The Black American Artist Who Found Himself in Finland 

PALM SPRINGS — Howard Smith, an influential African-American artist, designer, and educator, embarked on his creative journey in New Jersey and honed his artistic skills at the Philadelphia Academy of Fine Arts. He lived a vibrant life until his passing in 2021 at the remarkable age of 92. In a significant twist of history, in 1962, Smith was invited by a friend to showcase his work at Young America Presents, a cultural festival in Helsinki that, while officially supported by the United States, was covertly funded by the CIA. Feeling isolated in both the predominantly White art scene and the segregated Black art community in the U.S., Smith found his artistic sanctuary in post-Cold War Finland, where he became one of the few Black artists represented. Over five decades, he created a substantial body of work encompassing paintings, sculptures, textiles, ceramics, and mixed-media assemblages. His contributions were acknowledged with the Finnish State Design Prize in 2001, followed by a national accolade in the form of an artist’s pension from the Finnish government in 2003. Despite his celebrated status in Finland, Smith’s legacy remained largely unrecognized in the United States until now, with the unveiling of The Art and Design of Howard Smith at the Palm Springs Art Museum—marking his first retrospective exhibition in his homeland.

This retrospective captivates as it intertwines the realms of art, design, and decor. It presents a striking contrast through Smith’s minimal black-and-white pieces, expansive floral textiles, and smaller, geometrically bold works that echo the style of second-wave Color Field artists such as Morris Louis, Kenneth Noland, and Helen Frankenthaler. The exhibition composition resembles an eclectic fusion reminiscent of the styles of masters such as Joan Miró, Adolph Gottlieb, Robert Motherwell, and William Baziotes.

Smith’s works, often less vibrant and complex than those associated with his contemporaries, possess a unique playfulness. It is this playful spirit, combined with technical prowess, that allows him to create large textiles that blur the lines between craft and fine art. Highlighted within the exhibition is an intriguing piece, “Untitled” (1985), which features large graphic forms that embody the essence of Finnish design, yet are transformed into serpentine facial figures, invoking African traditions such as the Dan Masks and the Clayman Fang Head. This representation of Black identity amid a predominantly White Scandinavian art landscape serves as a striking example of both engagement and resistance.

While Smith flourished as a designer in Finland, he aimed for his artistic voice to carry political weight. A prime example is the work titled “America?”, a mixed-media collage on wood which highlights the silhouette of a head set against a stark white background. Affixed to the piece are newspaper clippings, with phrases like “Number 1” and “The Kremlin Mood” peeking through. Smith contextualizes the work through a back inscription referencing the tumultuous civil rights era, specifically the Montgomery Riots, prompting reflection on the contradictions of American society. Unfortunately, the execution lacks precision; the title seems too focused while the imagery may not fully align, and the text presents an ambiguous contradiction.

Conversely, Smith’s work “Black Angel” (1970) stands out as a striking screen print that seamlessly integrates his characteristic Scandinavian design sensibilities with the Japanese concept of ma, emphasizing negative space artfully. The angel’s proportions elicit a captivating balance between groundedness and transcendence, enhanced by a thin diagonal red line that creates a connection between the piece’s internal dynamic and its bold upper elements. Through this work, Smith articulates power and grace, aptly mirroring elements of American Abstract Expressionism, Scandinavian minimalism, and Japanese elegance—all while maintaining his unique identity.

Smith’s diverse oeuvre challenges the conventional hierarchies of artistic creation, inviting viewers to reassess their perspectives on art and design. With the ongoing exhibition and its accompanying bilingual catalog, there remains hope that this presentation will reposition Smith’s legacy and broaden his recognition within American art circles.

The Art and Design of Howard Smith is ongoing at the Palm Springs Art Museum (101 North Museum Drive, Palm Springs, California), running through February 23, 2026. The exhibition is co-organized by the Espoo Museum of Modern Art in Finland, with curation by Steven Wolf.