https://davidschulzworks.com David Schulz Sun, 24 Aug 2025 19:20:12 +0000 https://davidschulzworks.com en https://davidschulzworks.com/Home-Page Thu, 27 Dec 2018 13:57:25 +0000 David Schulz https://davidschulzworks.com/Home-Page https://davidschulzworks.com/About Fri, 21 Dec 2018 15:15:16 +0000 David Schulz https://davidschulzworks.com/About David Schulz is an artist, graphic designer, and teacher currently living and working in Connecticut. His practice features the use of photography, text, graphic design, and drawing to explore the interaction of visual and verbal language within the context of social and personal knowledge. Some of his subjects include libraries, foreign languages, adoption and family structures, and archives and cultural histories. Schulz explores these interests in photographs, text works, and performances that reveal new perspectives of our knowledge of ourselves and of our social structures. His photo-bookworks are in many collections including the Museum of Modern Art, the Brooklyn Museum of Art, the Beinecke (Yale), the Walker Art Center, the Getty Research Library, and the Los Angeles County Museum of Art, among others. He has exhibited his work in New York at galleries and museums such as the Brooklyn Museum, Pierogi 2000, the Front Room, Gigantic Art Space, and the Cellar Gallery. He has taught at Pratt Institute in Brooklyn and Whitman College in Walla Walla. He is a member of ABC Artists’ Books Cooperative. [david schulz works at gmail dot com]Light Rail Works is an online project space and imprint started by David Schulz. It finds some of its expression in the connections and disjunctions between individual experience, narrative structures, memory, and physical/virtual infrastructures in human environments. <img width="500" height="438" width_o="500" height_o="438" data-src="https://freight.cargo.site/t/original/i/8cce2c15be427b08110740cad3ff52bc37738eb6fce225b8b29e3bf2f85c1135/Screen-Shot-2018-12-27-at-7.40.48-PM.png" data-mid="31377590" border="0" data-scale="16" src="https://freight.cargo.site/w/500/i/8cce2c15be427b08110740cad3ff52bc37738eb6fce225b8b29e3bf2f85c1135/Screen-Shot-2018-12-27-at-7.40.48-PM.png" />For inquiries of any books listed on this site, please email david schulz works at gmail dot com. Select Exhibition/Event History2025 Relotía…Letario…Loteria, Ike’ri Gallery, Guadalajara, Mexico 2025 Of Land and Place, Vermont Center for Photography 2024 Ulises: Assembly, Tufts University Art Galleries, Boston 2024 Shibboleth (Milan), NYABF, “Illegible Lines” workshop 2024 Vico’s Spiral, Center for Book Arts, NYC 2024 Language, Decipherment, Translation, The Grolier Club, NYC 2023 The Library, Solo show, La Grua Center, CT 2023 ABC Stampa, Miss Read, Berlin, Germany 2023 Museum of Contemporary Art, Busan, South Korea 2021 ABC Assembly, Khalil Sakakini Cultural Center, Ramallah, Palestine 2021 ABC Days, Printed Matter Virtual Book Fair, organized by Wil van Iersel 2021 ABC Post, C/O Berlin&nbsp; 2021 ABC Proposals for Paris, Le Plac’art Photo, organized by Duncan Wooldridge 2020 10 x 10 Photobooks Salon/Exhibition/Artists’ talk, Penumbra Foundation, NYC 2018 Book fairs: New York Art Book Fair, MoMA PS1, Offprint London Art Book Fair, Offprint Paris Art Book Fair 2016 Book fairs: New York Art Book Fair, MoMA PS1 2016 Scenes and Types, Group Exhibition and Catalog repurposing the Adnan Charara Photography Collection, Whitman College 2015 Book fairs: New York Art Book Fair, MoMA PS1, Rencontres d’Arles, Unseen Art Book Fair, Amsterdam 2014 Book fairs: New York Art Book Fair, MoMA PS1, Miss Read Book Fair, Berlin, Offprint London Art Book Fair 2013 How the West Was Won. Copyright Applied For., Penrose Archive, performance, Whitman College, Walla Walla 2013 ABCed, Brandhorst Museum, Münich, Books &amp; Co. 2013 ABCed, Gagosian Gallery, NYC, Books &amp; Co. (with Ed Ruscha), curated by Hermann Zscheigner 2012 Lone Wolf, Tiff Photo Festival, Wroclaw, Poland, Selected by Hester Keijser 2012 The Mercantile Library, FotoFocus Cincinnati 2012 ABCed, The Mews Project Space, Whitechapel Gallery, London 2012 Fotografia Festival di Roma, curated by Douglas Stockdale, Macro Testaccio Museum, Rome, Italy 2012 Book Days, C/O Berlin, Selected by Joachim Schmid 2011 Printed Matter, ABC Artists’ Books Cooperative (Chief organizer, artist, panel discussion with Bruno Ceschel), New York 2011 Booklet, Tokyo, Japan https://davidschulzworks.com/Relotia-Letario-Loteria Sun, 24 Aug 2025 19:20:12 +0000 David Schulz https://davidschulzworks.com/Relotia-Letario-Loteria Relotía…Letario…Loteria takes its form from the Mexican game of chance called La Loteria. Comprised of verbal riddles (los dichos) and corresponding iconic images, this project is an experiment about how language changes the ways we see the world. The project began in Summer, 2025, while I was an artist-in-residence with the organization, Expressiones, in Guadalajara, Mexico. When I first discovered La Loteria, I thought it would be a good place to look for clues about where I was about to visit. I studied the iconic images—Rooster, Soldier, Trees—and imagined how I might see them myself. I also pored over the riddles and loved how playful they were and how they sometimes pointed to a different image than what you might expect because of word play or simply because of the priority of expression over literalness. As I was also learning Spanish, the image/text model of La Loteria reminded me of an ABCDario—an alphabet primer, i.e. ‘a’ is for ‘apple’, etc, and when I moved around the city, I was prompted by the different riddles in my visual explorations and sought to actualize them through my photography, while additionally finding a cognitive-ontological support for the world I was discovering through the words that defined it. La Loteria has an historical connection with Tarot (its roots are Italian), and I began to think about how it connected with other historical image/language models, like Giordano Bruno’s Art of Memory or the Loci Mnemonic from ancient Greece (Simonides). These were systems that implemented strategic word/images to facilitate memory within oral societies. While I was working in Mexico, I generally started the day with the intention of photographing something specific—trees, shadows, power lines. I started playing with different ways the riddles could associate with the photographs, especially with the sounds. In this way, I could create language that resembled Spanish and photographs that resembled things, so prioritizing expression over communication. The resulting work is a series of text-images that pose anagramic poems, tongue-twisters, cognates and other linguistic derivatives with photographs containing visual equivalents and other visual strategies for connecting with their verbal counterparts. <img width="3000" height="1909" width_o="3000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/8d0cb099fd3a35b9ca8656712e8e7b0c642d27c383a8ce44293e7f1a049c7809/loteria_DAVE-1.jpg" data-mid="237409170" border="0" src="https://freight.cargo.site/w/1000/i/8d0cb099fd3a35b9ca8656712e8e7b0c642d27c383a8ce44293e7f1a049c7809/loteria_DAVE-1.jpg" /> <img width="3000" height="1909" width_o="3000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/06706cd8fecee2605efcfe0ccab9a0ff32e8d0acb6fb25b2da7b1ab20bf8dd00/loteria_DAVE-2.jpg" data-mid="237409171" border="0" src="https://freight.cargo.site/w/1000/i/06706cd8fecee2605efcfe0ccab9a0ff32e8d0acb6fb25b2da7b1ab20bf8dd00/loteria_DAVE-2.jpg" /> <img width="3000" height="1909" width_o="3000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/3ea4e6247afad4023fd4ea9bbdc1d6b85f00e43896e393a4a7229a42c8df21e2/loteria_DAVE-11.jpg" data-mid="237409179" border="0" src="https://freight.cargo.site/w/1000/i/3ea4e6247afad4023fd4ea9bbdc1d6b85f00e43896e393a4a7229a42c8df21e2/loteria_DAVE-11.jpg" /> <img width="3000" height="1909" width_o="3000" height_o="1909" data-src="https://freight.cargo.site/t/original/i/8b841ef83c902e6f32f63debaeb150bc761e091d21241b092b9210b55c4605ee/loteria_DAVE-5.jpg" data-mid="237409174" border="0" src="https://freight.cargo.site/w/1000/i/8b841ef83c902e6f32f63debaeb150bc761e091d21241b092b9210b55c4605ee/loteria_DAVE-5.jpg" /> &nbsp; https://davidschulzworks.com/Impounded-birth-certificate Sat, 04 May 2024 11:02:23 +0000 David Schulz https://davidschulzworks.com/Impounded-birth-certificate Impounded [birth certificate], by David Schulz. Published by Shibboleth, Emic Units, 32 pages, Digital printing, Perfect bound, 9 x 12”, Complete box set of 50 zines from 50 different artists, 2023. This video describes my project, Impounded [birth certificate], part of Emic Units, published by Shibboleth (Milan), which was presented at the New York Art Book Fair, spring, 2024.Description of Emic Units project from the Shibboleth website: The box contains fifty visual interpretations of the term shibboleth, a word to which no language can lay claim, a hard-to-falsify linguistic sign used to winnow identities in order to establish policies and borders. Each of the fifty booklets is by a different author and is conceived as an exercise book for the social projects we run among the different communities with whom we collaborate long-term. Shibboleth is the first chapter of “Emic Units”, a series about the migration of ideas explor­ing how far the confines of&nbsp; meaning can be stretched geographically, historically, metaphorically and visually. https://davidschulzworks.com/The-Library Wed, 26 Dec 2018 23:07:26 +0000 David Schulz https://davidschulzworks.com/The-Library The Library, by David Schulz. Light Rail Works, 112 pages, Digital printing, Perfect bound, 9 x 12”, edition of 100, 2019. To purchase the book, please email davidschulzworks at gmail dot com. $75. &nbsp; &nbsp; &nbsp; The Library is a meditation on realization and loss through the practice of reading. After his father’s unexpected death, the author searched for him in selected books from his father’s library in an attempt to access and preserve his (and his father’s) memories and thoughts as well as to give shape to questions about a disturbing past. &nbsp; &nbsp; &nbsp; A fugue-structure assembles photographs of books from his father’s library alongside the author’s prose-poems which respond to his reading of those books. As photographs of books bear witness to the objects with which the father had physical contact, the texts emanating from those objects imagine representations of his thoughts as he read. Photo-collages of forests represent the visual thoughts of the author as he attempted to read his own father, who was often obscured by the enigmas of despair and anxiety. &nbsp; &nbsp; &nbsp; The multiple voices and narrative perspectives encountered in the books from the library expose a series of formative events within and surrounding the father’s life. They also inspire the author to create an imagined history in the resulting prose-poems. &nbsp; &nbsp; &nbsp; The culminating book—a portrait in absentia—creates a parallel reality to his father, one that masks actual memories and obstructs his father’s voice as it probes the space between documentation and invention, and between the imperative to understand and the impossibility of knowing. &nbsp; &nbsp; &nbsp; The Library has a second iteration consisting of books referenced in The Library that have been un-bound and reassembled onto a new substrate with binding thread. Onto these pages, one of the forest collages (also from The Library) is printed and distributed over the entire assemblage of pages. This expanded book form includes the corresponding prose-poems printed along the bottom edge of the new assemblages. &nbsp; &nbsp; &nbsp; The 2 pieces illustrated below are: Akhmatova, 55” x 40”; and Bulgakov, 37” x 31”. The frames are made of rough-hewn chestnut that was harvested and milled 300 years ago and used in the original farm building in Connecticut where the source images for the forest collages were made. &nbsp; &nbsp; &nbsp; Below the assemblages: Double-paged spreads from The Library. <img width="3447" height="2777" width_o="3447" height_o="2777" data-src="https://freight.cargo.site/t/original/i/b47fb1cec86b7859f330f94279d195e73c88ded4c198b1d5a5b14f723770ef00/Akhmatova.jpg" data-mid="119388027" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/b47fb1cec86b7859f330f94279d195e73c88ded4c198b1d5a5b14f723770ef00/Akhmatova.jpg" /><img width="2878" height="3473" width_o="2878" height_o="3473" data-src="https://freight.cargo.site/t/original/i/6f51a2b1742408b8629f088afe63242475b6655b56a93f63b03c962c0dd21233/Bulgakov.jpg" data-mid="119388033" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/6f51a2b1742408b8629f088afe63242475b6655b56a93f63b03c962c0dd21233/Bulgakov.jpg" /><img width="1524" height="1043" width_o="1524" height_o="1043" data-src="https://freight.cargo.site/t/original/i/85ff93e8edbbeb349ebfc9ebea0d6b3434014a863beeaab30ef1b5532fd1595f/1-1.jpg" data-mid="31295739" border="0" src="https://freight.cargo.site/w/1000/i/85ff93e8edbbeb349ebfc9ebea0d6b3434014a863beeaab30ef1b5532fd1595f/1-1.jpg" /><img width="1523" height="1043" width_o="1523" height_o="1043" data-src="https://freight.cargo.site/t/original/i/daa289843422de521ac80b964933a13e45b3f61b33fa8eef72d5df316cd311c6/2-1.jpg" data-mid="31295740" border="0" src="https://freight.cargo.site/w/1000/i/daa289843422de521ac80b964933a13e45b3f61b33fa8eef72d5df316cd311c6/2-1.jpg" /><img width="1531" height="1050" width_o="1531" height_o="1050" data-src="https://freight.cargo.site/t/original/i/d7e094e97780cf826dc5eabf6312c0ab66d7e2969d55b46a5a93ae98432093e1/3-1.jpg" data-mid="31295741" border="0" src="https://freight.cargo.site/w/1000/i/d7e094e97780cf826dc5eabf6312c0ab66d7e2969d55b46a5a93ae98432093e1/3-1.jpg" /><img width="1533" height="1043" width_o="1533" height_o="1043" data-src="https://freight.cargo.site/t/original/i/acc33b71bcccea8d3aca4b3701e971b51222ff6a79a30506bd0180166efc2678/4-1.jpg" data-mid="31295742" border="0" src="https://freight.cargo.site/w/1000/i/acc33b71bcccea8d3aca4b3701e971b51222ff6a79a30506bd0180166efc2678/4-1.jpg" /><img width="1526" height="1043" width_o="1526" height_o="1043" data-src="https://freight.cargo.site/t/original/i/e4c903af65b4b54ec9f2d7fa9120fe46b691f0fa13055e5d5f0179b37b6803c1/5-1.jpg" data-mid="31295743" border="0" src="https://freight.cargo.site/w/1000/i/e4c903af65b4b54ec9f2d7fa9120fe46b691f0fa13055e5d5f0179b37b6803c1/5-1.jpg" /><img width="1528" height="1047" width_o="1528" height_o="1047" data-src="https://freight.cargo.site/t/original/i/2e7b9540233937cb31639513429c7e81ae72bdf2a23c7d80fce1dd78e4aeca90/6.jpg" data-mid="31295744" border="0" src="https://freight.cargo.site/w/1000/i/2e7b9540233937cb31639513429c7e81ae72bdf2a23c7d80fce1dd78e4aeca90/6.jpg" /> &nbsp; https://davidschulzworks.com/15-Views-of-Mount-Rainier Thu, 27 Dec 2018 18:23:33 +0000 David Schulz https://davidschulzworks.com/15-Views-of-Mount-Rainier 15 Views of Mount Rainier, by David Schulz, Light Rail Press, 38 pages, Black and White, Saddlestitched, 7 x 9″, Print-on-Demand Edition (open), 2011, ISBN# 978-0-9828666-2-7.&nbsp; To purchase,please email davidschulzworks at gmail dot com. $25.15 Views of Mount Rainier is a book of typographic drawings of Mount Rainier rendered with text acquired from email SPAM. <img width="1350" height="1050" width_o="1350" height_o="1050" data-src="https://freight.cargo.site/t/original/i/a50f1b78941d2a1bd37b36ca2db747a7a0211ae99555c4b8835a849afb6bfc75/15Views-23.jpg" data-mid="31347007" border="0" src="https://freight.cargo.site/w/1000/i/a50f1b78941d2a1bd37b36ca2db747a7a0211ae99555c4b8835a849afb6bfc75/15Views-23.jpg" /> <img width="1350" height="1050" width_o="1350" height_o="1050" data-src="https://freight.cargo.site/t/original/i/61aa0f689c902217f3fb1a2346cd6b96609ef36886cea8a9ec4e7feb13b41bb1/15Views-5.jpg" data-mid="31347006" border="0" src="https://freight.cargo.site/w/1000/i/61aa0f689c902217f3fb1a2346cd6b96609ef36886cea8a9ec4e7feb13b41bb1/15Views-5.jpg" /><img width="1350" height="1050" width_o="1350" height_o="1050" data-src="https://freight.cargo.site/t/original/i/42920bac07cd437da23babccbdc5c71a7ae225bed56a97344d833807115a8f72/15Views-33.jpg" data-mid="31347008" border="0" src="https://freight.cargo.site/w/1000/i/42920bac07cd437da23babccbdc5c71a7ae225bed56a97344d833807115a8f72/15Views-33.jpg" /> https://davidschulzworks.com/How-the-West-was-Won Thu, 27 Dec 2018 00:03:26 +0000 David Schulz https://davidschulzworks.com/How-the-West-was-Won How The West Was Won. Copyright Applied For. By David Schulz, Light Rail Works, ISBN# 978-0-9828666-3-4, 108 pages, Digital Offset Press (Indigo), Casebound, 7.5 x 9.5”, edition of 100, 2013. To purchase, please email davidschulzworks at gmail dot com. $50. How The West Was Won. Copyright Applied For. investigates the roles of archived documents and literary genres in the creation, preservation, and reconstruction of cultural memory and historical representation. The Pioneer Pageant of 1923/24 was a theatrical production involving over 3000 local citizens in Walla Walla, Washington, offering a romanticized narrative of “how the west was won.” Archived materials from the Pageant illuminate an expanded field of performance where a strong relationship exists between the ordering structures of material documents and immaterial genres in the narrativization of history. Comprised of postcards and silver gelatin prints in photo-albums, contracts, meeting minutes, advertising agency reports, newspaper clippings, scripts, scripting notes, and correspondences, How The West Was Won. Copyright Applied For. presents an allegory of history through the executive, administrative, and creative processes of tableau theater by presenting the material conditions out of which the theater came to be in relation to the American myth of “how the west was won.” This allegory is given further meaning by a series of devised Haiku poems that are sourced from a separate archive of immigration accounts. Individual phrases within each Haiku are based on the observed frequency of recurring events they describe within their stories. This book project was partly funded by the Penrose Library at Whitman College. Below: Double-paged spreads from How The West Was Won. Copyright Applied For. <img width="733" height="480" width_o="733" height_o="480" data-src="https://freight.cargo.site/t/original/i/1841a6d75bf8b2a64a6290b5d527c1cffba68c6e36bda4710e27b0b6cf14bebb/Untitled-1-1.jpg" data-mid="31297034" border="0" src="https://freight.cargo.site/w/733/i/1841a6d75bf8b2a64a6290b5d527c1cffba68c6e36bda4710e27b0b6cf14bebb/Untitled-1-1.jpg" /><img width="736" height="484" width_o="736" height_o="484" data-src="https://freight.cargo.site/t/original/i/e692547120cd422ae63c60e0ead2d87e6360ebf000c9747cdc4157afc8336a3b/Untitled-2-1.jpg" data-mid="31297027" border="0" src="https://freight.cargo.site/w/736/i/e692547120cd422ae63c60e0ead2d87e6360ebf000c9747cdc4157afc8336a3b/Untitled-2-1.jpg" /><img width="735" height="486" width_o="735" height_o="486" data-src="https://freight.cargo.site/t/original/i/5ae8054acdc9d6c55a3d4f24a719d6ae3635e9c91bdf835357fd7bc774982b50/Untitled-4-1.jpg" data-mid="31297030" border="0" src="https://freight.cargo.site/w/735/i/5ae8054acdc9d6c55a3d4f24a719d6ae3635e9c91bdf835357fd7bc774982b50/Untitled-4-1.jpg" /><img width="734" height="485" width_o="734" height_o="485" data-src="https://freight.cargo.site/t/original/i/8945e58a6df8a47fc000d867d71fd960aefcef194e1e7abc195a0511b819d52e/Untitled-5-1.jpg" data-mid="31297031" border="0" src="https://freight.cargo.site/w/734/i/8945e58a6df8a47fc000d867d71fd960aefcef194e1e7abc195a0511b819d52e/Untitled-5-1.jpg" /><img width="736" height="488" width_o="736" height_o="488" data-src="https://freight.cargo.site/t/original/i/d9dcc933441ef3f723b9479eb431069556884ceb73e96a77f7c3e6d4123a62a8/Untitled-6-1.jpg" data-mid="31297032" border="0" src="https://freight.cargo.site/w/736/i/d9dcc933441ef3f723b9479eb431069556884ceb73e96a77f7c3e6d4123a62a8/Untitled-6-1.jpg" /> https://davidschulzworks.com/The-Terrorist-s-Handbook Thu, 27 Dec 2018 17:35:31 +0000 David Schulz https://davidschulzworks.com/The-Terrorist-s-Handbook The Terrorist's Handbook, by David Schulz, LightRailWorks Press, ISBN# 978-0-9828666-1-0, 80 pages, Full Color, Digital Press (Indigo), Perfect-bound, 10.5 x 7.75″, edition of 100, 9/11/11. This edition is Sold out. <img width="1800" height="1219" width_o="1800" height_o="1219" data-src="https://freight.cargo.site/t/original/i/ab6ff6c68ac11eeff9776ebd02656cfaa7abac4c2de3a2e4169dd47fe662a5ba/TH_2-3.jpg" data-mid="31345742" border="0" src="https://freight.cargo.site/w/1000/i/ab6ff6c68ac11eeff9776ebd02656cfaa7abac4c2de3a2e4169dd47fe662a5ba/TH_2-3.jpg" /> Throughout the summer of 2011, I made a series of walks in public places in New York City. The walks were concentrated on/in/near major infrastructural elements, such as bridges and subways. During the walks, I made photographs that sought to explore ways that these elements frame our perceptual experience, allowing for a conversion of our quotidian moments into brave navigational conquests of space and understanding. This exploration grew out of my interest in how walking relates to seeing. On each walk, I remained on public paths, platforms, and sidewalks, and stayed away from all "no-trespassing" zones. Similarly, I never photographed in areas prohibiting photography. However, it became clear early on that my simple walking and photographing was a gesture inciting grave suspicion. Each time I photographed, I was stopped by the police, told to erase my images, and hand over my identification. I was asked, "why was I photographing the bridge?" and "what was I doing so far from my neighborhood?" Now, Google makes it possible to traverse the very same paths and streets my feet carried me on, I can make unlimited screenshots from my virtual walks, free from police interrogation. But somehow, placing myself physically in that space provokes investigation. One can easily see how vulnerable a city is, and that walking in physical space can be a creative act that transforms the walker into a producer through interaction with other people/users. The means of behavioral control in cities are countless, from architectural design to "education" to police enforcement. And one of the biggest challenges faced by our police department in this country is how to negotiate with citizens who are not breaking the law, but who are involved in suspicious activities. The tremendous gray area surrounding photography in "sensitive" areas in urban centers is a battleground that many choose to ignore, even though they may engage with it on a daily basis, complicit in the formation of value-systems that determine what exactly it is that defines "suspicious activities." As my project evolved, I discovered an online document called the "Terrorist's Handbook" which was created by an unknown author sometime in the last 30 years, edited by countless readers, and freely available on several websites. It consists of recipes for bombs, explosives, and DIY "terrorist" strategies that will disrupt our systems. I began contextualizing my photographs within its structure and found the connections between bomb-making and walking/photographing to be poignant. Other ephemera, such as transcripts of conversations between myself and law-enforcement officials are included on pages within my book. It is now the 10th-year anniversary of 9/11, and for the week preceding the day of memorial, there has been a constant noise of reporting on possible terrorist activity. Al Qaeda's number two official has supposedly just been imprisoned (and 10 more have taken his place). We are informed of two american citizens of Arab ancestry leaving Afghanistan, traveling through several countries, and ultimately entering the U.S. with the intention of setting off a bomb. How do we know this? A guy in Afghanistan heard it second or third-hand from someone else that this was happening. In Manhattan, police checkpoints have been set up and motorists are detained in traffic. The city has become a giant stage for the perpetual unveiling of terrorist plots, both imagined and real, as we remain speechless by the act and absolute unpredictability of 2 planes flying into the former World Trade Center. I am reminded of the morning before 9/11 when I awoke at 4:30am, unable to sleep and so got out of bed and made my way to Red Hook, Brooklyn. Red Hook was (and still is) an aberrant neighborhood in New York City, not having access to the subway system. One has to drive, take a bus, or walk down from Carroll Gardens or Park Slope. Its century-old buildings and piers reflected its former ties to New York Harbor and the shipping industry, former bars along Conover Street catered to old sea salts still living in the area. I remember a pack of wild dogs running in the neighborhood. On the morning of 9/10/01, I found myself drawn to the piers leading out into the harbor facing downtown Manhattan and the World Trade Center, which I contemplated and photographed for several hours that morning, unaccosted by police. 24 hours later, those buildings were gone. Images pictured above and below: Double page spreads from The Terrorist’s Handbook.&nbsp; <img width="2325" height="1575" width_o="2325" height_o="1575" data-src="https://freight.cargo.site/t/original/i/4f1af63144cf44b196a776607c9d3bfc90b1a891a26241087d3272efebfc2684/TH_36-37.jpg" data-mid="31345743" border="0" src="https://freight.cargo.site/w/1000/i/4f1af63144cf44b196a776607c9d3bfc90b1a891a26241087d3272efebfc2684/TH_36-37.jpg" /> <img width="2325" height="1575" width_o="2325" height_o="1575" data-src="https://freight.cargo.site/t/original/i/0609d0dd5b35da682d19118d829525d8d11e6cde8d863e4da2394944d8cfde36/TH_38-39.jpg" data-mid="31345744" border="0" src="https://freight.cargo.site/w/1000/i/0609d0dd5b35da682d19118d829525d8d11e6cde8d863e4da2394944d8cfde36/TH_38-39.jpg" /> <img width="2325" height="1575" width_o="2325" height_o="1575" data-src="https://freight.cargo.site/t/original/i/5015d38cf40265d89d325789cce5492a9ed581788d8e73e5f6ab18a002ef4102/TH-10-11.jpg" data-mid="31345746" border="0" src="https://freight.cargo.site/w/1000/i/5015d38cf40265d89d325789cce5492a9ed581788d8e73e5f6ab18a002ef4102/TH-10-11.jpg" /> https://davidschulzworks.com/Echo Fri, 28 Dec 2018 17:34:26 +0000 David Schulz https://davidschulzworks.com/Echo Echo, 2009/2026, Photo-bookwork (4 volumes), Wall installation. To purchase, please email davidschulzworks at gmail dot com. $20/each volume. <img width="1200" height="933" width_o="1200" height_o="933" data-src="https://freight.cargo.site/t/original/i/7a9f13280498165c3b095376c99806e41f096a5653373ba3356853b0dbcf0850/Vol.1.cover.jpg" data-mid="31409783" border="0" src="https://freight.cargo.site/w/1000/i/7a9f13280498165c3b095376c99806e41f096a5653373ba3356853b0dbcf0850/Vol.1.cover.jpg" /> Echo is a consideration of how images within a collection relate to each other as their meaning changes. Far from discrete, an image is a matrix of being and function whose visible structure perpetually freezes, melts, and re-freezes. Enabled by time, an image is one moment this, the next, that. By creating opportunities for reading, collections of images evince formal and experiential motifs that draw strong relationships between visual and verbal experience. Assemblages are created by sampling various media and reconstituting images in another. Images below are assemblages that have been sampled from each volume. Each assemblage is a digital pigment print with varying sizes. <img width="1200" height="933" width_o="1200" height_o="933" data-src="https://freight.cargo.site/t/original/i/bf0bf6c56555d32d5b8b139f97f386b41983505b22b41f8eebb7c09967152258/Vol.3.cover.jpg" data-mid="31409785" border="0" src="https://freight.cargo.site/w/1000/i/bf0bf6c56555d32d5b8b139f97f386b41983505b22b41f8eebb7c09967152258/Vol.3.cover.jpg" /> <img width="1200" height="933" width_o="1200" height_o="933" data-src="https://freight.cargo.site/t/original/i/4b99213a20090b00398659f827044ef43d38db2f0e550e7a86cacbf5c6b9f054/Vol.2.cover.jpg" data-mid="31409784" border="0" src="https://freight.cargo.site/w/1000/i/4b99213a20090b00398659f827044ef43d38db2f0e550e7a86cacbf5c6b9f054/Vol.2.cover.jpg" /> &nbsp; https://davidschulzworks.com/Lone-Wolf Thu, 27 Dec 2018 15:08:47 +0000 David Schulz https://davidschulzworks.com/Lone-Wolf Lone Wolf, by David Schulz, Published by The Book Bakery (Publication Studio, Toronto), ISBN 978-0-9869089-4-1, 94 pages, Color Laser Printer, Perfect-bound, 7.8 x 10″, open trade edition, 2009. To purchase, please email davidschulzworks at gmail dot com. $25. <img width="1700" height="1092" width_o="1700" height_o="1092" data-src="https://freight.cargo.site/t/original/i/102aed741861605b5aae887f0217d94000ddb71fc9f193a2703bba574d0bc73e/LoneWolf_3.jpg" data-mid="31336132" border="0" src="https://freight.cargo.site/w/1000/i/102aed741861605b5aae887f0217d94000ddb71fc9f193a2703bba574d0bc73e/LoneWolf_3.jpg" /> <img width="1700" height="1092" width_o="1700" height_o="1092" data-src="https://freight.cargo.site/t/original/i/9b85fc7d438b09e71ab66b1dae699249bc6813c1bc4f7e103a00bb06f5eaddc2/LoneWolf_1.jpg" data-mid="31336130" border="0" src="https://freight.cargo.site/w/1000/i/9b85fc7d438b09e71ab66b1dae699249bc6813c1bc4f7e103a00bb06f5eaddc2/LoneWolf_1.jpg" /> <img width="1700" height="1092" width_o="1700" height_o="1092" data-src="https://freight.cargo.site/t/original/i/4321cbf49be693d2c479df0b4a7ec0dc9a8c380a7a7b4177168e0c87811bde70/LoneWolf_2.jpg" data-mid="31336131" border="0" src="https://freight.cargo.site/w/1000/i/4321cbf49be693d2c479df0b4a7ec0dc9a8c380a7a7b4177168e0c87811bde70/LoneWolf_2.jpg" /> <img width="1700" height="1092" width_o="1700" height_o="1092" data-src="https://freight.cargo.site/t/original/i/5ee18af7811304c666995c0fc3f1e29c2a5ce18a479d3fe445fe35bd35e82675/LoneWolf_4.jpg" data-mid="31336133" border="0" src="https://freight.cargo.site/w/1000/i/5ee18af7811304c666995c0fc3f1e29c2a5ce18a479d3fe445fe35bd35e82675/LoneWolf_4.jpg" /> Above: Double-page spreads from Lone Wolf. David Schulz was selected by Joachim Schmid to present and launch his latest photobook project, Lone Wolf, at C/O Berlin Book Days on May 24, 2012, in Berlin, Germany. The trade edition was originally published by The Book Bakery (Publication Studio, Toronto). North American publication date: August, 2012. In common english usage, a lone wolf is someone who acts alone, outside of a group network or command structure, like the animal who lends its name to this characteristic. When a local citizen insulates himself against humanity, stocking up on canned goods, bottled water, and weaponry while writing anti-social manifestos, he is acting as a lone wolf. Clint Eastwood’s character, Dirty Harry, plays a lone wolf within the police department, making decisions based on his own individual brand of “justice.” And when the United States invades Iraq for its own undisclosed reasons, without the support of the United Nations, it acts as a lone wolf. Lone Wolf is a picture book whose name is derived from the provision of the U.S.A. Patriot act which seeks to create a legal framework that allows the government to surveil individuals not associated with any group or country who are believed to be engaged in terrorist activities. Comprised of screenshots from reality television shows depicting expressions of physical force within three sectors of american society: police, local militia, and the U.S. military, excerpts from congressional hearings of the 112th and 113th congresses on the Patriot act give context to the images. The photographic images have been converted into large halftone dot compositions, which might imply an information flow—or lack of—that exposes the roots of suspicion and intolerance that culminate in statements like “see something, say something.” Structurally, having re-purposed time-based video and film as a series of stills, the book reconfigures these stills, filmically, by placing each image so that it begins on the recto, and continues onto the subsequent spread’s verso page, ie. each image begins on one spread and ends on the next spread. This physical strategy references the idea of media as a form of collective memory, which allows us to have a personal experience from the ever-growing pool of produced events within our global digital community. It is also a consideration of the idea that memory is bound to perception—we perceive our memories—a notion that places remembering in the present (as opposed to accessing ‘fixed’ memory cards in our brains). Each time we experience something new, it is processed within ourselves in relation to our memories. It is within this matrix that Lone Wolf appropriates a third textual form, a series of transcripts from the documentary film, Let There Be Light (1946), by John Huston, which consist of interactions between psychiatrists and american veterans suffering from post-traumatic stress disorder during WWII. The film examines hypnotic and psycho-narcotic therapies for the treatment of these patients.