute and chanted “Heil Hitler” at a local LGBTQ+ charity’s fundraiser in Lakeland.
This adventurous theater festival returns in person with 36 artists and companies from nine countries performing at different venues across the city.
Nothing on the canvas wholly captures what it means to belong on land or at sea.
Dyson is part of a growing number of contemporary artists to imbue geometric abstraction with a sociopolitical dimension.
Learn more about the New York-based, globally linked program and its upcoming discussions on art and society in the time of AI and data governance.
In an exhibition that consists of mostly small-scale black and white works on paper, viewer engagement almost magically awakens the sleepy room.
Maria Maea’s All in Time continues an intergenerational conversation and exemplifies the artist’s process, not simply the finished pieces.
The program, along with recently announced visiting critics, will provide long term funding, promote access, and safeguard experimentation for future students of color.
Koestler Arts works with incarcerated people and patients in secure mental health units, aiming to improve their lives through creativity.
Local artists and culture workers are wondering how the arena will impact the arts landscape, including museums and alternative spaces.