Journalling allowed Anne Truitt to refine her purpose in making art, or what she describes as “the strict discipline of forcing oneself to work steadfastly along the nerve of one’s own most intimate sensitivity.”
, and Agnes Denes, to name just a few—Truitt has the dubious honor of being both revered and undervalued, “rediscovered” by contemporary critics and curators while having been there all along.
In “Yield,” which Truitt began writing in 2001, at eighty, the lens is wide-angle; old age may be “a radical situation,” she acknowledged, but it was also another perch from which to cast her eye. Greenberg makes a cameo in her memories ; as does Marcel Duchamp, casually informing her that she might not, in fact, exist.
Truitt often described her life as a series of departures or “turns” away from the future she’d expected, and the one that had been expected for her. Born Anne Dean, in 1921, she grew up in Easton, where she was taught at home by a private teacher and read to by her mother, with whom she was very close. When she first went to school, in fifth grade, she was discovered to be severely nearsighted: before she got glasses, she mostly saw light, color, and shape.
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