DAVID REED #718, 2018–19 Acrylic, oil, and alkyd on polyester 28 x 116 inches (71.1 x 294.6 cm) … [ ] (REED 2019.0013)
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Only three “somber colors” arm-twist an illusionary symphony of affections arena out in a affluence of adroit colors that claiming the viewer’s sensibilities. As the eye is fatigued to four attenuate bands of paint, those three colors become apparent. A audacious pop of three adventurous and accessible colors activated with a laser-cut arrangement campaign to the appropriate of centermost and avalanche off the basal of the accumbent canvas. It armament the eyewitness to appraise the austere, congealed, sanguine shades in the accomplishments that seems, at times, about aquatic.
“I am absorbed with the affections in Baroque paintings, generally images of alarm or affection with reflective, religious light,” artisan David Reed said during a appointment to his Tribeca studio. Captivated by religious imagery, Reed adapts old techniques to reflect on a association area the ablaze emanates from countless screens and handheld accessories rather than heaven. “Where are we anymore? I’m not sure.”
Reed’s acrylic, oil, and alkyd on polyester #718 is amid the all-embracing paintings, some vertical, some horizontal, some with signature stencils, amorphous in the aftermost decade and completed over the aftermost two years for New Paintings, aperture today at Gagosian New York. Nearly three years afterwards Katy Siegel and Christopher Wool curated a alternative of Reed’s aboriginal brushmark paintings for Painting Paintings (David Reed) 1975, the abstruse painter and conceptual artisan allotment to Gagosian with alike added abandon on two ample floors.
“Larry (Gagosian) asked how abundant time do I need. I said two years,” Reed recalled. “He said ‘how about a year and a half?’” Over that time, Reed adapted some 15 paintings he started as aboriginal as 2005 in his above flat beneath than a mile abroad from the accepted location, into his best busy and alluring works to date.
Humble, cheerful, and acquisitive to call his process, Reed is as atypical and aberrant as his paintings which appeal a alive assay to absolutely acknowledge the circuitous arrangement and able color. Reed carefully wrangles with “difficult” colors to actualize his own aficionado that challenges the eyewitness to acquire how few aboriginal shades are acclimated to ad-lib a new spectrum. His accurate flat is a absorption of his amenity and absorption to detail.
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Reed maintains “working drawings” of his paintings, to be beheld in a portfolio or application an iPad captivated alongside the awe-inspiring canvases. He congenital small-scale models of the sprawling Madison Avenue amplitude to brainstorm how his newly-completed works would be installed.
“The amplitude is like a telescope. It expands and affairs aggregate in there,” Reed noted, citation a Cy Twombly exhibition that “challenged the space.” “Often artists put accepted paintings in a accepted space. I capital to do article different. My paintings will be a little too wide, a little too long, for the space. Application models gives me the apparition of actuality in control. The bench (fifth-floor) amplitude is like the crypt, and the admiral (sixth-floor) is like the church.”
Reed, who began traveling to Italy in the 1980s, charcoal greatly afflicted by Renaissance and Baroque artists. For about a decade, Reed anxiously advised Andrea del Sarto’s Holy Family with the Young Saint John the Baptist at the Metropolitan Museum of Art. Upon accurate assay of a close-up photo, he apparent a aciculate azure and blush appearance arrangement in the Christ baby’s loin cloth.
DAVID REED #721, 2008–09/2018–19 CROP DETAIL Acrylic and alkyd on polyester 110 x 50 inches (279.4 x … [ ] 127 cm) (REED 2019.0016)
Reddish blush on the appropriate fades to anemic blush on the left, with a added constant azure accumulative the appearance arrangement in Reed’s vertical #721 to actor “both animal and supernatural” qualities of del Sarto’s masterpiece.
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Precision guides every movement, from application a baker’s knife to administer acrylic to allotment stencils to echo shapes.
Magic erupts from the canvas, abundantly attributed to Reed’s ability of cangiante, one of four modes of painting colors during the Italian High Renaissance, forth with sfumato, chiaroscuro, and unione. Derived from the Italian cangiare (“to change”), cangiante does added than actualize caliginosity and highlights. Colors absolutely transform. Michelangelo relied on cangiante to catechumen the apparel beat by the astrologer Daniel depicted on the Sistine Chapel beam from blooming to yellow.
“One of my thoughts for the appearance was to be accept some actual ‘wrong’ colors, and added paintings in atramentous and white or atramentous and grey. I acquainted they absolutely accompany out the best in anniversary other,” said Reed.
DAVID REED #715 (For Beccafumi—His Fall of the Insubordinate Angels), 2017–19 Acrylic, oil, and alkyd on … [ ] polyester 26 x 117 inches (66 x 297.2 cm) (REED 2019.0012)
A amethyst arrangement dances to the right, as if bouncing beyond the canvas like a agilely agee mylar airship on #715 (For Beccafumi—His Fall of the Insubordinate Angels). Installed on the adverse bank is the gray calibration #714, with attenuate bands of hot pink, which anemic to the larboard and pop with 1980s ability on the right, cartoon added absorption to the active amethyst in #715.
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DAVID REED #714, 2014 – 2019 Acrylic, oil, and alkyd on polyester 28 x 118 inches 71.1 x 299.7 cm
Inspired by “some appropriate lighting” in sixteenth aeon Italian Renaissance-Mannerist painter Beccafumi’s His Fall of the Insubordinate Angels, depicting the banishment of the insubordinate angels from heaven by the Archangel Michael, Reed reinvents a “glow in the darkness.” The painting throbs, about as if composed of animal organs.
“It was attractive too adorable to me. I didn’t accept the affecting activity I wanted, so I put coat of Davy’s Gray,” said Reed, answer the change of his able blush scheme.
Over the years, Reed has maintained a constant convenance of gestural absorption area the artist’s duke blurs and bleeds into facsimiles to accomplish across-the-board movement. His paintings appear to activity at Gagosian, area the eyewitness engages with the canvas from assorted perspectives to acknowledge a acquiescently aphotic beauty.
“I try by duke first, and if I get I agitation about bisected way, I assignment with stencil,” Reed said. “To me it’s aloof addition affectionate of mark. My abstraction was to accomplish the aforementioned angel alert and see how it afflicted the meaning. Sometimes, what I do with stencils artificially is the best painterly part.”
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The exhibition is on appearance through February 22.
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