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5.0
It is not often that one finds an artist that is so articulate about their work or their own story. Anne Truitt succeeds on both accounts. This is a section of her journal, ostensibly covering the years of 1991 (the year of her 30-year retrospective at the Andre Emmerich Gallery) and 1992 (her 50 year reunion at Bryn Mawr College); but it runs farther afield than that. Both a meditation on her life as she enters her 70s, and a reflection on her art, this work is filled with thoughtful, concise, luminous prose.
My coming upon this book was a happy accident. I went to the grocery store one morning wearing a Bryn Mawr t-shirt. A man working there, in the deli and salad bar area, asked if I had gone there. When I said I had, he told me he was reading a book by Anne Truitt, who had gone there (class of 1942), and found her writing to be marvelous. Despite having works in the Whitney, the Met, MoMA, and the National Gallery, among many, many others, the name Anne Truitt did not ring any bells for me. This chance encounter has sparked a new intellectual interest.
My coming upon this book was a happy accident. I went to the grocery store one morning wearing a Bryn Mawr t-shirt. A man working there, in the deli and salad bar area, asked if I had gone there. When I said I had, he told me he was reading a book by Anne Truitt, who had gone there (class of 1942), and found her writing to be marvelous. Despite having works in the Whitney, the Met, MoMA, and the National Gallery, among many, many others, the name Anne Truitt did not ring any bells for me. This chance encounter has sparked a new intellectual interest.
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