the experimental artists  collective  
Gallery 345
2008- 2010

David Schulz's work is concerned with narrative structures. Through the parallel use of photographic imagery and text, he explores motifs such as reflection, memory, and identity. His use of assemblage poses questions concerning the nature of things and our perception of them. Included in the show at Gallery 345, are several images from his work, Mirage, where he has created a series of vertical diptychs that simulate the physical nature of a mirage, namely, vertical layers of warm and cool air that refract and reflect light which produces an image. 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. David Schulz is an artist and teacher living in Brooklyn, New York. His Photo Book-Works can be found in several major collections including the Museum of Modern Art, the Brooklyn Museum of Art, the Art Institute of Chicago, and the Getty Institute. Wendy Holmes Noyes "Memory seems to live in layers, years on years, lives on lives, stuff collected, objects endowed with soul. The house where I grew up is laden with such "objects." It was my parents' home for fifty-three years. Now, as a way of gathering my feelings together to say goodbye to a place that I too have inhabited spiritually for over half a century, I have set about to commemorate my mother's collections in photographs. We jokingly called her "the curator," and would tease her about her inability to toss anything -- anything at all that is. At age 12 I typed chore lists for the entire family, pasting each person's special list on the inside of his or her closet door. At the bottom of every list I typed, "Everyday, throw away." This message was exactly counter to what my mother had learned by living through the depression. I never followed my own advice either. Now I am sorting through the jumble of treasure and trash in this family house, and I find in this task the starting point for unexpected travels, mingling memory and magic. My goal for now is to move beyond the grip of the physical and into a free blend of then and now. I'm looking to loosen the power of the past with its nostalgia and gain a new energetic freedom for myself. The characters encountered on this journey are purely fictional. Any resemblance to real people, especially to those in my own family, is completely misleading and unintentional." Peter Donahoe Pinhole Photography "Portrait as a Memorial/Monument" In the past few years Peter Donahoe has returned to a theme that has occupied him ever since he abandoned lensed-camera photography for self-made pinhole cameras nearly two decades ago: the monumental as personal and as memorial. In the past he concentrated primarily on barns and farmsteads as the vernacular embodiment of the monumental in the landscape. More recently he has explored this concern through the portrait, either of the living person or the figurative in sculpture. He says "For me portrait making is always an act of memorialization, a way that we counter loss, alienation and separation." By using pinhole cameras exclusively, the discipline of cooperation between photographer and subject is amplified; there is no point and shoot here. Long exposures require an intent and intensity not common in conventional photography; the lack of a viewfinder demands intuition. "The photograph is the aide-mémoire of our personal histories." His book-length photo essay about cab driving in NYC The Night Line was published in 1990 and his work is in the collection of the Museum of the City of New York. His pinhole camera work as been published in Stenope in the Photo Poche series in France.