David Cyril Reynolds
David Cyril Reynolds (born November 4, 1948) is a visual artist. He was born in St. Catharines, Ontario, Canada. After attending The Photography: A Study of the Materials & Process class At Ryerson Polytechnical Institute, Toronto in 1978; he went on to received a BA in Fine Art from The University of Guelph (1979) and a MFA from The Mason Gross School of the Arts at Rutgers University (1981). He also attended Lisette Model's Master Class in 1980 at the New School for Social Research. He is married to M Carol Leber who was employed at the United Nations (NYC) for 32 years until her retirement in 2013.
Early life
He started his art career in 1970 when he took up photography as a response to what he thought was a boring career in accounting. Self taught he researched photography through its chemical and physical characteristics and build his first darkroom that year. After 9 years of self learning he decided it was time to get serious and enrolled in photo classes at Ryerson Polytechnic Institute in Toronto. Already considering himself quite educated in the technical aspects of photography he enrolled in the Fine Arts program at the University of Guelph receiving a BA in Fine Art (1979). He then pursued a MFA at Rutgers University (1981) where he studied with Leon Golub. While at Rutgers he meet Martha Wilson (Director of the Franklin Furnace Archive) and began doing photo documentation of the performance series at the Furnace. After graduating he moved to New York City. His friendship and working relationship with Golub continued through many years until Leon's death in 2004. He also worked closely with Leon Golub's wife Nancy Spero for many years until Nancy's death in 2009.
Career
After graduating from Rutgers University and moving to New York City; he arrived at a time (1982) when the art world (especially NYC) was undergoing a boom. Settling in Tribeca, he set out to make artworks. After 6 years of attending art schools his work morphed into painting and sculpture as well as photography. His grandfathers; one who owned and operated a printshop, the other a master pattern maker at General Motors, had given him skills in these forms throughout his childhood as well. All these skills proved to be important. He financed his own artworks by working with other artists on their artworks; saving him from having to work in restaurants etc as most young artists had to support their art making by these other means. He also freelanced as a commercial photographer illustrating articles for newspapers New York Times, Toronto Globe and Mail, magazines Time, The New Yorker, periodicals The Brooklyn Rail, Artforum, Art in America, arts Magazine and monographs Prestel Verlag.[1][2][3][4] A small number of the publications are noted here.
In addition to the Artists mentioned above he worked for 10 years (1981 to 1991) with the French artist Arman. Both building his sculpture in his workshop and then photographing them for publication. He also worked with Bernar Venet (a compatriot of Arman) doing the same (fabrication and photo documentation) during this period.
His own artwork spanning 1970 through 2012 had gradually moved toward political content that has made it less commercial in a one sense and difficult to exhibit in another sense. In 1977 he was selected to show in the Burnaby Biennial at the Burnaby Art Gallery in Vancouver, BC. In 1980 he had his first one person show at Harbourfront CentrePhotography Gallery in Toronto. In 1981 he had his second one person show "Recent Work" at The Kitchener-Waterloo Art Gallery. Additionally in 1981 he participated in three other exhibitions at the following venues: The "3rd Biennial"[5] at the Newark Museum chosen by Patterson Sims; "Exchange" at the University of California at La Jolla organized by Allan Kaprow; and "New Faces/Artist's Choice" at York University Glendon Gallery in Toronto. In 1982 his work was shown at the Visual Studies Workshop's "Text/Picture Notes" in Rochester NY. By 1983, as a result of his move to NYC, David participated in "Terminal New York" at the Brooklyn Army Terminal which received great deal of press attention[6][7][8][9][10][11][12]. On "Pier 34 " (an abandoned waterfront pier on the Hudson River) he did two installations which were documented by Andreas Sterzing (a photo journalist) who later published articles about the exhibit in Der Stern magazine and produced a video that documents the event [13].His work (David's) "Down the Drain" appears at the 7:30 minute mark of the video. The exhibit[14] also received attention in the Village Voice. David also did a window installation called "Let's Build on New Foundations" at the Broome Street Workshop on Grand Street in Manhattan.
1984 marked the date that he had his first commercial gallery show in NYC. "Doomed Experts/Normal Love" a joint exhibit with Nancy Spero at the Cash Gallery in the East Village:Manhattan; which then traveled to ARC Gallery in Toronto. He also was included in "Artists Call Against U.S. Intervention in Central America"[15] exhibit at the Judson Memorial Church. He also participated in organizing the exhibition by way of working with Claes Oldenburg and Leon Golub by way of distributing the poster[16] throughout NYC .If you enlarge the poster you will find David's name among the artists who exhibited. The event grew to be a mass protest which resulted with additional exhibitions across the U.S. which included many additional organizations and individuals.The success of "Artists Call" led to the 1985 exhibit "Disinformation: The Manufacture of Consent" at the Alternative Museum with catalogue[17] . The catalogue[18] for the show included text from Noam Chomsky and Edward S Herman. The exhibit generated much press and articles in art Journals[19][20][21] and Newspapers[22] such as New York Times, Art in America, and Artforum.
Also he had a piece included in "Four More Years;State of Mind/State of Union" exhibition at the Interart Gallery[23]. "Concrete Crisis, Urban Images of the 80's" followed at Exit Art with catalogue[24] which illustrated his work (page26) and a poster[25] in 1987.His name along with other exhibitors is found on this poster. "China-June4th." in 1989 at the Blum Helman Gallery's Warehouse in NYC's Soho neighborhood which developed into two addition exhibits "Tiananmen Square" at the Institute for Art and Urban Resources at PS1 now known as MOMA PS1. The exhibit then travelled to the Hong Kong Art Centre (June 4 - June 24, 1990). This exhibit was re-titled "China June 4 1989: International Memorial Arts Festival". In 1991, he exhibited a work in the exhibition "Burning in Hell" at the Franklin Furnace Archive He also worked with Act Up in New York to design and build the "Act Up Art Box" 1994[26]. If you review Peter Antony's article for the Met there is an illustration of the signed card that was included with the box. David is referenced at the top of the card as the designer and fabricator. It sales raised money during the Aids crisis to fund Act Up activities. The "Art Box" was shown in Germany (1994) as part of the exhibit "The Century of the Multiple" at the Deichtorhallen in Hamburg. It also was exhibited that year in the Project Room at the Josh Baer Gallery in New York City. The Art Box can be found in many Museum and University collections. A few examples are:The Metropolitan Museum of Art, Museum of Modern Art, Walker Art Center, Detroit Institute of Arts, Bard College and Duke University's Nasher Museum. David's work[27] was featured in the 1997 exhibition "Face a L'Histoire, 1933-1996" at the Centre Georges Pompidou in Paris. During 2000 he participated in "Where There's Smoke" at Art Museum of South Texas, Corpus Christi. "Recent Work" in 2000-01 at Yeshiva University Cardozo School of Law in New York and "Works on Paper" at Pace University Gallery in Pleasantville New York in 2003. He has exhibited a survey of his work by way of 4 exhibitions[28][29] (2006, 2007, 2009, 2011) at the David Kaye Gallery Toronto [30]
Published book
In 1983 David and Leon Golub started to work on imagery that would lead to the publication of a collaborative book. It started with "Riot source: Thailand 1976" a folded pamphlet ( 16 5/8" x 11" folded & 16 5/8" x 22" open- creating four pages of images) depicting characters photographed and manipulated (by David) from Leon's paintings. They coined the images as "angle shots". The pamphlet was printed by Conrad Gabler who later formed Chicago Books in New York. The success of "Riot" lead to the publication of "Facings" a large volume (11 1/2" x 17 1/2") hard cover book.[31] The book was distributed through Printed Matter, Inc.,[32] in New York City and other independent booksellers throughout the U.S.
References
- ↑ Kuspit, Donald (1985). Leon Golub Existential / Activist Painter. New Brunswick New Jersey: Rutgers University Press. p. 213. ISBN 0-8135-1103-8. Search this book on
- ↑ Lyon, Christopher (2010). Nancy Spero The Work. Munich Berlin London New York: Prestel Verlag. pp. 241 340. ISBN 978-3-7913-4416-4. Search this book on
- ↑ van der Marck, Jan (1984). Arman. New York: Abbeville Press. p. 128. ISBN 0-89659-423-8. Search this book on
- ↑ Ratcliff, Carter (1994). Venet. Napoli: Cercle d'Art Publications. p. 200. ISBN 1-55859-699-2. Search this book on
- ↑ Reynolds, David (1981). "The Third Biennial Exhibition". Exhibition Catalogue Newark Museum: 13.
- ↑ Gluck, Grace. "Art: A Huge Exhibition At Brooklyn Terminal". The New York Times (Friday September 30). p. C20.
- ↑ Westfall, Stephen. "Terminal New York". Art in America (February 1984): 144.
- ↑ Bernard & Thompson, April & Mimi (December 1983). "Terminal New York". Vanity Fair. pp. 38, 40.
- ↑ Larson, Kay (October 1983). "Terminal Art". New York Magazine: 74.
- ↑ Levin, Kim (October 11, 1983). "Mass Exhibitionism". Village Voice.
- ↑ Smith & Kaylan, Howard & Melik (August 2, 1983). "Terminart". Village Voice.
- ↑ Trebly, Guy (January 3, 1984). "Only the Avant-Garde Know Brooklyn". Village Voice.
- ↑ Andreas Stering. "Something Possible Everywhere: Pier34 NYC 1983-84". vimeo.
- ↑ Goldstein, Richard (June 21, 1983). "Post - graffiti". Village Voice.
- ↑ "Artists Call Against U.S. Intervention In Central America". Arts Magazine: cover. January 1984.
- ↑ "Artists Call Poster". icp. Art Workers Coalition. 31 January 2018.
- ↑ "Disinformation: The Manufacture of Consent" (PDF). alternativemuseum.org.
- ↑ "Disinformation". Alternative Museum.
- ↑ "Alternate Spaces". Art in America (Annual Guide to Galleries): 45. August 1986.
- ↑ Paoletti, John T (May 1985). "At The Edge Where Art Becomes Media and Message Becomes Polemic". Arts Magazine: 132 133 134.
- ↑ Linker, Kate (Summer 1985). "Disinformation". Artforum: 105 106.
- ↑ Brenson, Michael (March 22, 1985). "Art: A View of News Manipulation". The New York Times.
- ↑ PADD (Fall 1985). "State of Mind / State of the Union". Upfront (10): 4.
- ↑ "This Child Is Dead". Upfront a Publication of PADD. 12/13 (New York): xxvi (p.26). Winter 1986–87.
- ↑ "Concrete Crisis". Gallery 98. PADD in association with EXIT ART.
- ↑ "A Short History of the Act Up Art Box". The Met. The Metropolitan Museum. 7 June 2023.
- ↑ Face A L'Histoire 1933 1966. Paris: Flammarion/ Centre Pompidou. 1996. p. 591. ISBN 2-85850-898-4. Search this book on
- ↑ Reynolds, David (2006). "From Episodes To Eincounters". Contact: Toronto Photography Festival: 86–87.
- ↑ Reynolds, David (2007). "Wide Eyed". Contact: Toronto Photography Festival: 86–87.
- ↑ "David Reynolds – David Kaye Projects". 6 April 2006.
- ↑ Golub, Leon; Reynolds, David (1986). Facings. New York City: Chicago Books. ISBN 0-918914-25-6. Search this book on
- ↑ "David Reynolds". Printed Matter, Inc.
External links
This article "David Cyril Reynolds" is from Wikipedia. The list of its authors can be seen in its historical and/or the page Edithistory:David Cyril Reynolds. Articles copied from Draft Namespace on Wikipedia could be seen on the Draft Namespace of Wikipedia and not main one.
