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David Reed

David Reed, #90, 1975 Oil on canvas, 76 ⅛ × 56 inches (193.4 × 142.2 cm), Solomon R. Guggenheim Museum, New York, Gift, Elizabeth Richebourg Rea, in memory of Michael M. Rea, 2006© 2020 David Reed/Artists Rights Society (ARS), New York

David Reed, #90, 1975

Oil on canvas, 76 ⅛ × 56 inches (193.4 × 142.2 cm), Solomon R. Guggenheim Museum, New York, Gift, Elizabeth Richebourg Rea, in memory of Michael M. Rea, 2006
© 2020 David Reed/Artists Rights Society (ARS), New York

David Reed, Judy’s Bedroom, 1992/2001 (with painting #486, 2001) Installation dimensions variable, Museum für Moderne Kunst, Frankfurt, Germany, Acquired with funding from the 3x8 Fonds, an initiative of twelve Frankfurt-based companies and the City of Frankfurt© 2020 David Reed/Artists Rights Society (ARS), New York

David Reed, Judy’s Bedroom, 1992/2001 (with painting #486, 2001)

Installation dimensions variable, Museum für Moderne Kunst, Frankfurt, Germany, Acquired with funding from the 3x8 Fonds, an initiative of twelve Frankfurt-based companies and the City of Frankfurt
© 2020 David Reed/Artists Rights Society (ARS), New York

David Reed, #617, 2003–11 Oil and alkyd on canvas, 44 × 190 inches (111.8 × 482.6 cm), Kunstmuseum Bonn, permanent loan from Sammlung Mondstudio© 2020 David Reed/Artists Rights Society (ARS), New York

David Reed, #617, 2003–11

Oil and alkyd on canvas, 44 × 190 inches (111.8 × 482.6 cm), Kunstmuseum Bonn, permanent loan from Sammlung Mondstudio
© 2020 David Reed/Artists Rights Society (ARS), New York

About

David Reed was born in 1946 in San Diego, California, and currently lives and works in New York. His work is featured in institutional collections worldwide, including the Albright-Knox Art Gallery, Buffalo; Art Institute of Chicago; Centre Georges Pompidou, Paris; FRAC – Auverge, Clermont Ferrand; Museum für Moderne Kunst, Frankfurt am Main; Kunstmuseum St. Gallen; Metropolitan Museum of Art, New York; Museum of Contemporary Art, San Diego; National Gallery of Art, Washington, DC; Orange County Museum of Art, Newport Beach; Virginia Museum of Fine Art, Richmond; Roswell Museum and Art Center, NM; Sammlung Goetz, Munich; Solomon R. Guggenheim Museum, New York; and Ulrich Museum of Art, Wichita, KS, among others. Recent solo institutional exhibitions include David Reed - You look good in blue, Kunstmuseum St. Gallen, Switzerland (2001, traveled to Kunstverein Hannover, Germany); Leave Yourself Behind. Paintings and Special Projects 1967–2005, Ulrich Museum of Art, Wichita State University, KS (2005, traveled to Roswell Museum and Art Center, NM; Luckman Gallery, California State University, Los Angeles); David Reed: Lives of Paintings, Douglas F. Cooley Memorial Art Gallery, Reed College, Portland, OR (2008); David Reed – Heart of Glass, Paintings and Drawings 1967–2012, Kunstmuseum Bonn, Germany (2012); The Mirror and The Pool, Kunstmuseum Krefeld, Museum Haus Lange, Germany (2015); Two by Two: Mary Heilmann & David Reed, Museum für Gegenwart, Hamburger Bahnhof, Berlin, Germany (2015), and David Reed: Vice and Reflection – An Old Painting, New Paintings and Animations, Pérez Art Museum, Miami, FL (2016).

Fairs, Events & Announcements

Installation view, Guy Goodwin: Mattress World, Milton Resnick and Pat Passlof Foundation, New York, May 1–October 23, 2021. Artwork © Guy Goodwin

In Conversation

New Social Environment
Mattress World: Guy Goodwin and David Reed

Tuesday, September 14, 2021, 1pm EDT

As part of the Brooklyn Rail’s online series New Social Environment, David Reed and fellow artist Guy Goodwin join the journal’s editor-at-large Charlotte Kent for a conversation about Goodwin’s current exhibition, curated by Reed. In these daily lunchtime Zoom conversations, invited artists, writers, filmmakers, and poets discuss creative life in the context of our new social reality with Brooklyn Rail staff, followed by a question-and-answer session. The talk will conclude with a poetry reading by Andrea Abi-Karam. To attend the online event, register at brooklynrail.org.

Installation view, Guy Goodwin: Mattress World, Milton Resnick and Pat Passlof Foundation, New York, May 1–October 23, 2021. Artwork © Guy Goodwin

David Reed, Color Study #6, 2017 © David Reed

Auction

Bomb Magazine
40th Anniversary Benefit Art Auction

June 8–22, 2021

Bomb magazine presents an auction in celebration of its fortieth anniversary, in advance of its annual gala to be held in New York in October 2021, where art luminaries including Walton Ford and Linda Goode Bryant will be honored. The auction benefits Bomb, a nonprofit that has been publishing conversations between artists of all disciplines since 1981. This year’s auction, hosted on Artsy, features work by nearly fifty artists including Adam McEwen, Richard Prince, and David Reed. To register to bid, visit artsy.net.

David Reed, Color Study #6, 2017 © David Reed

Chris Burden, L.A.P.D. Uniform, 1993 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Online Viewing Room

Frieze Los Angeles 2020

February 10–19, 2020
gagosianviewingroom.com

Gagosian will launch its latest Online Viewing Room on the occasion of Frieze Los Angeles, with available works by Chris BurdenAlex Israel & Bret Easton EllisNeil JenneyAlbert Oehlen, Chris Ofili, David ReedEd Ruscha, Bill Whiskey Tjapaltjarri, Tatiana Trouvé, and Jonas WoodMany of the artworks included in this virtual presentation consider the political, geographical, and social landscapes of Los Angeles.

The Frieze Los Angeles 2020 Online Viewing Room will open at 12:00am on Monday, February 10, in Hong Kong, and close at 11:59pm on Wednesday, February 19, in Los Angeles and San Francisco. 

For more information about the Online Viewing Room or the work to be featured, please contact inquire@gagosian.com.

Download the full press release (PDF)

Chris Burden, L.A.P.D. Uniform, 1993 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

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Museum Exhibitions

Installation view, Marking Time: Process in Minimal Abstraction, Solomon R. Guggenheim Museum, New York, December 18, 2019–August 2, 2020. Artwork, left to right: © 2020 David Reed/Artists Rights Society (ARS), New York; © Park Seo-Bo; © Chryssa; © 2020 Jacob El Hanani; © 2020 Brice Marden/Artists Rights Society (ARS), New York

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Marking Time
Process in Minimal Abstraction

December 18, 2019–August 2, 2020
Solomon R. Guggenheim Museum, New York
www.guggenheim.org

During the 1960s and 1970s, many artists working with abstraction rid their styles of compositional, chromatic, and virtuosic flourishes. As some turned toward such minimal approaches, a singular emphasis on their interaction with materials emerged. The resulting pieces invite viewers to imaginatively reenact aspects of the creative process. Featuring paintings and works on paper, Marking Time explores how drawing attention to the creative process fosters a distinctively empathetic mode of engagement. Work by Brice Marden and David Reed is included.

Installation view, Marking Time: Process in Minimal Abstraction, Solomon R. Guggenheim Museum, New York, December 18, 2019–August 2, 2020. Artwork, left to right: © 2020 David Reed/Artists Rights Society (ARS), New York; © Park Seo-Bo; © Chryssa; © 2020 Jacob El Hanani; © 2020 Brice Marden/Artists Rights Society (ARS), New York

David Reed, #660-2 (Vice and Reflection), 2016/19 (detail) © David Reed

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David Reed
Vice and Reflection #2

July 12–October 6, 2019
Neues Museum, Nuremberg, Germany
www.nmn.de

This exhibition offers insight into David Reed’s current painting practice by bringing five important works together with corresponding drawings.

David Reed, #660-2 (Vice and Reflection), 2016/19 (detail) © David Reed

Katharina Grosse, Untitled, 2011 © Katharina Grosse and VG Bild-Kunst Bonn, 2019

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Frozen Gesture
Gesten in der Malerei

May 18–August 18, 2019
Kunst Museum Winterthur, Switzerland
www.kmw.ch

In 1965 Roy Lichtenstein created his famous Brushstrokes and in doing so highlighted the fundamental elements of the image, such as the appearance of the colors and the pigment, the color fields and their limits, and not least the application of paint in the form of a gesture. This exhibition aims to explore the sheer range of gestures in contemporary painting. Work by Katharina Grosse, Roy Lichtenstein, and David Reed is included.

Katharina Grosse, Untitled, 2011 © Katharina Grosse and VG Bild-Kunst Bonn, 2019

David Reed, Working Drawing for #653, 2016 (page 7) © 2019 David Reed/Artists Rights Society (ARS), New York

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David Reed
Drawings

May 18–August 18, 2019
Kunst Museum Winterthur, Switzerland
www.kmw.ch

This exhibition includes seven working drawings (comprising forty-four sheets in total) by David Reed, and has been organized in conjunction with the group show Frozen Gesture, which features work by Reed, concurrently on view at the museum. These fascinating works on paper provide unparalleled insight into Reed’s processes in creating large-scale abstract paintings. The drawings serve as a visual diary for each new work: they feature meticulous notes on the experiences and visual cues that inform the works, record decisions made in the painting process, and are illustrated with sketches, diagrams, and color tests.

David Reed, Working Drawing for #653, 2016 (page 7) © 2019 David Reed/Artists Rights Society (ARS), New York