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.

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