For Immediate Release: MICHAEL GOESELE The Pure and Profound: Looking Beyond the Negative SHULI SADÉ Running in Cycles September 7th – October 14th Artists’ Reception Thursday September 7th 6:00 – 8:00 PM Reeves Contemporary opens two exhibitions by photographers Shuli Sadé and Michael Goesele on September 7th, 2006, with an artists’ reception between 6-8 p.m. Their exhibitions will remain on view through October 14th. German photographer, Michael Goesele, opens his second show of new large-scale photographs at Reeves Contemporary entitled “The Pure and Profound: Looking Beyond the Negative”, the show’s focus is Goesele’s further exploration into the depths of film with the process mordançage. Mordançage is a fascinating, arcane process dating from the late 1800's, and rarely found in our postmodern era. Each piece in the exhibition is an original gelatin silver print from a negative that he has manipulated by hand, through bleaching and dissolving away portions of the image. It is perhaps one of the most tactile and pure ways to realize a completely abstract work. Nonetheless, somehow the visual impression insistently refers back to organic forms; convincing us that we have seen these patterns and shapes in the natural world, but cannot remember where. Furthermore, the printing process exhausts the film’s possibilities, thus each print from the manipulated negative is unique. The resulting hand-made prints are a stunning study in black and white, with riveting densities and a confounding depth of field; all overlaid in some instances with elegant, bright white strands of finely burned film. Goesele continues to obscure the fine line between the origins of tactile art and the austere reality of film. The result is a series of unique photographs printed large scale, with surprising emotive impact. Goesele’s photographs have been exhibited throughout the United States and Europe as well as acquired in private and permanent collections. His work has also been featured in the Annual Works on Paper art fair at the Armory on Park Avenue and numerous art publications. Stills from Shuli Sadé’s video project Running in Cycles document journeys from her studio to various destinations outside of the city and the return. The cyclical nature of going-and-coming creates the philosophical platform for this visual investigation. Traveling by public transportations and taxicabs, Sadé chooses in advance the path and the length of her journeys, traveling each time by different bridges or tunnels to cross the river, but without any formal destination. Thus, the journey is about departure and return, and the space and time in between. The particulated and digitalized aspects of the video stills, in her mind, captures the evanescent quality of time in broken moments strung together by one’s memory of the past (the leaving) and anticipation of the future (the return). Time, then, is made visible, frame-by-frame. Choosing the moment for the return is pivotal to the series, as it connotes the umbra of a metaphysical circuit: that of moving away from the familiar and known, and moving back to the home and identity. It is a wonderful elaboration of a psychological truth: in our day-to-day lives, the moment of departure engenders an implicit need to return — to order, to the known. And yet, as we move through our day, the microcosm of the train car or taxicab becomes, temporarily, the known: a temporary dwelling cell linked to the landscapes and time by a constant visual contact. Sadé visually explores these strata of various heterotopias (taxicab, work space, city) as filtered through her lenses, capturing landscapes and architecture in transition. Shuli Sadé is a New York based artist whose work refers again and again to architecture from diverse perspectives. She was the photographer on record for the Renzo Piano Workshops to document the recent renovation and addition to The Morgan Library. A suite of those composite images have been incorporated in a portfolio. Sadé has also done a book on the courtyards of the old city of Budapest, which will be in publication in 2007. A second book project currently underway is a departure from architecture; it captures people and landscapes along the Hudson Valley, inspired by nineteenth-century America’s paintings experiencing transcendence through landscape. Reeves Contemporary is located at 535 West 24th Street, second floor and is open Tuesday – Saturday, 10:00 – 5:30. To learn more about Goesele’s and Sadé’s work, visit the online gallery at reevescontemporary.com. For Immediate Release June 20, 2004 Contact: Kristin Russo UNTERGRUND DER SEELE and BACKSTAGE AT THE RAINBOW CATTLE CO. Reeves Contemporary opens a photographic exhibition on Thursday evening, July 1st featuring the work of Michael Goesele and Evie Lovett. The show will run through August 3rd, with gallery hours Tuesday through Saturday, 10:00 – 5:30. Untergrund der Seele is the title of Goesele’s intensely dramatic full-scale portraits, a title that references literally ‘the underground of the soul.’ The theme is made evident in the finely wrought and poignant figurative photographs in which Goesele has etched, burned and scratched back into the negative prior to printing. Each dramatic setting is a fictionalized personification of an aspect of the soul, with haunting overtones due to the distressed quality of the negative. The riveting images – presented here large scale - meet the viewer eye to eye, unblinking – a marvelous and unnerving peering into a psyche laid bare. By contrast the closely held photographs by Evie Lovett depict performers preparing for their drag queen revue at the Rainbow Cattle Co. in Dummerston, Vermont. Documentarian in style and feel, these small format images allow the subjects to maintain both their privacy and their distance. Interestingly, it is this quiet reserve that reveals much about them and their relationship to the ritual of performance and celebration. As viewers, we feel slightly voyeuristic – not of the flesh and not of their ritual, but of their essence. For more information, contact the gallery at 212 714 0044. August 8, 2006
Contact: Karen Mulcahy
For Immediate Release
212.714.0044

SHULI SADE AND MICHAEL GOESELE EXHIBIT AT REEVES CONTEMPORARY

Reeves Contemporary opens two exhibitions by photographers Shuli Sadé and Michael Goesele on September 7th, 2006, with an artists’ reception between 6-8 p.m. Their exhibitions will remain on view through October 14th.

German photographer, Michael Goesele, opens his second show of new large-scale photographs at Reeves Contemporary entitled “The Pure and Profound: Looking Beyond the Negative”, the show’s focus is Goesele’s further exploration into the depths of film with the process mordançage. Mordançage is a fascinating, arcane process dating from the late 1800's, and rarely found in our postmodern era. Each piece in the exhibition is an original gelatin silver print from a negative that he has manipulated by hand, through bleaching and dissolving away portions of the image. It is perhaps one of the most tactile and pure ways to realize a completely abstract work. Nonetheless, somehow the visual impression insistently refers back to organic forms; convincing us that we have seen these patterns and shapes in the natural world, but cannot remember where.

Furthermore, the printing process exhausts the film’s possibilities, thus each print from the manipulated negative is unique. The resulting hand-made prints are a stunning study in black and white, with riveting densities and a confounding depth of field; all overlaid in some instances with elegant, bright white strands of finely burned film. Goesele continues to obscure the fine line between the origins of tactile art and the austere reality of film. The result is a series of unique photographs printed large scale, with surprising emotive impact. Goesele’s photographs have been exhibited throughout the United States and Europe as well as acquired in private and permanent collections. His work has also been featured in the Annual Works on Paper art fair at the Armory on Park Avenue and numerous art publications.

Stills from Shuli Sadé’s video project Running in Cycles document journeys from her studio to various destinations outside of the city and the return. The cyclical nature of going-and-coming creates the philosophical platform for this visual investigation.

Traveling by public transportations and taxicabs, Sadé chooses in advance the path and the length of her journeys, traveling each time by different bridges or tunnels to cross the river, but without any formal destination. Thus, the journey is about departure and return, and the space and time in between. The particulated and digitalized aspects of the video stills, in her mind, captures the evanescent quality of time in broken moments strung together by one’s memory of the past (the leaving) and anticipation of the future (the return). Time, then, is made visible, frame-by-frame.

Choosing the moment for the return is pivotal to the series, as it connotes the umbra of a metaphysical circuit: that of moving away from the familiar and known, and moving back to the home and identity. It is a wonderful elaboration of a psychological truth: in our day-to-day lives, the moment of departure engenders an implicit need to return — to order, to the known.

And yet, as we move through our day, the microcosm of the train car or taxicab becomes, temporarily, the known: a temporary dwelling cell linked to the landscapes and time by a constant visual contact. Sadé visually explores these strata of various heterotopias (taxicab, work space, city) as filtered through her lenses, capturing landscapes and architecture in transition.

Shuli Sadé is a New York based artist whose work refers again and again to architecture from diverse perspectives. She was the photographer on record for the Renzo Piano Workshops to document the recent renovation and addition to The Morgan Library. A suite of those composite images have been incorporated in a portfolio. Sadé has also done a book on the courtyards of the old city of Budapest, which will be in publication in 2007. A second book project currently underway is a departure from architecture; it captures people and landscapes along the Hudson Valley, inspired by nineteenth-century America’s paintings experiencing transcendence through landscape.