Pilar Corrias

Estate of Robert Reed

Estate of Robert Reed

Estate of Robert Reed

Plum Nellie Split, November Reason #2
Robert Reed
1972
Acrylic on canvas, 304.8 x 365.8 cm
Plum Nellie, November Reason
Robert Reed
1972
Aquatec acrylic, graphite and metal fasteners on paper, 44.5 x 44.5 cm
Plum Nellie, K. Touch
Robert Reed
1974
Acrylic and pencil on paper, metal fasteners, 38.1 x 48.3 cm
Plum Nellie, Optional (Norfolk)
Robert Reed
1974
Acrylic and graphite and metal fasteners on paper, 38.1 x 48.3 cm
Plum Nellie, Vertical Hold
Robert Reed
1975
Monotype, 87.6 x 59.7 cm
Plum Nellie, Ready Renee
Robert Reed
1975
Monotype, 87.6 x 59.7 cm
Plum Nellie, Dam Jam,
Robert Reed
1976-77
Mixed media collage, 71.1 x 71.1 cm
Robert Reed Plum Nellie, Paper Sixty
Robert Reed
1976
Mixed media collage, 76.2 x 76.2 cm
Plum Nellie, TMALSS
Robert Reed
11976-77
Mixed media collage; aquatec acylic, graphite and metal fasteners on paper, 38.1 x 48.3 cm
Plum Nellie, Ready Renee
Robert Reed
1975
Acrylic On Canvas, 87.6 x 59.7 cm
Plum Nellie, Evidence
Robert Reed
1976
Monotype, drawing Acqua Tec, graphite, metal fasteners, metal frame, UV plexi, 35 1/2 x 23 1/2 in
Installation view: Robert Reed, Whitney Museum of American Art, 8 March - 8 April 1973.
Installation view: Robert Reed, Whitney Museum of American Art, 8 March - 8 April 1973.
Installation view: Robert Reed, Whitney Museum of American Art, 8 March - 8 April 1973.
San Romano, Monticello Brick MR
Robert Reed
1979
Acrylic on Canvas, 74 x 144 in
San Romano, Ten and One Half
Robert Reed
1984
Acqua Tec on Canvas, 84 x 72 in
Tree for Mine, Ginger Snap
Robert Reed
1985
Acrylic On Canvas, 84 x 72 in
Tree For Mine See and Know (AKA Rasberry)
Robert Reed
1987
Acrylic On Canvas, 86 x 61 in
Tree For Mine, Untitled #172
Robert Reed
1991
Pastel, graphite on paper, 12 x 9 in
Tree for Mine, A Standard Drug (AKA The End Zoner)
Robert Reed
1991
Paper Construction - acrylic, pastel, cut, paper, metal fasteners, 64 x 43 x 2 in
Solferino
Robert Reed
1996
Monotype print and oil paint on paper, 44 x 33 in
Tree For Mine, Scanch Branch
Robert Reed
1991
Paper Construction - acrylic, pastel, cut, paper, metal fasteners, 60 x 40 in
Galactic Journal, Washington Park (Wash and Park)
Robert Reed
1999
Acrylic/ oil marker on canvas, 84 x 144 in
Le Relais Du Postillon, Florence Room 2012 - Untitled #15
Robert Reed
2012
Paper, ink, electrostatic printing, metal fasteners, wood frame, glass, 26 x 21in
Le Relais Postillon, Playground Red
Robert Reed
2012
Paper, ink, electrostatic printing, metal fasteners, wood frame, glass, 26 x 21 x 2 in
Le Relais Du Postillon, Florence Room 2012 #16
Robert Reed
2012
Paper, ink, electrostatic printing, metal fasteners, wood frame, glass, 26 x 21 x 2 in

Over more than five decades, Robert Reed investigated formal abstraction through the media of painting, drawing, printmaking and collage. One of the most understudied artists of his generation, Reed developed a unique visual language that originated in childhood memories and manifested as elegant and playful abstract paintings. A sensitive and unconventional colorist—as a student he assisted Josef Albers—Reed grounded his paintings in spatial awareness developed through drawing and collage.

Born in Charlottesville, Virginia in 1938, Reed grew up with his mother and sister and attended segregated schools until the age of 15, when he graduated early from high school. In 1959, he received his BS from Morgan College in Baltimore before moving to New Haven to study at Yale, where he received his BFA in 1960 and MFA in 1962.

After graduating, Reed taught at the Minneapolis College of Art & Design (1962-65) and Skidmore College (1965-69). In 1969, he returned to New Haven as Associate Professor of Painting at the Yale School of Art, where he would continue to teach up until the month of his passing in 2014. Over these 45 years, Reed served variously as Dean of Undergraduate Studies, Dean of Graduate Studies, and member of various academic committees. As the school’s only African-American tenured full professor, he tirelessly advocated for applicants and students of color.

Reed worked consistently and privately out of his New Haven studio for his entire adult life; he rarely discussed his own practice, even with close colleagues and friends. During his lifetime, he mentioned being influenced by Romare Bearden and Jacob Lawrence, as well as artists he knew personally, such as Josef Albers, Philip Guston, Jon Schueler and Neil Welliver.

Reed often created titles according to a unique system in which related works shared similar prefixes (such as Plum Nellie or Galactic Journal). Each family of works occupied him for several years, sometimes more than a decade, and represented an evolution in his visual interests.

Reed’s work is in the collections of the Whitney Museum of American Art, Hirshhorn Museum and Sculpture Garden, Detroit Institute of Arts, Walker Art Center, Yale University Art Gallery, and Bayly Art Museum at the University of Virginia, among others.

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