[the gym is] NEUTRAL TERRITORY

Justin Schmitz is a photographer based in Chicago,IL.

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a new publication I made with the donut shop will be available at the Chicago Artist Book Fair http://cabf.no-coast.org/  Nov. 16-19th

See you there?

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Hot Off The Press!! New dozen on the site by photographer Justin Schmitz! Super excited to offer a sneak peak into this wonderful project.

As always, all our artists benefit from 100% of the proceeds generated by the sale of their work.

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Check out my “Dozen Donuts” Artist Prints at one of my favorite artist centered imprints.

You can get 12 5x7" photographs from my forthcoming project today!

www.the-d-o-n-u-t-shop.com

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Paul Fusco, RFK Funeral Train

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Neil Young and the Stray Gator, Alabama

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Prince Shreds George Harrison Tribute. Where did that guitar go?

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Chauncey Hare, Protest Photographs

“I was employed as an engineer for twenty-nine years, but not by choice, because choice wasn’t involved in becoming or remaining one. Long before starting my first year of college I had acquired form my parents a fearful impression: work was a hardship to be endured, and there was not better, safer way to make an income than to become and engineer.  That I would be come an engineer was both expected and unspoken by my father, who was himself an engineer.”  

Opening Paragraph from Chauncey Hare’s Introduction to Protest Photographs

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(via Exposure: ​Terttu Uibopuu)

"As Estonia recuperates from a political occupation, and the American South continues to deal with the aftermath of a natural disaster, I set out to photograph the less sensationalized aspects of these places."

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Lee Friedlander

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We now present Lady Snowblood killing six men in 58 seconds (and a single tracking shot). Enjoy …

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“Haskell Wexler always put his camera where many others only put their mouths—or their wallets… . he was for me (who came out of film school as a wannabe cinematographer) an exemplar of how to live.”

World-class cinematographer John Bailey remembers Haskell Wexler.

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Sonic Youth, Brother James 1991

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Mark Steinmetz reviews Photography at MoMA 1960 - Now

“The number of photos in this book where the camera is used for casual note-taking seems unduly large. The vantage point is neutral; the craft is “de-skilled,” to use a word curator Roxana Marcoci uses to describe Ed Ruscha’s impersonal approach. So many of the book’s photos were made either under studio lights or indoors often without a detectable source of light. A surprising number of the outdoor photos selected seem oddly muted as well, as if stronger light would just get in the way. The light has been neutered. Few images feel buoyant; few feel intimate. Many have an experimental, laboratory-type feel or are modern day iterations of the design-driven Bauhaus – sometimes sparks are set off and some of the pictures do have flare; many are serial/sequential.”

So does Charlotte Cotton 

Image Zoe Leonard Analogue 1998-2009

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Chloë Sevigny on the Life and Style of Robert Mapplethorpe

“Do I think that Mapplethorpe used his good looks? Well, perhaps it was easier for him to charm his way into people’s pants and pocketbooks. He was a hustler – a real street hustler – so it couldn’t have hurt him. Did New York corrupt him? Ha! I think he was ripe for corruption to begin with. He was asking for it.”

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I made some pictures for Seth Ferranti’s article about Serial Killer Culture in the November Print Issue of Vice Magazine out yesterday.

(via What Does an Obsession with Serial Killers Say About Us?)

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Thomas Demand ‘‘Clearing.’

Memories of Things Unseen

http://www.nytimes.com/2015/10/18/magazine/memories-of-things-unseen.html

“Photography is inescapably a memorial art. It selects, out of the flow of time, a moment to be preserved, with the moments before and after falling away like sheer cliffs. At a dinner party earlier this year, I was in conversation with someone who asked me to define photography. I suggested that it is about retention: not only the ability to make an image directly out of the interaction between light and the tangible world, but also the possibility of saving that image. A shadow thrown onto a wall is not photography. But if the wall is photo­sensitive and the shadow remains after the body has moved on, that is photography. Human creativity, since the beginning of art, has found ways to double the visible world. What photography did was to give the world a way to double its own appearance: The photograph results directly from what is, from the light that travels from a body through an aperture onto a surface.Thomas Demand ‘‘Clearing.’’ 

CreditThomas Demand/VG Bild-Kunst, Bonn/ARS New York”

-Teju Cole for NYT

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