Richard Smith, Window I, 1978, acrylic on canvas, 75 1/2 × 72 1/2".

Richard Smith

Galerie Gisela Capitain

Richard Smith, Window I, 1978, acrylic on canvas, 75 1/2 × 72 1/2".

In his wonderful book We Have Never Been Modern—the original, Nous navons jamais été modernes, came out in 1991—the French sociologist Bruno Latour shines a spotlight on the ways in which Western modernism was obsessed with a process of purification and segregation. In art, this meant that one either created stark abstractions, worshipping the sublime of the Abstract Expressionists or the purity of geometry, or favored Pop art’s embrace of the ordinary and quotidian. Blending the two was inconceivable, and artists who had the courage to experiment with hybrid forms and techniques found themselves pushed to the margins. That has been the fate of the artist Richard Smith, who was born in Letchworth, UK, in 1931 and moved permanently to New York in 1978. He has dared to mix abstraction with Pop and the cinematic image, and his art has been largely underappreciated as a

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