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 colour 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.

从他的职业生涯一开始，戴维·里德（David Reed）的核心关注点就是挑战和重塑绘画的方式。他的画作始终在态势绘画和公式化之间呈现出一种引人注目的张力；近年来，这种张力的特点是流动的、扭曲的、延伸的痕迹，这些痕迹以一种扁平化的方式展示了颜料的粘性以及色彩和光线的速度，看起来像摄影或电影。本书记录了2020年艺术家戴维·里德在纽约高古轩举办的新作品展，展示了15幅大型画作，其中很多画作的创作时间超过十年。

书上展示了几幅作品中引人注目的细节，以及戴维·里德长期以来为记录绘画创作的多个阶段而绘制的工作图，让人了解他的各种灵感来源和复杂的创作过程。艺术史学家理查德·希夫（Richard Shiff）的一篇新文章探讨了里德绘画的情感主调。