David Reed

Come spend some time today from 1-6pm with these stunning works by Michelle Segre and David Reed, currently featured in Drawing In, Drawing Out, curated by John Yau at Art Cake! This group exhibition brings together works by Thornton Dial, Steve DiBenedetto, Joanne Greenbaum, Harriet Korman, Thomas Nozkowski, David Reed, Michelle Segre and Gary Stephan. @jyauwriter @artcake_nyc “At one of these lunches, I asked him why he devoted all his attention to drawings? His succinct, unhesitating answer has stayed with me nearly half a century: “You cannot lie in drawing. You can lie in painting and sculpture, but not in drawing.” -John Yau (full essay available on our website) Catch this show before September 28th on Fridays and Saturdays, 1-6pm and by appointment! 214 40th St. Brooklyn Running concurrently in Gallery B: Disguise the Limit, Selections from John Yau’s Symposia! Curated by John Yau, featuring works by Lynn Basa, Kate Brown, Robin Dintiman, Carrie Johnson, Eric Laverty, Jennifer Mawby, Zoë Elena Moldenhauer, M. Pettee Olsen, Patricia Tewes Richards, Sam Shaffer, Scott Sherman, Robert Solomon, Maya Strauss, Ali Vaughan, Lindy Wood. @yellowchairsalon Image 1: Installation view, works by Michelle Segre and David Reed. Image 2: David Reed Working Drawing for #768, 2022-25 (page 3) Mixed media on graph paper, in 8 parts Each sheet: 11 x 17 inches Image 3: installation view, works by Michelle Segre Image 4: Installation view, Disguise the Limit #thorntondial @dibenedettosteve @joannegreenbaumart @harrietkorman #thomasnozkowski @casimirn @davidreedstudio @michsegre @garystephanstudio @lynn.basa @kbrownonlyart @robin_dintiman @carriejohnsonstudio @thecatabolist @jenniferjeanmawby @zoe_moldenhauer @petteeolsenart @patriciatewes @sam_shaffer_ @scottshermanstudio @rmsolomon444 @mstrawsy @alijetv_ @lindywood1 Andrew Schwartz, Art Photo Biz @artphotobiz Copyright 2025 David Reed/Artists Rights Society (ARS), New York Image 2: Maris Hutchinson. Courtesy Gagosian

Thank you to everyone who joined us on Sunday evening for the opening of our two exhibitions, Drawing In, Drawing Out and Disguise the Limit, both curated by John Yau! It was an amazing night reconnecting with community and celebrating the diverse creative practices of 23 artists! Thanks to John Yau for his thoughtful curation and brilliant essay about the enduring power of drawing. Many thanks as well to Jim Condron and Cordy Ryman of Art Cake! @jyauwriter @artcake_nyc @cordyrymanstudio @jimcondron @yellowchairsalon These exhibitions will run through September 28th, open on Fridays and Saturdays 1-6 and by appointment! 214 40th St. Brooklyn “You don’t need a patron, an assistant, or a yacht, to make a drawing. If you get bored making a drawing, you are no fun to play with and won’t be happy here. Pleasure is not your thing. About these drawings, you cannot say: I like your style.  What great detail. Wow, it’s beautiful. * There are no liars here. Every drawing in this exhibition is perfect.” -John Yau (full essay available on our website) #thorntondial @dibenedettosteve @joannegreenbaumart @harrietkorman @casimirn #thomasnozkowski @davidreedstudio @michsegre @garystephanstudio @lynn.basa @kbrownonlyart @robin_dintiman @carriejohnsonstudio @thecatabolist @jenniferjeanmawby @zoe_moldenhauer @petteeolsenart @patriciatewes @sam_shaffer_ @scottshermanstudio @rmsolomon444 @mstrawsy @alijetv_ @lindywood1

OPENING TONIGHT! 4-8pm at Art Cake! @artcake_nyc Drawing In, Drawing Out, curated by John Yau features works on paper by contemporary masters, Thornton Dial, Steve DiBenedetto, Joanne Greenbaum, Harriet Korman, Thomas Nozkowski, David Reed, Michelle Segre and Gary Stephan. @jyauwriter September 7 - 28, 2025 214 40th St. Brooklyn NY 11232 Opening Reception: September 7, 4-8pm “Museum directors and curators want blockbusters. They forget that a company by that name went out of business when the product they rented became obsolete. Drawing never became obsolete. Even when painting was declared dead, conceptual artists said it was necessary to draw lines on a wall. One of them made it part of his practice to write careful instructions detailing what to do to make a pencil drawing on a chosen surface.” -John Yau (full exhibition essay on our website. In Gallery B: Disguise the Limit, Selections from John Yau’s Symposia! curated by John Yau. This group exhibition brings together fifteen artists following our recent studio and virtually-based Symposia! program with esteemed poet and art writer John Yau, alongside Symposia! faculty Astrid Dick and Michael David. @chastrida @michaeldavidpainter @yellowchairsalon #thorntondial @dibenedettosteve @joannegreenbaumart @harrietkorman #thomasnozkowski @casimirn @davidreedstudio @michsegre @garystephanstudio Photo: Maris Hutchinson. Courtesy Gagosian Copyright 2025 David Reed/Artists Rights Society (ARS), New York

Working Drawing for #614, 2009-2011 Mixed media on graph paper, in 4 parts 17 x 11 inches On view in No Diagnosis: Drawings by Painters @reena_spaulings through July 11th Organized by @ivyshapiroandpartners

🔵 « Painting is Dead? I’ll Keep Painting Anyway » - David Reed In the 1970s, painting was declared obsolete by critics and peers alike, yet David Reed chose to defy these voices. Against a wave of art world skepticism, he committed to painting, embracing his passion despite warnings it would lead nowhere. This spirit of defiance continues to fuel Reed’s art, reminding that true creativity is about following one’s own vision, not trends. 🔵 #DavidReed #PaintingIsNotDead #DefyingTheNorms #ArtRevolution #PainterLife #ArtHistory #ModernArt #PaintingResurgence #ColorAndForm #ArtisticFreedom #70sArtScene #ArtistVoice

Painting 771 at @westbundartfair , Shanghai with @gagosian . #771, 2023-2024 Acrylic on polyester 106 x 50 x 1.5 inches Photos: Maris Hutchinson

Paintings 775 and 785 at @artcolognefair with @galerieankeschmidt . #775, 2018-2023 Acrylic and alkyd on polyester 30 x 64 x 1.5 inches #785, 2018-2023 Acrylic on polyester 34 x 76 x 1.5 inches

Tomorrow, Saturday October 26th, is the last day of my show ‘Whirlpool’ at Galerie Nathalie Obadia in Paris. I would like to thank everyone at the gallery for all their good work. It’s been a great experience to see my paintings in the cold light of Paris.   There is a strange detail in the center of Caravaggio’s “Martyrdom of St. Ursula.”  In the narrow gap above and to the right of St. Ursula’s face, there is a small area of convoluted painterly forms floating in darkened space.  Could the forms be leftovers of helmet designs from a figure that was painted out? There is no apparent explanation. Whatever the forms are, they seem unfinished and unclear.   Time and motion are not frozen in these forms as they are in the rest of the painting.  Instead, time and motion seem added and ongoing. No matter where the painting is, whether seen or not, I imagine that these forms are revolving and swirling as they attempt to evolve. This open and unfinished area is a kind of internal mechanism. It is like something alive, a heart beating within the painting. Many future possibilities in painting will be foretold within these movements and discovered, by many painters, over many hundreds of years. Image (slides 1-2): #801, 2024 Acrylic on polyester 34 x 77 x 1.5 inches Photo by Lance Brewer @galerieobadia Image (slides 3-4): Caravaggio The Martyrdom of Saint Ursula 1610 Oil on canvas Palazzo Zevallos Stigliano, Naples

Painting 798 This painting finished itself very quickly, before I expected it could possibly be finished. Like most painters, I rely on grace. It’s a painting that I’m still trying to understand. There is an unexpected optical light in the center of this painting. The white-and-grey rectangle glows with a slightly yellow tint. The vertical bands do not glow. I’m not sure why they don’t. Image: #798, 2024 Acrylic on polyester 34 x 77 x 1.5 inches Photos by Lance Brewer @galerieobadia

Painting 795 (For Turid)   The stencil of the brush mark in this painting doesn’t seem to go over the other marks, as my stencils often do. Instead, the stencil seems to fit between the other kinds of marks, interacting and engaging with them.   Painting the stencil in the studio, its colored details, red, yellow and blue, stood out and prompted me to ask myself the same question that Barnett Newman asked, “Who’s Afraid of Red, Yellow, and Blue?”   The creators of Superman, the writer Jerry Siegel and the artist Joe Shuster, asked this question on the cover of their first Superman comic. Superman is drawn wearing his skintight uniform, with the flapping red cape behind, and the red, yellow and blue insignia on his chest. He punches Hitler in the face. Fascists should be afraid of red, yellow, and blue. Image: #795, 2023-2024 Acrylic on polyester 30 x 68 x 1.5 inches Photo by Lance Brewer @galerieobadia

My notes from June 26, 2023: “Late last night I thought that I had ruined the painting that I had painted earlier in the day. As the paint was drying, in desperation, I took a chance by putting some knife marks crudely through other, partially dry marks. Was this area too messy and unclear? I was nearly sure that it would need to be removed, even wondered if I should get in a cab and return to the studio to do this when it would be easier, while the paint was still somewhat wet. This morning, I was relieved to see that the way the final knife marks partially removed the previous marks made this area compelling, showed my effort. I’m glad that I didn’t return to the studio and remove the marks. Every day I go through emotional ups and downs while I wait to understand what has happened when painting. I am better off if I keep cool and don't act impulsively. I should follow as calmly as I can where the painting leads.” Image: #800, 2024 Acrylic on polyester 34 x 77 x 1.5 inches Photos by Lance Brewer @galerieobadia

Painting number 796 at @artbasel Paris with @galerieobadia . This painting has unusually complex color. Is the ground color purple or magenta? It can shift and seem to be either. The yellow ground on the left and the yellow glaze on the right look like the same yellow but they are not.   While I was making this painting, I had aural and visual hallucinations. I heard shouted words like “Run for the hills!” and “We have to get out of here!” I saw visions of a fire in a movie theater. The white rectangle became a burning screen. Image: #796, 2023-2024 Acrylic on polyester 31 x 68 x 1.5 inches Photos by Lance Brewer