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
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
Thursday, February 20, 2020, 6pm
Gagosian, 980 Madison Avenue, New York
David Reed and curator Jeffrey Weiss will give a tour of the exhibition David Reed: New Paintings, on view at Gagosian, 980 Madison Avenue, New York, through February 22. The pair will discuss the outsize works in the show, some over a decade in the making, and how they respond to the galleries at 980 Madison Avenue, testing and maximizing their spatial boundaries. Indexically numbered rather than titled, the works are painted in either intense, otherworldly colors or primarily blacks and grays, as if contrasting the delirious possibilities of the full-color moving image with the austerity of grayscale. To attend the free event, RSVP to firstname.lastname@example.org. Space is limited.
Installation view, David Reed: New Paintings, Gagosian, 980 Madison Avenue, New York, January 10–February 22, 2020. Artwork © 2020 David Reed/Artists Rights Society (ARS), New York. Photo: Rob McKeever
Lynda Benglis, Abraham Cruzvillegas, David Reed
Wednesday, October 10, 2018, 6pm
Museum of Modern Art, New York
This conversation will explore the varied forms and paths of a life dedicated to making art. Contemporary artists will share observations, thoughts, and questions about the careers of artists featured in the exhibition The Long Run, currently on view at MoMA through November 4. David Reed will speak on Joan Mitchell. Other participants will include Lynda Benglis and Abraham Cruzvillegas. To attend the event, purchase tickets at www.moma.org.
Joan Mitchell, No Rain, 1976, Museum of Modern Art, New York © Estate of Joan Mitchell
Dialogues with Painting
David Reed and Kim Conaty on Mary Corse
Thursday, July 26, 2018, 7pm
Whitney Museum of American Art, New York
This program considers Mary Corse’s experiments with painting by examining process, materials, and forms in the ongoing exhibition Mary Corse: A Survey in Light. David Reed and curator Kim Conaty will discuss Corse’s practice in front of the works themselves. To attend the event, purchase tickets at whitney.org.
Friday, April 6, 2018, 4:50pm
School of Visual Arts Theatre, New York
As part of the symposium Body of Work: Contemporary Artists’ Estates and Conservation, David Reed reflects on the experience of revisiting his early brushmark paintings, forty years after their making, for the 2016–17 exhibition Painting Paintings (David Reed) 1975. To attend this free event, register for the symposium at www.bodyofwork2018.com.
Process in Minimal Abstraction
December 18, 2019–August 2, 2020
Solomon R. Guggenheim Museum, New York
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
Vice and Reflection #2
July 12–October 6, 2019
Neues Museum, Nuremberg, Germany
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
Gesten in der Malerei
May 18–August 18, 2019
Kunst Museum Winterthur, Switzerland
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
May 18–August 18, 2019
Kunst Museum Winterthur, Switzerland
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