Over the course of five decades, Richard Pitts has migrated through the margins of New York City’s art world despite a flourishing career that began in the early 1970s and lasted until the late 1980s, when the popularity of the art market crashed. In 1983 John Russell praised Pitts as an interpreter of the classic American paradise. Russell’s review for The New York Times described the artist’s flat landscape paintings as vividly colorful compositions. However, unlike Pitts’ earlier work, the recent sculptures in this book convey a sharp departure by embracing the format of abstraction in order to reflect the essence of a swift-changing atmosphere.
