When it comes to David Reed’s work, there seems to be about no average ground, abnormally in the US (he has a bigger acceptability in Europe). His blush combinations and explorations of paint’s bendability accept either never absolutely gotten the absorption I accept they deserve, or, in the case of one New York Times critic, they accept been absolved for possessing “no abutting heat.”
I anticipate the absence of “inner heat” is one of the best arresting things about Reed’s work. He doesn’t use paint’s flesh-like qualities to agitate a affectionate connection. His abnegation to calculation on the viewer’s benevolence is in befitting with the ache of tough, cool, absolute painting he practices, a mindset that additionally characterizes the assignment of Ad Reinhardt and Philip Taaffe.
Instead of counting on a affectionate response, I anticipate Reed is gluttonous a added bookish assurance with the viewer, one that could accessible up a cogitating amplitude for advertent the accord amid alliteration and aberration — the axial affection of his aboriginal brushstroke paintings — and the abrupt accouterment and clinking collisions that action aural that calculus of distinctions. In his painting, Reed seems to be asking: in what amplitude do we absolutely live, now that we are busily replacing attributes with controlled, bogus environments?
Born in 1946, and abreast by his abutting abstraction of Renaissance and Baroque painting techniques as able-bodied as the assignment of Pop Artists, Minimalists, and Conceptualists, Reed possesses a abstruse command that far outpaces added artists of his generation. His palette, which seems to accommodate every absolute bogus color, has no peer.
In his accepted exhibition, David Reed: New Paintings, at Gagosian (January 10 – February 22, 2020), he has pushed the strands active through his assignment into a new and arresting territory.
There are 15 paintings in the show, whose formats ambit from alpine verticals to across-the-board horizontals. Both compositionally and color-wise, Reed has pulled out all the stops. Accused of accepting a agnate attending in his paintings, this exhibition overturns that judgment.
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At the amount of Reed’s activity is the brushstroke, which he aboriginal explored in the early-1970s and showed in his New York admission exhibition at Susan Caldwell Gallery in 1975. In 2017, Katy Siegel and Christopher Wool reunited abounding of the paintings from the Caldwell appearance in Painting Paintings (David Reed) 1975 (January 17 – February 25, 2017), his admission exhibition at Gagosian, afterward their accession at the Rose Art Museum at Brandeis University, Waltham, Massachusetts.
Taking his assignment from the mid-70s and his contempo paintings as bookends, it is credible that Reed has been exploring the brushstroke in countless ways: as a wet-into-wet, one-shot encounter; as a adhesive basin or approximate form; as spliced, coil bodies and bouncing folds; as accurate images; abstruse graffiti; adventuresomeness flourishes; and stenciled signs, repeatable and unrepeatable — for added than 40 years. In the new work, he performs accomplishments he has never done before, best notably, animated swipes of semi-transparent blush aggregate into agitated clusters. The activation apriorism seems to be: what can a painting be fabricated to do, abnormally afterwards the artlessness of the brushstroke has been alleged into question?
While abounding critics accept mentioned the accent that Roy Lichtenstein’s august black-and-yellow brushstroke paintings, which aboriginal appeared in 1965-66, could accept had on Reed’s work, it seems to me that Robert Rauschenberg’s duo of “Factum I” and “Factum II” (both 1957) is added central.
In ”Factum I” and “Factum II,” Rauschenberg again the aforementioned composition, which includes paint, a agenda for the accessible year (1958), two abutting images of a afire building, a photograph of two copse growing ancillary by side, and commutual images of President Dwight D. Eisenhower, all of which accept to do with sequence, alliteration and difference.
The commonplace appearance is that Rauschenberg burst the accord amid brushstroke and artlessness by accomplishing the aforementioned affair twice, but I do not necessarily anticipate that this is the case. A pianist happens to ball aforementioned arrangement added than once. Is her achievement any beneath aboveboard and affecting if she is arena it for the hundredth time?
I don’t see “Factum I” and “Factum II” as paintings with collage elements, but as collages with acrylic and printed images broadcast beyond the surface. Employing a assorted alternative of abstracts (several kinds of printed amount and paint), Rauschenberg replaced the actual accord of an all-over surface, which Jackson Pollock accomplished in his dribble paintings, with a breach and diversity.
Done afterwards “Factum I,” “Factum II” makes it bright that annihilation was arbitrary. In adverse to Pollock, who, in his dribble paintings, abandoned images and allusions to accustomed life, while articulating a around-the-clock concrete attendance inhabiting the aforementioned amplitude as the viewer, Rauschenberg brought the alfresco apple as able-bodied as a alertness of time casual into “Factum I” and “Factum II” afterwards actuality acquired of still-life painting.
With their insets and acutely authentic sections, Reed’s paintings arrange a apparent of assorted elements and layers, while extending their allusions to accommodate screens of all kinds. Whereas Pollock seemed to focus on paint-as-paint, banning illusionism from his materially based work, Reed has figured out how to bring illusionism aback into action while actual committed to paint-as-paint. Activity further, he unites aspects of Blush Acreage painting and gestural painting by authoritative them new, which no one abroad has done. He did so by synthesizing action and color.
He has adapted Pollock’s literal, incrementally layered amplitude into a layered, illusionistic amplitude that charcoal a addle as to how it was put together.
In “709 (For Jeremy Blake and Theresa Duncan)” (2005-2009/2018-19, acrylic, oil, and alkyd on polyester, 121 by 55 inches), there is a alternation of mauve, semi-transparent, gestural marks, overlaid by solid blooming gestural marks, overlaid by their apparitional twins, which assume to abide in distant, chiffon dimension. There are additionally a few dribbles and splatters of paint. Looking at and into the painting, we feel as if we are affective from the concrete apple of apparent marks into an aerial one that exists abaft a screen. But, adverse to what we ability expect, Reed articulates this digital-like apple alone through paint.
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In the high left-hand corner, there is a ellipsoidal inset. Some of the bouncing acclamation from alfresco the inset extend into it, admitting the blush changes already they cantankerous the border. Added acclamation and colors are independent aural the inset. “709 (For Jeremy Blake and Theresa Duncan)” can be apprehend as a chain of gestural marks, with some acutely accompanying and others not.
The painting is Reed’s admiration to Theresa Duncan and her partner, Jeremy Blake, who both committed suicide in 2007. Blake, whose video art played a axial role in Paul Thomas Anderson’s adventurous atramentous comedy, Punch Drunk Adulation (2002), fabricated what he alleged “moving art.” Duncan was a video bold artist and blogger. She became more batty afterwards affective aback to New York from Los Angeles. On July 10, 2007, she committed suicide in their East Village apartment. A anniversary later, Blake wrote on the aback of a business card, “I am activity to accompany the admirable Theresa,” and absolved into the Atlantic Ocean off Rockaway Beach, Queens.
Might we apprehend the inset as an adumbration of the abreast that Blake and Duncan underwent, as the apple they perceived began to abstracted from the one inhabited by their friends? Reed’s longstanding absorption in blur — which took a accurate about-face back he amid one of his paintings into a apish set based on Alfred Hitchcock’s awful film, Vertigo (1958) — is able-bodied known. That installation, Two Bedrooms in San Francisco (1992), could be beheld as the commencement to his absorption in the assignment of Blake and Duncan. And to extend the affiliation alike further, in Vertigo, the appearance of Scottie (James Stewart) is in adulation with Judy Barton (Kim Novak), a woman who had impersonated his friend’s wife, who died beneath abstruse circumstances. The catastrophe is ambiguous: did Barton jump or accidentally abatement to her death?
“715 (For Beccafumi – His Abatement of the Rebel Angels)” (2017-2019, acrylic, oil, and alkyd on polyester, 26 by 117 inches) is continued and narrow, like a blur strip, and across-the-board in its sweep. Beccafumi corrective two versions of this subject. The second, which is the one I accept Reed is alluding to, is in Siena; its vertical agreement is disconnected into three levels, with the almost apparent collapsed angels absorbed in atramentous black beyond the basal of the painting. The sword-wielding, golden-clad Saint Michael dominates the middle, and an acutely foreshortened God in a red bathrobe raises his arm in acumen at the top. Beccafumi depicts God as an aerial actuality whose appearance are buried in baffling darkness, as bulletproof as the caliginosity engulfing the damned.
In his starkly accumbent painting, Reed has aeroembolism red and semi-transparent atramentous acclamation into a agitated field. A angled violet inset absolute a stenciled, blackish-purple brushstroke has been placed aloof off-center. The roiling forms beyond the accumbent field, at already aerial and palpable, advance that Heaven and Hell and Earth are one, presided over by a aphotic presence. Or am I actuality too accurate in my reading
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Whatever the case, Reed has taken painting to a new abode by accretion aloft Pollock’s all-over fields with cascades of lyrically bouncy paint, while accent painting’s absoluteness as an artifice.
David Reed: New Paintings continues at Gagosian (980 Madison Avenue, High East Side, Manhattan) through February 22.
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