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Collections

Anne Truitt
White: Four1962

On view:
Broad Contemporary Art Museum, floor 3
Free-standing white-painted sculpture, tall narrow rectangular slab on a low flat base, displayed against a gray wall on a concrete floor
Tall, narrow white sculpture with a deep vertical slit running nearly its full height, mounted on a rectangular base, with light emanating from within the incision.
Tall, narrow white rectangular slab mounted on a low rectangular base, photographed against a gray wall with smooth matte surfaces and clean geometric edges.
Black and white photograph of four vertical white panels arranged side by side against a gray background, with subtle surface texture and faint seam lines visible between panels.
Monochromatic white relief composition with a subtly textured matte surface and a single raised vertical ridge positioned toward the right edge.
Close-up of a pale gray textured surface with subtle surface variations and small imperfections, with a raised vertical ridge along the right edge.
Rectangular panel painted entirely in white, with four subtle vertical grooves dividing the matte surface into sections, displayed against a gray background.
Artist or Maker
Anne Truitt
United States, 1921-2004
Title
White: Four
Date Made
1962
Medium
Acrylic on wood
Dimensions
87 3/4 × 19 7/8 × 7 in. (222.89 × 50.48 × 17.78 cm)
Credit Line
Gift of the 2019 Collectors Committee, with additional funds provided by the Ducommun and Gross Endowment Acquisition Fund
Accession Number
M.2019.251
Classification
Sculpture
Collecting Area
Modern Art
Curatorial Notes

Anne Truitt began her practice in the early 1960s, when women artists had a difficult time achieving critical and financial success. White: Four is related to a series of early sculptures made of wood slats that suggest a fragment of a fence, a form that may allude to notions of domesticity or imprisonment.Truitt carefully incised lines into the surface of the sculpture, modulating its face into four equal seg- ments, and then applied multiple coats of acrylic to the wooden shape. Her use of hand painted color and compositional techniques were at odds with the primarily male minimalists who eschewed personal surface marks in favor of outsourced and machine made forms.


In addition to making art, Truitt chronicled her life as an artist, a woman, and a mother in her writings, which have become a lodestar for subsequent generations of artists, particularly feminists.


Wall label, 2021.