David Reed, Miami

Setting the tone for David Reed in the next room, a lovely Sam Gilliam. 

Welcome to the installation of Vice and Reflection, David Reed's solo exhibition at the Perez Museum, Miami.
Museum Link

From the website text above: "His gestural marks are often shown partially fragmented, as if the brushstrokes are elements of collage that have been cut and placed in disjunctive ways. Reed has experimented with methods of painterly abstraction for more than five decades, pushing and expanding material limits, forms, and references."

"The exhibition will also include his meticulous Working Drawings and Color Studies that document his process of working on the large new paintings."

"He is also presenting two televisions in the space, the first showing a scene from the original TV pilot of Miami Vice, into which he will have digitally inserted the painting #212 and the second with the new paintings reflected in Michael Mann’s 2006 film remake of the series." 

Close View of the 1984-5 painting #212Vice.

"For the museum he is creating a new series of works inspired by a painting he created in 1984-1985, titled #212(Vice). This painting presents highly saturated blues and yellows that were drawn from similarly strong colors used in the 1980s TV seriesMiami Vice. Reed has made a “remake” of this earlier painting in the form of 4 new large-scale paintings, which play with the scale and proportions of the architecture of the museum gallery in which they are exhibited. "

Leaving the exhibition I couldn't help but notice the tribute to Reed's exhibition with the group of work on view beyond.

Disarming Geometries at Dorsky Projects

Armita Raafat's Untitled, 2016
Patterned metal, plastic and mirror

A stacked, unruly landscape from muqarnas, Islamic architectural elements, with mirror, metal and pigment. 

There is a dirty glamor to this work, that addresses geopolitics and more personal associations.

Entering the space, l to r: Maria Hupfield's draped felt, Shanti Grumbine's rescrambled and acid-washed New York Times and folded textiles from NYT delivery plastic. 

Further right, Samantha Holmes' Islamic and physics-inspired patterns cast in metal compliment and forecast works to come...

Glendalys Medina's Black Alphabet series B, from refashioned Latin letters borrowing elements from boomboxes and graffiti.  

Glenn Fischer's shiny collages of used print materials, from magazines to album covers.

Ryan Turley's Moving Blanket...

Christine Wong Yap surveyed artists in her mileu about the benefits of art practice and fashioned these maps from their responses.

Martyna Szczesna's Array I, created from LED light shadows  repeatedly until creating a pattern

The hypnotic Rothko-like video projection by Mitch Paster, capturing  digital imagery on film.

Tatiana Istomina's gridded narratives that balance passion and restraint.

Shanti Grumbine

Gallery link
The exploration of geometry as a formal device to ground us and the love of quotidian material is evident throughout this exhibition, illuminating the concerns of a new generation.