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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