David Reed has figured out how to bring illusionism back into an abstract painting while remaining committed to paint-as-paint.
When Clement Greenberg, Frank Stella, and Donald Judd tried to define what makes a painting, they overlooked a central feature — capaciousness.
Making a brushstroke painting in the mid-1970s — a decade after Greenberg, Stella, and Lichtenstein gleefully presided over its burial — was foolhardy and brave.
Working during a period when it was proclaimed from every quarter that painting was dead, Reed and a sizable New York cohort of like-minded artists carried on below the fray.
This two-gallery extravaganza takes up the tricky gambit of featuring “artists whose work involves a methodical and controlled process of creating seemingly freeform or random daubs and spots.”
The last time David Reed showed paintings in New York was in 2007, nearly a decade ago.