Truitt is a major figure in American art. Her career as a painter and sculptor spanned over forty years, during which time she was the subject of major solo presentations at Whitney Museum of American Art, New York (1974); Baltimore Museum of Art (1992); and Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2010). While often labelled a Minimalist, Truitt's work was defined by a powerful emotional and autobiographical reflex that stands her apart from her contemporaries.
In the 1950s, Truitt abandoned psychology and nursing to dedicate herself to art. Truitt's early practice found resonance with the American Abstract Expressionists, formulating itself around a core interest in colour - albeit from a sculptural standpoint. From hesitant experiments with clay, wire and cement, to elegant wooden, totem-like sculptures and monochromatic paintings, Truitt's work successfully re-defined the boundaries of American Abstraction. She is now recognised as one of the movement's leading proponents. While she is perhaps now best known for her sculptures, Truitt was committed to a daily ritual of drawing and painting.
Writing in April, 1965, Truitt stated: "What is important to me in not geometrical shape per se, or color per se, but to make a relationship between shape and color which feels to me like my experience. To make what feels to me like reality." (Private papers)
A long-term display of sculptures by Truitt opened at Dia:Beacon, Beacon, New York in 2017.
Selected solo exhibitions include: ‘In The Tower: Anne Truitt, National Gallery Of Art', Washington, USA (2017-2018); ‘Intersections', Baltimore Museum of Art, Baltimore, USA (2016); ‘Anne Truitt', Academy Art Museum, Maryland, USA (2013-2014); ‘Threshold: Work from the 1970s', Matthew Marks Gallery, New York, USA (2013); ‘Anne Truitt: Sculpture', Georgia O'Keeffe Museum, Santa Fe, New Mexico, USA (2000) and ‘Sculpture', Neuberger Museum of Art, State University of New York, New York, USA (1986).
Selected group exhibitions include: ‘Epic Abstraction: Pollock to Herrera', The Met Fifth Avenue, New York, USA (2018-2019); ‘The Long Run', Museum of Modern Art, New York, USA (2018); ‘Passages in Modern Art: 1946-1996', Dallas Museum of Art, Dallas, USA (2016); ‘Defining Sculpture', Albright-Knox Art Gallery, Buffalo, USA (2015); ‘Notations: Minimalism in Motion', Philadelphia Museum of Art, Philadelphia, USA (2015); ‘Art at the Center: 75 Years of Walker Collections', Walker Art Center, Minneapolis, USA (2014); and ‘Lines of Thought', Parasol Unit, London, UK (2012).
Truitt was also included in the seminal group exhibition ‘Primary Structures: Younger American and British Sculptors' at The Jewish Museum, New York, USA in 1966.
In addition to her work as an artist, Truitt has written three books: ‘Daybook' (Pantheon, 1982), ‘Turn' (Viking, 1986) and ‘Prospect' (Scribner, 1996).
Truitt's work is found in major American public collections National Gallery of Art, Washington DC; Dia:Beacon, New York; Whitney Museum of American Art, New York; Museum of Modern Art, New York; Smithsonian American Art Museum, Washington DC; Metropolitan Museum of Art, New York; Los Angeles County Museum of Art (LACMA), Los Angeles, USA; and The Panza Collection, Milan.