Visual Arts Program
 


Saturday, March 20, 2004 — Saturday, April 24, 2004

Melissa Pearl Friedling, Julian Montague

Presented at:
Hallwalls Project Room

PROJECT ROOMS:
Exhibitions by the 2002 ISP (International Studio Program) Resident Artists

Melissa Pearl Friedling
In her recent work, Melissa Pearl Friedling has been appropriating mythic morality tales (such as The Princess and the Pea) for a series of short films and videos that are, ultimately, more personal than aprocryphal. Friedling combines found film footage with hand-drawn animation and live action in order to unsettle the distinctions beween memory and autobiography; innocence and vulgarity; romance and sexuality; and fiction and reality.

Melissa Pearl Friedling
Repunzel, 2003, animation still

Melissa Pearl Friedling
The Princess and the Pea Stain, 2003
animation still

Julian Montague
Over the last several years, a significant body of Julian Montague’s work has involved developing an original an iconoclastic photo-taxonomy of shopping carts diverted from their original use, such as strays, abandoned carts and destroyed carts (among many other categories). The resulting system includes two classes and thirty sub-types of categorization. More than a photo-essay on our contemporary urban landscapes (though it also functions as this), Montague’s absurd and thorough vocabulary treats this mundane phenomenon in a way that highlights the effects of language and scientific classification, particularly as a means to impose order and exert control, thereby bringing into question the very methodology with which it is framed.


Some publications related to this event:
March, April and May, 2004 - 2004

 
 
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David Schirm
All The Glad Variety


Though distilled into broad symbolic forms or abstract landscapes, David Schirm's work often springs from his own experiences during the Vietnam War and paintings may allude to the scenes of horrific and senseless battles, the strafing of weapons across a landscape, "whose laser-like blazes of fired bullets gave a distinctive hum of un-worldliness to the darkness." Though his depictions of landscape forms even touch upon the pastoral in their depiction and use of color, Schirm's original point o ...