In this episode of the Sumner Files, Adam talks with painter David Reed. David’s paintings have been shown in galleries and museums in the US and Europe from the 1970s to the present, in venues including the Guggenheim, Gagosian New York and Basel, Neues Museum Nürnberg, Häusler Contemporary, Zurich, and most recently at Galerie Nathalie Obadia in Paris. David’s work is abstract, and as critic John Yao wrote in 2020, ““At the core of Reed’s project is the brushstroke.” David got his start in 1960s and 1970s New York, and one can see the influence of graffiti, for example, in his work. During those early days, David and Sumner were friends and roommates for around ten years, starting when they were both students of Milton Resnick at the New York Studio School, in a loft apartment downstairs from Nancy Arlen. Adam learned about David through internet research on Resnick and the Studio School, contacted him, and that led to this amazing conversation. David’s memories fill many critical gaps in Sumner’s story during the decade, roughly Sumner’s 20s, leading up to and including the formation of Mars. Among them, David sheds light on Sumner’s relationship with Resnick, and also with composer Morton Feldman, who was Dean of the Studio School during Sumner and David’s time there. David’s account shows how Sumner’s art (and David’s own) grew out of their apprenticeship with a couple of the most important artists of the mid-20th century — Resnick and Feldman — and how the environment they were in blurred the lines between music and painting at a time when abstraction and “materiality” were important in both. You can learn more about David’s work and see his art at davidreedstudio.com.

Photo by Pamela Reed.