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David Reed
A beautifully illustrated, in-depth look at recent works by David Reed, an American artist who brings conceptual interests in process and duration to his abstract paintings. Since the outset of his career, David Reed’s central preoccupation has been to challenge and reinvent how to make a painting. Consistently, his paintings present a compelling tension between the gestural and the impersonal; in recent times this has been characterized by fluid, torquing, extended marks that reveal the viscosity of paint and the speed of color and light in a flattened manner that looks photographic or filmic. David Reed documents the artist’s 2020 exhibition of new work at Gagosian in New York, presenting 15 outsize paintings that, in many cases, were over a decade in the making. The plates are punctuated by striking details of several works. The artist’s “working drawings,” which he has long made to document the many stages of a painting’s creation, are illustrated throughout the plate section, offering insights into his varied sources and complex processes. A new essay by art historian Richard Shiff examines the emotional tenor of Reed’s paintings.
David Reed
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Improvise for Real
Improvise for Real is a step-by-step method that teaches you to improvise your own music through progressive exercises that anyone can do. You'll learn to understand the sounds in the music all around you. And you'll learn to express your own musical ideas exactly as you hear them in your mind. The method starts with very simple creative exercises that you can begin right away. As you progress, the method leads you on a guided tour through the entire world of modern harmony. You will be improvising your own original melodies from the very first day, and your knowledge will expand with each practice session as you explore and discover our musical system for yourself. Improvise for Real brings...
Jehovah's Witnesses Answered Verse by Verse
No other book answers the Jehovah's Witnesses' misinterpretation of Scripture so immediately and shows how to use the same Scripture in leading Jehovah's Witnesses to Christ.
Answering Jehovah's Witnesses
This book guides Christians to discuss non-biblical issues with Jehovah's Witnesses subject by subject in a non-confrontational manner.
Painting Paintings (David Reed) 1975
A beautiful showcase of David Reed’s 1974–75 paintings and related works. A companion to the upcoming exhibition of Reed’s 1974–75 brushstroke paintings, this book features color plates of works originally exhibited in 1975 at Susan Caldwell Gallery. Along with installation images and plates from that seminal exhibition, related paintings, performances, and film images appear throughout the book in the form of a visual essay. New texts by Richard Hell and Reed appear alongside reprints from the time, including the original exhibition text by Paul Auster. A conversation between Katy Siegel and artist Christopher Wool unfolds the significance and legacy of Reed’s early work.
Uphill and Into the Wind
It's 1973. Our nation is torn apart by the Vietnam War, and the massacre of unarmed students at Kent State. The Vice President has resigned for bribery and tax evasion. The President is being investigated for engaging in criminal activity. At twenty-three, David Reed has become embittered by political strife and corruption. Disenchanted with his future, he wants out. Along with new friends Rusty and Susie, David leaves everything he knows to cross the United States with little more than his bicycle and camera. The trio gets more than they bargain for, with menacing animals, extreme weather, and astonishing encounters. Uphill and Into the Wind recounts an odyssey that spans 5420 miles on bicycles. It chronicles the sudden and surprising glories of nature, the raw beauty of the land, and the majesty of the mountains. But that is just the start. Through it all, the three are changed forever, in ways they did not expect, by their long journey into the unknown.
A Culture of Service
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David Reed
David Reed is one of the most influential artists in the United States. He has taken a completely different direction from Imi Knoebel for expanding the spectrum of non-representational art.While at college and art school (until 1968) he devoted himself at first to a form of landscape painting inspired by Abstract Expressionism, before moving on single-mindedly in the 1970s to a form of Minimalist gestural Abstraction.Over the years, the artist has developed a complex system for applying the paint in which an illusionist sense of depth and a painterly flatness interact in precarious ways. At the same time, the Cinemascope formats, along with the sequences of movement within the paintings, show the relevance of Reed's experiences with film.Reed has devised a completely new, site-specific work for Museum Haus Lange, Krefeld (Germany), in the form of one single painting. Extending as it does through all of the exhibition spaces as a moving, "floating" painting, it demands that the beholder takes a kind of cinematographic approach to view it.
