New York

David Reed

Max Protetch Gallery

I love to see painters take chances. Stella did it. Johns did it. Many of the oldies and goodies have done it; many more have not. Continuing to learn and to develop one’s art is something always to be admired. Though David Reed’s break with his former convention may not be of the same consequence as Stella’s, the development is certainly venturesome and should be regarded with optimism.

Reed has broken away from his brushstroke-as-drawing motif contained within a vertical structure, to two horizontal panels: one brushstroke-as-drawing panel butted up against a conventional troweled-on color panel. The five paintings, hung one to a wall at “stroke” level (Reed’s, I presume, eye-level for me), alternate white brushstroke on black brushed-on ground (paint applied wet on wet) and vice versa, next to a troweled-on, brilliant-color panel. Each panel is, blatantly, the antithesis of the other,

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