I self-published this work last November and am finally posting it here. Below is the press release. A solo show of this work opens May 2, in Hudson, New York--Please see previous post.
The Mirror, by David Schulz, edition of 200, offset printed, perfect-bound, 44 pages, 7 x 9”, 2008.
The Mirror is a parallel narrative of photographic image and text that contains a story about a man watching a video of his parents, with his wife. As time unfolds, he realizes his dad is actually alone (in the physical world)—his mother is a ghost. Still later, he realizes he is alone—his wife vanishes into thin air. But the story is not about being alone, it’s about how everything is at once itself and an image of itself. As with a mirror, on one side you stand; on the other, your image stands. In the story, his awareness of his predicament becomes his image.
Formally, The Mirror’s double-paged spreads with full-bleed photographs, mimic the subject-object relationship that plays out in a mirror. The photographic content—peripheral views of the everyday—comments on the ebb and flow of things in the world as we gain conscious recognition of them, and lose them, as we lose our memories, in a fluid state of preformation.
In 2009, The Mirror will be exhibited as a solo exhibition at Gallery 345 in Hudson, New York, starting May 2. The Mirror will also be exhibited as part of a photo-bookworks workshop at the Center for Contemporary Art, Santa Fe. And plans are developing for an international photo-bookworks conference hosted by the Visual Studies Workshop in Rochester, New York that will include exhibition of The Mirror.
The work of David Schulz is primarily concerned with narrative structures. Through the parallel use of photographic imagery and text, he explores motifs such as reflection, memory, and identity. He employs a peripheral seeing of things in the everyday (trees, roadside curbs, radiators, open spaces) as a primary trope for illuminating substantive human qualities and conditions. Photographically, David’s work generally takes the form of assemblage. Whether it is two images, vertically or horizontally adjacent, or four or five images in a cluster, relationships of images pose questions concerning the physical and metaphysical (what is the difference between things and images of things?); ontology (what is the difference between images and memories?); and language (how do we read images? How do they function linguistically?).
Other photo-bookworks created by David Schulz include Variations of a Fall (Visual Studies Workshop, 2002), Travelogue (Hammer Productions, 2001), and Non-Identifying Social Genetic Report (Hammer Productions, 1999).
David Schulz has exhibited with many galleries and organizations in the New York City area including Gigantic Art Space, the Front Room, Dumbo Arts Center, Pratt Institute (where he is a member of the faculty), the Parrish Art Musuem, and the Cellar Gallery (co-founder, 1996). Additionally, David’s work has been included in two exhibitions at the Brooklyn Art Museum: Artists’ Books, 2000, and Open House, 2004. He is part of the following collectives: Nurture Art, White Columns, Pierogi 2000 (flat files), Art in General, and Gallery 345. His photo-bookworks are held in various national and international collections including the Museum of Modern Art, the Brooklyn Museum of Art, the Whitney Museum of American Art, the Yale University Library, the Art Institute of Chicago, the Walker Art Museum, the Getty Research Library, and the Los Angeles County Museum of Art.
David lives and works in Brooklyn, New York.
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