L'\u0153uvre innovante de David Reed s'est d\u00e9finie dans le contexte des courants de l'expressionnisme abstrait, du pop art et du minimalisme. L'importance de Reed, qui n'a pas encore \u00e9t\u00e9 pleinement appr\u00e9ci\u00e9e \u00e0 ce jour, r\u00e9side dans le fait qu'il a montr\u00e9, avec une opulence \u00e0 la fois sensuelle et une clart\u00e9 analytique, quelles transformations de soi la peinture doit accomplir pour parvenir \u00e0 des r\u00e9sultats ad\u00e9quats dans les conditions d'une r\u00e9alit\u00e9 num\u00e9rique. La peinture de David Reed se nourrit de l'exp\u00e9rience fondamentale d'une r\u00e9alit\u00e9 qui ne peut \u00eatre v\u00e9cue que sous forme d'images. Derri\u00e8re l'exp\u00e9rience pr\u00e9tendument authentique, le corps apparemment r\u00e9el, se cachent toujours des images de substitution. En effet, au sein de l'univers de Reed, le substitut prend la place de l'authentique, car dans un monde domin\u00e9 par les images, l'exp\u00e9rience unique du r\u00e9el se fait sur le mode de la r\u00e9p\u00e9tition d'images d\u00e9j\u00e0 pr\u00e9form\u00e9es. L'exp\u00e9rience qui s'y rapporte date de la fin des ann\u00e9es 1960, lorsque Reed pratiquait la peinture en plein air classique dans les paysages d\u00e9sertiques et isol\u00e9s du Nouveau-Mexique et de l'Arizona. Apr\u00e8s une matin\u00e9e pass\u00e9e \u00e0 peindre, il se rend dans une grotte pr\u00e8s de Monument Valley \u00e0 la recherche d'ombre, boit \u00e0 une source qui lui semble \u00e9trangement famili\u00e8re et arrive finalement dans un petit canyon qui lui semble \u00e9galement familier. La raison de cette \u00e9trange familiarit\u00e9 qui \u00e9mane de ce lieu qui lui \u00e9tait totalement inconnu auparavant n'appara\u00eetra au peintre que bien des ann\u00e9es plus tard : il avait vu la grotte dans le western de John Ford \"The Searchers\" (1956). Attendu avec impatience depuis des ann\u00e9es par les amateurs d'art abstrait, le premier volume illustr\u00e9 de ces toiles \u00e9lanc\u00e9es et surdimensionn\u00e9es, le plus souvent au format horizontal, les reproduit pour la premi\u00e8re fois dans une taille appropri\u00e9e, sans l'aide de panneaux rabattables d\u00e9sagr\u00e9ables, dans ce que l'on appelle un flatbook.<\/p>\n
Exposition :
\nMus\u00e9e d'art de Bonn, 28\/6 - 7\/10\/2012<\/p>","protected":false},"excerpt":{"rendered":"
Catalogue d'exposition,Kunstmuseum Bonn, \u00e9d. Stephan Berg
\nTextes (all.\/ang.) de Stephan Berg, Christoph Schreyer, Richard Shiff
\n144 p. avec 80 illustrations en couleur
\nformat 30 x 24 cm, broch\u00e9 comme 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