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David Reed: Terrible Idea at Rodder brings together the artist’s paintings and drawings dated from 2013 through 2026, an uncommon presentation for his work. The exhibition shows his ongoing interest in color, transparency and figure-ground relationships, while a 2010 interview offers insight into his approach to revision and viewing paintings in a private, dreamlike setting.
The show includes works such as #808 (2024–26), made with oil and acrylic on polyester, and #809 (2025–26), also made with oil and acrylic on polyester. The review identifies the exhibition’s dates as 2013 to 2026 and says it includes both paintings and drawings. It does not give a full checklist or specify how many works are on view.
Reed’s stated points of reference range from Barnett Newman to Piero della Francesca and Giovanni Battista Tiepolo. He has described his interests as including the interaction of colors in opaque forms, transparencies layered over one another, and the relationship between figure and ground. The review also notes that influences can be immediate and personal, including remarks made in his studio or an email about a painting in progress.
The review connects the exhibition to comments Reed made in a 2010 interview. He said his paintings conceal the process behind their making and that he wanted to make what he called “studio paintings”: works that help him investigate painting and try something new. He also described reworking paintings after they return to his studio and feeling that he “almost” never finishes anything. Those remarks provide a frame for viewing the works as ongoing inquiries, rather than as illustrations of a fixed method.
Reed’s Process Across Two Media
Showing paintings and drawings together lets viewers compare how Reed’s concerns operate across different forms. The exhibition’s span, from 2013 to 2026, also places works from different stages alongside one another, offering a way to see continuity and change in his use of color, transparency and optical structure. The source does not claim that every work follows one formula; instead, it presents Reed’s practice as responsive to varied artistic and everyday prompts.
That matters because Reed’s own account emphasizes revision and experimentation. If a painting can return to the studio for further work, then its visible surface may conceal a longer process. The review’s framing helps readers understand the paintings not only as finished objects but also as records of decisions, adjustments and continued looking.
His wish that people encounter paintings while falling asleep or waking up adds another dimension. Reed described an ideal viewing experience tied to dreams and half-thoughts, alongside analytical thought. In the context of an exhibition devoted to optical effects, that statement suggests a kind of attention based on lingering and perception, though it is Reed’s expressed preference rather than a claim about how every visitor will respond.
oil and acrylic painting on polyester
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A 2010 Interview Revisited
The review draws on an interview with Reed conducted in 2010, well before the dates of the works at Rodder. In that conversation, he said he wanted to make paintings for his own development: works that would let him “find out about painting” and attempt something different. He associated the idea with the painter Milton Resnick’s term “studio paintings.”
Reed also spoke of looking at his paintings in the bedroom while falling asleep or waking. He hoped other people might see them in a similar state of mind and connect them with dreams and musings. The exhibition review uses these comments to interpret the current presentation, not as new statements made for the show.
The review title, “David Reed Went Where Lichtenstein Wouldn’t,” is an interpretive framing. The supplied report does not explain the title’s reference to Roy Lichtenstein or document a specific disagreement between the artists. The confirmed exhibition information is narrower: Rodder is presenting Reed’s paintings and drawings together, with works dated from 2013 through 2026.
““My paintings are about process but hide the process.””
— David Reed, in a 2010 interview quoted by Hyperallergic
artist drawing pencils for figure-ground studies
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Exhibition Details Not Supplied
The available report does not state the exhibition’s opening or closing dates, the number of works on view, or whether the show is accompanied by a catalogue or public programming. It also does not provide a full account of how the drawings relate to individual paintings, or describe the works in enough detail to map changes across the full 2013–2026 date range.
The headline’s reference to Lichtenstein is not explained in the supplied review material. It would be speculative to treat it as evidence of a direct exchange, rivalry or documented artistic position. Reed’s comments quoted in the review come from 2010, and the source does not say whether he has made further statements about this exhibition.
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Visitors Can Compare Reed’s Works
The exhibition at Rodder gives visitors the opportunity to view paintings and drawings from the stated 2013–2026 span together. The source material does not announce a later venue, tour, closing date or related event, so no further exhibition schedule can be confirmed from the report.
For readers following the show, the clearest next step is to consult Rodder for current visiting information and any additional details about the works on view. Further reporting could clarify the exhibition dates, checklist and the specific connection implied by the review’s title.
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Key Questions
What is David Reed: Terrible Idea?
It is an exhibition at Rodder presenting paintings and drawings by David Reed dated from 2013 through 2026. The review describes showing both forms together as an uncommon presentation of his work.
What ideas does Reed explore in the works?
The review identifies Reed’s interest in color interaction, layered transparency and figure-ground relationships. It also cites influences ranging from Barnett Newman to Piero della Francesca and Giovanni Battista Tiepolo.
Why does the review discuss Reed’s 2010 interview?
Reed’s earlier comments describe paintings as investigations into the process of painting and explain that he often reworks them. The review uses those remarks to frame the works in the current exhibition, rather than presenting them as new comments about the show.
What does the title’s reference to Lichtenstein mean?
The supplied report does not explain the reference to Roy Lichtenstein or establish a specific connection between him and Reed. The headline should be treated as the review’s framing, not as confirmation of a documented dispute or exchange.
Source: rss
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