David REED

Bibliography

Catalogs and Books

2005

Frank Reijnders, David Reed, Paris, Galerie Xippas.

Kevin Mullins, Richard Shiff, John Yau, David Reed. Leave Yourself Behind. Paintings and Special Projects 1967-2005, Wichita, Kansas, Ulrich Museum of Art.

2004

Georg Imdahl, Still Mapping the Moon. Perspektiven Zeitgenössischer Malerei Perspectives on Contemporary Painting, Bonn, Kunstmuseum.

Marianne Karabelnik, Stripped Bare. The Body Revealed in Contemporary Art.Works form the Thomas Koerfer Collection, London, New York, Merell Publishers.

2003

Udo Kittelmann ed., "David Reed" in Cream. Contemporary Art in Culture, London, England, Phaidon Press.

David Green, "Painting as Aporia", in Jonathan Harris ed., Critical Perspectives on Contemporary Painting. Hybridity, Hegemony, Historicism, Liverpool University Press et Tate Liverpool.

Raphael Rubinstein, Abtraction out of Bounds, Polychrome. Profusion. Selected Art Criticism: 1990-2002, Hard Press Editions, Lenox, MA.

Jonathan Harris ed., Critical Perspectives on Contemporary Painting: Hybridity, Hegemony, Historicism, Liverpool University Press, Tate Liverpool.

Raphael Rubinstein, Polychrome Profusion: Selected Art Criticism: 1990-2002, Lenox, Massachusetts: Hard Press Editions.

Annelie Lütgens, Holger Broeker, Frank Reijnders, Painting pictures: Painting and Media in The Digital Age, Kunstmuseum Wolfsburg, Kerber Verlag.

Trespassing: Houses X Artists, MAK Center for Art and Architecture, Los Angeles, California Koln, Germany, Hatje Cantz Verlag, Wexner Center for the Arts, Mood River, Ohio State University.

New Abstract Painting. Painting Abstract Now, Leverkusen, Museum Morsbroich.

Georges Armaos, Postimpact, Athens, Greece, Portalakis Collection.

Holger Broeker, Painting pictures, Malerei und Medien im Digitalen Zeitalter, Wolfsburg, Kreber Verlag.

We Love Painting: Contemporary American Art from Misumi Collection, Tokio, Japon.

2002

Another World: Zwölf Bettgeschicten / Twelve Bedroom Stories, Luzern, Kunstmuseum.

Unframed: Artists Respond to AIDS, New York, Powerhouse Books.

Lateral Thinking: Art of the 1990's, La Jolla Museum of Contemporary Art, San Diego.

2001

Katy Siegel ed., David Reed. You look good in blue,Kunstverein St.Gallen Kunstmuseum, Kunstverein Hannover, Verlag für moderne Kunst Nürnberg.

David Ryan, Simon Wallis, eds.,Hybrids: International Contemporary Painting, Londres, Tate Liverpol.

Pleasures of Sight and States of Being, Florida State University, Museum of Fine Arts.

Vertigo, Vienna, Ursula Blickle Stiftung, Triton.

2000

Jeremy Gilbert-Rolfe, Beauty and the Contemporary Sublime (Aesthetics Today), New York, Allworth Press.

Günter Umberg mit Bildern aus der Sammlung: Body of Painting, Museum Ludwig, Koln, Hatje Cantz Verlag.

Postmark: An Abstract Effect, SITE Santa Fe, New Mexico.

Sibylle Omlin, Beat Wimmer, eds., Das Gedächtnis der Malerei, Aarau, Koln, Aargauer Kunsthaus, Verlag der Buchhandlung Walter König.

1999

Elke Grützmacher, Special Offer, Kassel, Kasseler Kunstverein.

Mieke Bal, Quoting Caravaggio, Contemporary Art, Preposterous History, Chicago, University of Chicago Press.

Enrique Juncosa, Abstraction / Gesture / Ecriture. Paintings from the Daros Collection, Zürich, Alesco AG, Zürich / Berlin / New York, Scalo.

Mike Underwood, Looking at Paintings / Looking for Painters: Gesture and Contemporary Painting, University of Michigan, Ann Arbor, Mike Underwood.

Elsa Longhauser, David Reed - Painting/Vampire Study Center: Is Looking at an Abstract Painting Similar to a Vampire's not Reflecting in a Mirror?, Philadelphie : Goldie Paley Gallery, Moore College of Art and Design.

Roger M. Buergel, Moving Images, Leipzig, Galerie für Zeitgenössische Kunst Leipzig / Siemens Kulturprogramm.

Christine Buci-Glucksmann, David Reed, Paris, Galerie Xippas.

Notorious: Alfred Hitchcock and Contemporary Art, Oxford, Museum of Contemporary Art.

1998

Karl Ruhrberg, Ruhrberg, Schneckenburger, Fricke, Honnef, Kunst des 20. Jahrhunderts. Band 1/Art of the 20th Century. Volume 1, Koln, Benedikt Taschen Verlag.

Liz Armstrong ed., David Reed Paintings: Motion Pictures, La Jolla Museum of Contemporary Art, San Diego.

Petra Giloy-Hirtz, Peter B. Steiner, Geistes Gegenwart, Diözesanmuseum, Freising, Ostildern-Ruit, Cantz Verlag.

Interior Landscapes, An Exhibition from the Collection of CliffordDiver, Wilmington, Delaware Art Museum.

1997

Arthur C. Danto, After the End of Art: Contemporary Art and the Pale of History, Princeton University Press.

David Moos, Theories of the Decorative, Abstraction and Ornament in Contemporary Painting, Edinburgh, Royal Botanic Garden.

After the Fall, Aspects of Abstract Painting Since 1970, Staten Island, New York, Snug Harbor Cultural Center.

1996

Dave Hickey, Between Artists: Twelve Contemporary American Artists Interview Twelve Contemporary American Artists, Los Angeles, A.R.T. Press.

Andrew Benjamin, What is Abstraction?, Londres, Academy Editions.

Martin Ball, Reconditioned Abstraction, St. Louis, Forum for Contemporary Art.

Embedded Metaphors, New York, Independent Curators, Inc.

Enrique Juncosa ed., Nuevas Abstraciones, Madrid, Museo Nacional Centro de Arte Reina Sofia, Abstrakte Malerei Heute, Bielefeld, Kunsthalle Bielefeld.

Hanne Loreck et al., New Paintings for the Mirror Room and Archive in a Studio off the Courtyard by David Reed, Graz, Neue Galerie am Landesmuseum Joanneum .

Irving Sandler, Art of the Postmodern Era, From the Late 1960's to the Early 1990's, New York, Icon Editions.

Lisa Corrin, Going for Baroque: 18 Contemporary Artists Fascinated with the Baroque and Rococco, Baltimore, The Contemporary and The Walters Art Gallery.

1995

Arthur C. Danto et al., David Reed, Koln, Kölnischer Kunstverein.

Peter Weibel et al., Pittura / Immedia: Malerei in der 90er Jahren / Painting in the '90's, Neue Galerie am Landesmuseum Joanneum Klagenfurt, Graz, Verlag Ritter.

Das Abenteuer der Malerei / The Adventure of Painting, Württembergischer Kunstverein and Kunstverein für die Rheinlande und Westfalen, Ostfildern, Edition Tertium.

Mark Rosenthal, Critiques of Pure Abstraction, New York, Independent Curators, Inc.

Raphael Rubinstein, Transatlantica, The America-Europa Non-Representiva, Caracas, Venezuela, Museo Alejando Otero.

David Moos, Architecture of the Mind, Amsterdam, Galerie Farber.

Carlos Basualdo, Mesótica: The América Non-respresentiva, San Jose, Costa Rica, Museo de Arte y Diseño Contemporáneo.

Arthur C. Danto, Repicturing Abstraction: The Politics of Space, The Abducted Image, Basic Nature, From Impulse to Image, Richmond, Virginia Museum of Fine Arts.

Jeremy Gilbert-Rolfe, Beyond Piety: Critical Essays on the Visual Arts, 1986-1993, Cambridge, Cambridge University Press.

Re-Fab: Painting, Fabricated, and Revised, Tampa, Florida Contemporary Art Museum, University of South Florida.

1994

Tony Godfrey, Chance, Choice, and Irony, Londres, Todd Gallery.

David Carrier, The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980's, University Park, Pennsylvania Penn State University Press.

1993

Maia Damianovic, Fractured Seduction, Tel Aviv, Artifact Gallery.

Demetrio Paparoni, L'astrazione redefinita, San Marino, Italy, Galleria Nazionale d'Arte Moderna et Tema Celeste Editions,.

Arthur C. Danto, Dave Hickey, New York Painters,Donald Baechler, Ross Bleckner, Peter Halley, Jonathan Lasker, Richard Prince, David Reed, Peter Schuyff, Philip Taaffe, Christopher Wool, Munich, Sammlung Goetz.

Der zerbrochene Spiegel: Positionen zur Malerei / The Broken Mirror: Approaches to Painting, Museumsquartier Messepalast et Kunsthalle Wien, Vienna: Wiener Festwochen.

Prospect '93: Eine internationale Ausstellung Aktueller Kunst / Prospect '93: An International Exhibition of Contemporary Art, Frankfurt, Frankfurter Kunstverein et Schirn Kunsthalle.

Joseph Masheck, Modernities, Art-Matters in the Present, University Park, Pennsylvania, Penn State University Press.

Hans-Ulrich Obrist, Hotel Carlton Palace, Chambre 763, Paris, Oktagon Verlag.

1992

Two Bedrooms in San Francisco, San Francisco Art Institute.

Terry R. Meyers, Bedroom Pictures, Los Angeles, Asher / Faure Gallery.

Thomas Nozkowski / David Reed, Washington, D.C., Baumgartner Galleries.

Noemi Smolik, Abstrakte Malerei Zwischen Analyse und Synthese / Abstract Painting between Analysis and Synthesis, Vienna, Galerie nächst St. Stephan.

Kinder ! Macht Neues !, Koln, Galerie Rolf Ricke.

Paul Auster, The Art of Hunger, Los Angeles: Sun & Moon Press.

1991

Demetrio Paparoni, La Metaphysica della Luce, New York, John Good Gallery.

Saul Ostrow, Strategies for the Next Painting, New York, Wolff Gallery.

David Carrier, Stephen Bann and William Allen, eds., Interpreting Contemporary Art, Londres, Reaktion Books.

Daniel Wheeler, Art Since Mid-Century 1945 to the Present, New York, Vendome Press.

1990

Tricia Collins et Richard Milazzo, Token Gestures: A Painting Show, New York, Scott Hanson Gallery.

Charles Hagen, David Reed, Los Angeles, A.R.T. Press / William S. Bartman Foundation.

1989

Saul Ostrow, Diagrams and Surrogates, New York, Shea and Becker Gallery.

Jubilee Exhibition of the Galerie Rolf Ricke, Kölnischer Kunstverein, Koln, Verlag der Buchhandlung Walter König.

1988

Joseph Masheck, Formal, Chicago, Illinois, Dart Gallery.

1987

H.H. Arnason, History of Modern Art: Painting, Sculpture, Architecture, Photography. Revised and updated by David Wheeler, New York, Harry N. Abrams.

Ned Rifkin, 40th Biennial Exhibition of Contemporary American Painting, Washington, D.C., The Corcoran Gallery of Art.

1986

David Carrier, Elaine A. King, Abstraction / Abstraction, Pittsburgh, Carnegie Mellon University Art Gallery.

Ruth Kaufmann, Geometry Now, New York, Craig Cornelius Gallery.

1984

Joseph Masheck, Point 1:Art Visuals / Visual Arts - Smart Art, New York Willis, Locker, and Owens.

1980

Lynn Gumpert et Alan Schwartzman, Investigations: Probe, Structure, Analysis: Agnes Denes, Lauren Ewing, Vernon Fisher, Stephen Prina, David Reed, New York, The New Museum of Contemporary Art.

Writings and artist's statements (selection)

2004

Judith Olch Richards (ed.), Inside the Studio: Two Decades of Talks with Artists in New York, New York, Independent Curators International, p. 170-173

Martin Hentschel ed., Richard Allen Morris, Retrospective 1958-2004, Bielefeld, Kerber Verlag, p. 10-11.

"Excerpts from a Continuing Vampire Journal"

Ecke Bonck et al., Liebesgrüsse aus Odessa. For Peter Weibel, Berlin, Merve Verlag, p. 90-93.

2002

"David Reed in Conversation with David Ryan (1996/97)" in David Ryan, Talking Painting. Dialogues with twelve Contemporary Abstract Painters, London and New York, Routledge, p. 196-207.

2001

1987

Paintings: Willem DeKooning, New York, Cantz Publishers, p. 39.

"Making Waves: Katy Siegel Talks with David Reed about the Legacy of Lee Lozano", Artforum, October, pp. 120-127.

"Speed and Intimacy", Art Lies, Issue 31, été, pp. 7-12.

"Vertigo", Vertigo, Vienna, Triton / Ursula Bickle Stiftung, p. 58.

2000

Susan Bee and Mira Schor eds., "Media Baptisms" in M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory and Criticism, Durham and London, Duke University Press, pp. 369-372.

Amine Haase, "Auf der Suche nach der Farbe der Zukunft", Kunstforum, no. 152, October-December, p. 298.

1999

Demetrio Paparoni, "David Reed: Conversazione con Demetrio Paparoni", Tema Celeste, n°72, January-February, p. 46.

Christian Viveros-Faune, "Moving Pictures at an Exhibition: Christian Viveros-Faune interviews David Reed", Art Papers Magazine, November-December, pp. 32-37.

1998

Anna Novakov ed., "Scottie's Place / Judy's Place" in Carnal Pleasures: Desire, Public Space and Contemporary Art, San Francisco, Clamor Editions, pp. 111-121.

1997

"New Paintings for the Mirror Room and Archive in a Studio off the Courtyard", in Journal, Graz, Neue Galerie am Landesmuseum Joanneum, pp. 13-23.

1996

"David Reed", letter inFotografie nach der Fotografie / Photography after Photography, Berlin, Verlag der Kunst, p. 301.

David Reed" in Claude Briand-Picard, Christophe Cuzin, Antoine Perrot, eds., Peindre ? Enquête & Entretiens sur la Peinture Abstraite, Paris, Positions, Galerie b Jordan m Devarrieux, p. 112.

"David Reed: Vampire Journal Excerpt", New Observations, Ripple Effects: Painting and Language, no. 113, hiver, pp. 6-7.

Stephen Ellis, Between Artists: Twelve Contemporary American Artists Interview Twelve Contemporary American Artists, Los Angeles: A.R.T. Press, William S. Bartman Foundation, pp. 183-194.

Noemi Smolik , "David Reed: Eigentlich ist es die abstrakte Malerei, die heute die Errungenschaften der Pop-art fortsetzt und weiterentwickelt", Kunstforum, no. 133, February-April, pp. 300-305.

1995

"David Reed", in Pittura / Immedia, Malerei in den 90er Jahren / Painting in the '90's, Graz: Neue Galerie am Landesmuseum Joanneum, pp. 120-121.

Sabine Krebber, "Hitchcock's Schlaftzimmer", Stuttgarter Nachrichten, 7 July, Kultur Magazin 13.

David Reed, Two Bedrooms in San Francisco, Koln, Kölnischer Kunstverein.

Thomas Von Taschitzki, "Bilder vom Bruch im Selbst", Kölner Stadt-Anzeiger, 12 March, p. 39.

1994

"David Reed", in Fractured Seduction, Tel Aviv, Artifact Gallery.

1993

"Media Baptisms", M/E/A/N/I/N/G # 13, May, pp. 31-33.

"David Reed", Der zebrochene Spiegel: Positionen zur Malerei / The BrokenMirror: Approaches to Painting, Vienna: Museumsquartier Messepalast und Kunsthalle Wien, pp. 118-121.

"David Reed", Prospect '93: Eine Internationale Ausstellung aktueller Kunst / Prospect '93: An International Exhibition of Contemporary Art, Frankfurt, Frankfurter Kunstverein and Schirn Kunsthalle, p. 355.

Demetrio Paparoni, Italia-America: L'astrazione rede nita, San Marino, Galleria Nazionale d'Arte Moderna, pp. 129-133.

1992

"Media Baptisms", Abstrakte Malerei zwischen Analyse und Synthese / Abstract Painting Between Analysis and Synthesis, Vienna, Galerie nächst St. Stephan, pp. 123-134.

"Two Bedrooms in San Francisco", Two Bedrooms in San Francisco, San Francisco Art Institute.

1991

"Reflected Light: In Siena with Beccafumi", Arts Magazine, March, pp. 52-53.

"Tradition, Eclecticism, Self-Consciousness: Baroque Art and Abstract Painting", Arts Magazine, January, pp. 44-49.

1990

Stephen Ellis, David Reed, A.R.T. Press, William S. Bartman Foundation, Los Angeles.

1989

"Memories of Rome", New Observations # 68, June, pp. 20-23.

1988

Raphael Rubinstein, ETC. Magazine, Montreal, Canada, été, pp. 31-33.

Jonathan Seliger, Journal of Contemporary Art, été, pp. 67-68.

1984

"I Knew It to Be So!" in Forest Bess, Alfred Jensen, Myron Stout, Theory and the Visionary, New York Studio School.

1975

"On Jumping" et "Intermediate Cases", Art-Rite, été, p. 9.

Articles and Reviews (selection)

2004

Henri-François Debailleux, "L'abstrait mis à plat", Libération, Friday, July 2.

Michael Brennan, "David Reed", Brooklyn Rail, December 2004 - January 2005, p. 14-15

Martha Schwendener, "David Reed", Time Out New York, Decembre 2-8, p. 63.

Jerry Saltz, "Hard Attack", Village Voice, December 8-14, p. 78

Mario Naves, "David Reed's Chilly Contrivance: Hyperstylized, Squiggly Forms", The New York Observer, November 29, p. 20.

2002

Katy Siegel, "David Reed: Artforum: Best of 2002", Artforum, December, p. 126.

Maurizio Sciaccaluga, "Nuovi Maestri: Artisti anni Ottanta ai Confini della Realtà", Arte, October, pp. 122-129.

Alexi Worth, "David Reed at Max Protetch", Artforum, October, p. 152.

Konrad Bitterli, "Shhlaffzimmermalerei im Cinemascope-Format: David Reeds inszenierte Bettgeschicten", Neue Leuzerner Zeitung.

Tim Griffin, "David Reed", Time Out New York, June 13-20, n°350, p. 56.

David Pagel, "An Artist Who Can Make Paint Behave Strangely", Los Angeles Times, Friday March 15, p. F32.

2001

David Rimanelli, "David Reed, Kunstmuseum St. Gallen", Artforum, vol. XL, n°1, September, p. 89.

Ralf Christofori, Frankfurter Allgemeine Zeitung, October 6, p. 49.

Daniel Soutif, "David Reed: Kunstmuseum St. Gallen, Switzerland", Artforum, November, pp. 138-139.

David Ryan, "Painting and its Double: David Reed and Franz Ackermann", Contemporary Visual Arts, issue 34, pp. 29-33.

2000

Katy Siegel, "David Reed, Max Protetch", Artforum, vol. XXXVIII , n°5, January, p. 113.

Amine Haase, "Traurig vor verstaubtem Bild", Kölner Stadt-Anzeiger, n°196, August 24, p. 10.

Sibylle Omlin, "Twilight - David Reed und die Malerei", Neue Zuricher Zeitung, n°278, 28 November, p. 32.

1999

Dave Hickey, "Best of the 90's: a special issue - Top 10", Artforum, December, p. 112.

Barbara MacAdamm, "A Minimalist in BaroqueTrappings", Artnews, December, p. 158-162.

Ingrid Calame, "David Reed: Museum of Contemporary Art, San Diego", Art Issues, January-February, p. 36.

Kate McQuaid, "An Apostale Demistifies Brushwork", The Boston Globe, 26 November, p. D.5.

Robert Pincus, "David Reed: Museum of Contemporary Art, San Diego", ArtNews, February, p. 120.

Henri-François Debailleux, "Reed, trio grande", Libération, Saturday 25 - Sunday 26 September, p. 38.

Jeremy Gilbert-Rolfe, "Perhaps it Depends on the Pressure", The Chinati Foundation, vol. 4, September.

Philippe Dagen, "La peinture avec (et contre) la télévision", Le Monde, October 10-11, p. 26.

Carole Boulbès, "David Reed", ArtPress, n°251, November, pp. 83-84.

Francesco Poli, Christian Viveros-Faune, "David Reed, P.S.1. New York, Galerie Xippas, Parigi", Tema Celeste, n°76, December, pp. 121-122.

Barbara MacAdamm, "A Minimalist in Baroque Trappings", ArtNews, n°11, December, pp. 158-162.

Calame, Ingrid, "David Reed: Museum of Contemporary Art, San Diego", Art Issues, January-February, p. 36.

Robert Pincus, "David Reed: Museum of Contemporary Art, San Diego," ArtNews, February, p. 120.

Arthur C. Danto, "Bedside Manner", Artforum, n°10, Summer, pp. 121-125.

Edward J. Sozanski, "Pictorial abstraction: between reality, invention", The Philadelphia Inquirer, September 26.

John J. Sullivan, "Art for Architecture's Sake", Metropolis, December, pp. 66-71.

Thomas Wagner, "Was das Bild im Schlafzimmer sieht.", Frankfurter AllgemeineZeitung, August 11, p. 43.

MaLin Wilson‑Powell, "Reed Exhibit Challenges Notion That Art is Dead", Albuquerque Journal, May 27, p. 8.

Robin Rice, "Drawing Blood", Philadelphia City Paper, September-October.

Martha Schwendener, "David Reed, Motion Pictures", Time Out New York, n°199, July, p. 58.

Roberta Smith, "A Luscious Journey, Exhaustively Annotated", New York Times, August 20, p. E35.

1998

Ralf Christofori, "Sonnenuntergang für Vampire: Drauben die tosende Brandung und das Licht Kaliforniens - David Reed im Museum of Contemporary Art, San Diego", Frankfurter Allgemeine Zeitung, December, p. 44.

Robert Pincus, "The Art of Seduction: David Reed's swirling use of color is as dramatic as it is erotic", The San Diego Union Tribune, October 22, p. 36.

Christopher Knight, "Reed's Sense and Sensuality", Los Angeles Times, October 6, p. D1.

Peter Schjeldahl, "Ultraloungerie: Painting from Another Planet: New Painting from Los Angeles, Deitch Projects; David Reed, Max Protetch Gallery", The Village Voice, June 23, p. 54.

Maia Damianovic, "David Reed, Max Protech, Chelsea", Tema Celeste.

1997

Dave Hickey, "Top Ten x 12: The Year in Review", Artforum, vol. 36, n°4, December, p. 89.

Markus Huemer, "Las Vegas in Cinemascope, Bilder und Videoinstallationen von David Reed in Köln", Neue Bildende Kunst, April, p. 100.

Iannaccone, "David Reed at Patricia Faure Gallery", LA Weekly, March 14-20, p. 64.

Georg Imdahl, "Durch das kalte Feuer des Barock, der Maler David Reed zeigt Hitchcock-Paraphrasen und Bilder aus Las Vegas in einer Kölner Galerie", Frankfurter Allgemeine Zeitung, July 16, p. 34.

Julie Joyce, "David Reed at Patricia Faure Gallery", Art Issues, n°48, summer, p. 41.

Susan Kandel, "David Reed, Patricia Faure Gallery", Los Angeles Times, February 28, pp. F1, F24.

David Pagel, "David Reed, Patricia Faure Gallery", art/text, n°58, August-October, pp. 85-86.

Meyer Raphael Rubinstein, "Abstraction Out of Bounds", Art in America, vol. 85, n°11, November, pp. 104-115.

1996

Roger M. Buergel, "David Reed: der Film als Bild", Neue Bildende Kunst, April-May, pp. 52-53.

Arthur C. Danto, "David Reed and Manhattan Baroque", ArtPress, n°218, November, pp. 55-60.

Robert Duffy, "It's Abstract, All Right", St. Louis Dispatch, December 1st, p. 4C.

Joannes Késenne, "Abstractie als Hedendaags Realisme", Kunst & Cultuur, May, p. 6.

Otto NeuMayer, "David Reed, Kunstvereine in Köln, Stuttgart und Münster", Noema Art Journal, winter, p. 73.

1995

Stan Allen, "Painting and Architecture: Conditional Abstractions", Abstraction, Journal of Philosophy and the Visual Arts, n°5, pp. 60-71.

Christoph Blase, "Köln: Ein Blick mit David Reed ins Schlafzimmer im Kölnischen Kunstverein", Kunst-Bulletin, n°3, March, pp. 39-40.

Owen Drolet, "David Reed, Max Protetch Gallery", Flash Art, vol. 28, n°183, été, p. 129.

Reinhard Ermen, "David Reed, Kunstvereinen in Köln, Stuttgart und Münster", Kunstforum International, n°130, May-June, p. 376-377.

Michael Madore, "60 Fractions of Megohm", Trans, first issue, November, pp. 147-151.

George Melrod, "Seducing the Eye, Contemporary Painters and Sculptors Turn to Sensuous Abstractions that Revel in Contradictions", Art & Antiques, March, p. 31.

Alfred Nemeczek, "Köln: David Reed, per Bild bei Hitchcock zu Besuch", Art, February, pp. 80-81.

Philip Pocock,, "David Reed - 'Bedroom Paintings'/ 'Vertigo' Kölnischer Kunstverein", Texte zur Kunst, May, p. 175-177.

Annette Schroeder, "Bild für Bett gewünscht", Kölnische Rundschau, January 26.

Thomas Von Taschitzky, "Spiele mit Hitchcock's 'Vertigo' Kölns Kunstverein zeigt den Amerikaner David Reed erstmals in Europa: Bilder und eine Installation", Kölner Stadt-Anzeiger, January 26, p. 11.

Lilly Wei, "David Reed at Max Protetch Gallery", Art in America, vol. 83, n°6, June, p. 102.

Thad Ziolkowski, "David Reed, Max Protetch Gallery", Artforum, vol. 33, n°9, May, p. 99.

1994

Mark Rosenthal, "Critiques of Pure Abstraction, David Reed", Atelier, Magazine of International Art, October, p. 78 et couverture.

1993

Robert Pincus, "Byron Kim, David Lasery and David Reed: Paintings", The San Diego Union-Tribune, November 18, p. 17.

1992

David Bonetti, "Abstract, but Full of Substance, 'Bedroom Painter' at Home with Gestural Extravagance", San Francisco Examiner, August 11, p. B1, B3.

Dan Cameron, "(critical edge): The Outlaw Academy", Art & Auction, vol. 14, n°10, May, pp. 96-98.

Peter Gorsen, "Im Totentanz der Stile, die Chancen abstrakter Malerei/Kunstadebatte in Wien", Frankfurter Allgemeine Zeitung, 5 March, n°55, p. 31.

Ulli Moser, "Abstrakte Malerei zwischen Analyse und Synthese, Galerie nächst St. Stephan", Kunstforum International, May-June, pp. 370-372.

Mary Murphy, "Consciousness in the Abstract, A New Look at Abstract Painting", New Art Examiner, no. 19, June, pp. 16-20.

Peter Nesweda, "Abstraktion Heute", Noema Art Journal, April-June, pp. 106-107.

1991

Michael Brenson, "David Reed: Max Protetch Gallery", New York Times, March, 15 p. C26.

Joshua Decter, "David Reed, Max Protetch Gallery", Arts Magazine, vol. 65, n°9, May, pp. 103-104.

Jeremy Gilbert-Rolfe, "Painting Movement: The Work of David Reed", Arts Magazine, vol. 66, n°1, September, pp. 36-37.

Robert C. Morgan, "David Reed, Max Protetch Gallery", Tema Celeste, May-June, p. 89.

Meyer Raphael Rubinstein, "David Reed at Max Protetch Gallery", Art in America, no. 79, n°7, July, pp. 116-117.

Noemi Smolik, "David Reed: Galerie Rolf Ricke", Kunstforum International, July-August, pp. 360-361.

1990

Tiffany Bell, "David Reed: Max Protetch Gallery", Artnews, vol. 89, n°1, January, pp.166-167.

Arthur C. Danto, "The State of the Art World: The Nineties Begin", The Nation, 9 July, pp. 65-68.

Craig Fisher, "David Reed at Max Protetch Gallery", Tema Celeste, January-March, p. 64.

Charles Hagen, "The Anatomy of Autonomy: David Reed", Artforum, vol. 29, n°3, November, pp. 143-146.

Robert Mahoney, "David Reed, Max Protetch Gallery", Arts Magazine, vol. 64, n°5, January, p. 102.

Jed Perl, "The Legend Business", The New Criterion, no. 8, January, pp. 60-62.

Marjorie Welish, "Body's Surplus: The Art of David Reed", Sulfur, automne, pp. 115-122.

John Yau, "David Reed, Max Protetch Gallery", Artforum, vol. 28, n°5, January, pp. 8-9.

1989

Arthur C. Danto, "The 1989 Whitney Biennial", The Nation, 5 June, pp. 778-792.

Marlenan Donohue, "David Reed, Asher / Faure Gallery", Los Angeles Times, 9 December, pp.17-18.

Michael Kimmelman, "New From David Reed, A Modern Traditionalist", The New York Times, October 27, p. C31.

Jane Rubin, "David Reed at Asher / Faure Gallery", Art Issues, n°3, April, p. 28.

1988

Colin Gardner, "Reed moves toward Formal Periphery, His strategy is in the brushstroke", Los Angeles Herald Examiner, December 9, p. 4.

Jeremy Gilbert-Rolfe, "Nonrepresentation in 1988: Meaning-Production Beyond the Scope of the Pious", Arts Magazine, vol. 62, n°9, May, pp. 30-39.

Nancy Grimes, "David Reed, Max Protetch Gallery", The New Art Examiner, no. 15, June, p. 50.

Charles Hagen, "David Reed, Max Protetch Gallery", Artforum, vol. 26, n°8, April, p. 147.

Michael Kimmelman, "David Reed: Max Protetch Gallery", New York Times, February 5, p. C24.

Joseph Masheck, "Abstract Ironies", The New Leader, 20 October, pp. 21-22.

Meyer Raphael Rubinstein et Daniel Wiener, "David Reed: Max Protetch Gallery", Flash Art, n°140, May-June, p. 103.

1987

Tiffany Bell, "Baroque Expansions", Art in America, vol. 75, n°2, February, pp. 126-129, 161.

Jonathan Seliger, "Interstices: David Reed, Jonathan Lasker, Barry Bridgewood, and Will Mentor", Arts Magazine, vol. 61, n°7, March, pp. 66-69.

1986

David Carrier, "Artifice and Artificiality: David Reed's Recent Paintings", Arts Magazine, vol. 60, n°5, January, pp. 30-33, couverture.

Steven Henry Madoff, "The Return of Abstraction", ArtNews, vol. 85, n°1, January, pp. 80-85.

Roberta Smith, "David Reed: Max Protetch Gallery", The New York Times, October 24, p. C30.

1985

Michael Brenson, "David Reed: Max Protetch Gallery", The New York Times, April 5, pp. C21.

1984

Tiffany Bell, "David Reed, Max Protetch Gallery", Arts Magazine, vol. 58, n°6, February, p. 5.

Stephen Westfall, "David Reed at Protetch Gallery", Art in America, vol. 72, n°3, March, p. 164.

1983

Michael Brenson, "David Reed: Max Protetch Gallery", The New York Times, November 25, p. C19.

1982

Val Tatransky, "An Exhibition of Abstract Painting, Art Galaxy", Arts Magazine, vol. 57, n°1, September, p. 39.

1980

Hal Foster, "David Reed, The Clocktower", Artforum, vol. 19, n°4, December, pp. 72-73.

Elizabeth Frank, "David Reed at the Clocktower", Art in America, vol. 68, n°9, November, pp. 136-137.

James Sherry, "David Reed's Paintings", Artforum, vol. 16, n°5, January, pp. 54-55.

William Zimmer, "Artbreakers: New York's Emerging Artists", Soho Weekly News, September 17, p. 41.

1979

William Zimmer, "Art Goes to Rock World on Fire: The Pounding of a New Wave", Soho Weekly News, September 27, p. 33.

William Zimmer, "David Reed at Max Protetch Gallery", Soho Weekly News, April 26, p. 41.

1977

Sharon Gold, "David Reed, Max Protetch Gallery", Artforum, vol. 15, n°10, summer, p. 70.

William Zimmer, "The Younger Generation: A Cross Section", Art in America, vol. 65, n°5, September-October, pp. 86-91.

William Zimmer, "David Reed at Max Protetch Gallery", Soho Weekly News, March 17, p. 24.

1975

John Gruen, "David Reed at Susan Caldwell Gallery", Soho Weekly News, March 27, p. 14.

Peter Schjeldahl, "David Reed at Susan Caldwell Gallery", Art in America, vol. 63, n°4, July-August, pp. 100-101.

William Zimmer, "David Reed, Susan Caldwell Gallery", Arts Magazine, vol. 49, n°10, June, pp. 8-9.

1974

Elizabeth Frank, "Marilyn Lenkowsky, David Reed, Herbert Schiffrin, Susan Caldwell Gallery", Art News, vol. 73, n°8, October, pp. 116-120.

Peter Frank, "John Elder eld, Max Gimblett, David Reed at Cunningham-Ward Gallery", Soho Weekly News, March 21, pp. 14, 21.

Jeremy Gilbert-Rolfe, "David Reed, Susan Caldwell Gallery", Artforum, vol. 12, n°10, June, p. 70.

1973

Frank Bowling, "A Modest Proposal", Arts Magazine, vol. 47, n°4, February 1, pp. 55-59.