Dara Friedman

Gavin Brown's enterprise | 620 Greenwich Street

The bell tolling at the outset of Tigertail, 2007, Dara Friedman’s new 16-mm film, immediately calls to mind Toll, 2002, in which film footage was projected onto a drywall campanile she erected in the exhibition space. The two works otherwise could not be more different. In the rigorous earlier installation, three swinging clappers were projected more or less where they would appear in an actual bell tower, an alignment of form and content that speaks to the filmmaker’s structuralist roots. The mournful peal proves incongruous, however, within the context of the newer, sun-dappled, and seemingly casual “home movie of sorts” (to quote Friedman’s open letter–cum–press release).

Tigertail is a thirteen-minute paean to bohemian rhapsody: Barefoot girls run through gardens and swing beneath sheltering trees; a shirtless long-haired man (Friedman’s husband, artist Mark Handforth) rests on a low

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