Meredith Drum
Since 2009
Works in Brooklyn, New York United States of America

Meredith Drum creates cinema projects as linear screenings, interactive exhibitions and mobile media walking tours. Recent initiatives present nonfiction material through emerging digital technologies—offering participants physical and semiotic choices about the trajectory of visual, aural and textual events. The goal is to reveal hidden and intersecting histories of consumption, pollution, corporate responsibility and competition for resources between operators, including nonhuman life forms, with varying degrees of power. Meredith has an international exhibition record, with works recently exhibited/screened at the Bronx Museums of the Arts, the Film Society at Lincoln Center, Anthology Film Archives, Fales Library and Archive at NYU, Voltahalle Basel, Switzerland, the Museo Valenciano de la Illustracion y la Modernidad, Valencia, Spain and the City Hall Square, Copenhagen, among other places. She has published videos online on the NYTimes Tmagazine and Good Magazine. She is also a creative writer, with poems and stories published by Ploughshares, Pierogi Press and Insurance Magazine.
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Hurricane Season

Wed Sep 15, 2010 00:00 - Thu Aug 19, 2010

New York, N.Y. - on September 15, 2010 at 8 p.m. at ISSUE Project Room guest curators Meredith Drum and Rachel Stevens will present “Hurricane Season,” a one-night screening of experimental documentary shorts reflecting the recent history of the Gulf Coast of the U.S. — catastrophic storms, an oil spill, a pattern of government un-response and other evidence of a complex system out of balance. ISSUE Project Room is located on the 3rd floor of (OA) Can Factory, 232 3rd Street at 3rd Avenue in the Gowanus neighborhood of Brooklyn. Subway F and G Line to Carroll St-Smith St. stop. Telephone: 718-330-0313. Website: Email contact: Admission is FREE.

Produced primarily in the Gulf region, the work included in “Hurricane Season” responds to complex issues with experimental strategies in an attempt to represent the landscape, people, the system, industry and their interrelationships. Representing a range of styles that are more lyrical and differently mediated than images seen in popular culture immediately following each disaster, the line-up features work produced since 2005, including some very recent work that is still in progress. Liza Johnson’s South of Ten considers how Mississippian survivors of Katrina are framed, with gesture and performance as alternatives to conventional interview-based forms of bearing witness. Pawel Wojtasik’s immersive video Below Sea Level (courtesy Priska C. Juschka Fine Art), partly shot with a 360° panoramic camera in and around New Orleans, articulates a sense of impermanence inherent in the location, underscored by Steven Vitiello’s soundscape. A collaborative film/video by Courtney Egan and Helen Hill takes a more personal and fleeting look at one block, blending flood-damaged film found after Katrina with video shot of the same site. Work currently in progress examining the BP oil spill will include pieces by Ghen Dennis and Christina McPhee.

Framing the contemporary work will be excerpts from Robert Flaherty’s Louisiana Story from 1948 (courtesy Flaherty Film Seminar) and Tony Oursler’s Son of Oil from 1982. Louisiana Story, a lushly shot docudrama in black and white commissioned by Standard Oil, features an idyllic Bayou setting and an innocent boy’s adventures there as changes come to the region through the construction of an oil rig. The landscape and lifestyle of the Cajun people appear undisturbed by the drilling process, and even improved by the arrival of the oil industry. Tony Oursler’s colorful diatribe against the oil industry and our culture’s oil addiction is playfully enacted by performers and paper sets.

Although the program is regionally focused, the intricately intertwined economic, environmental, social, public and private issues suggested by the films and videos speak to a larger context as we collectively grapple with a gross consumption of fossil fuels, global warming, environmental erosion, newly diminished ways of life and unstable economies—and how to represent these things.

For a full list of work to be screened please visit .


Meredith Drum and Alison Ward at ISSUE Project Room

Wed Sep 02, 2009 00:00 - Mon Aug 17, 2009

United States of America

Selected films by Meredith Drum and a performance / lecture by Alison Ward

Meredith Drum presents three low-ball sci-fi video works that form a loose trilogy, “The Tower”, “The Formula” and “The Double”. The narratives combine elements from old stories of conflict between feminine and masculine and interior and exterior. All three were filmed in the same feral park and graced by actress Juliana Francis Kelly.

Alison Ward explores the ideas and motivations behind her piece the Beastly Beauty in the form of a performance as slide lecture. She will re-envision her spectacular performance, an on-going farcical battle that most recently occurred on Coney Island’s beach and boardwalk in late August. The Punch and Judy battle between two characters embodying different elements of beauty and the grotesque features elaborate Baroque style costumes, one set adorned with pink ribbons and lace, the other with garbage bags and filth. Each are backed by six cheerleaders in armor, who taunt each other with chants that merge cheerleading rallies with traditional battle cries and King Kong-style beating of the chest. The choreography combines wrestling moves with traditional dance and burlesque to create a spectacle that is simultaneously violent, sexual, and humorous. The idea behind The Beastly Beauty, is an effort to comment through use of physical humor and public performance, on the nature of violence, and to upend notions of traditional roles of the masculine and feminine.

Artist Bios:

Meredith Drum is a cinema artist who makes both experimental fiction and nonfiction as well as more conventional documentary. Her videos have recently shown at the Bronx Museum of the Arts, Galapagos Art Space, Monkey Town, Fales Library and Archive at NYU and been published online on Good Magazine and the New York Times Tmagazine. Recent honors include a Flaherty Film Seminar fellowship, an Artists-in-the-Marketplace residency and an award from the Experimental Television Center. Also, she was named an “artist to watch” by art critic Ken Johnson in his New York Times review of the AIM 29 show.

Alison Ward is an artist whose work incorporates performance, video and sculptural installation. She focuses on issues of identity interpreted through physical and slapstick humour. Exhibitions include Haven Arts, The Dumbo Arts Center, and the Bronx Museum as well as the CCCB Museum in Spain, RAW Space Gallery in Australia and Castlefield Gallery in England. She has done residencies at Raw Space in Australia, The Artist in the Marketplace Program, and the LMCC studio program. Currently she is an artist partner on board The Waterpod Project in New York City, and is an artist in resident in LMCC’s Swing Space Program.


On the Contrary: Artists' Videos Regarding War in the Middle East

Thu Mar 05, 2009 00:00 - Thu Feb 19, 2009

Press Release Feb. 13, 2009/For Immediate Release Media Contact: Meredith Drum, 917.723.5242,


New York, N.Y. -- On Thursday, March 5, 2009, from noon to 8 p.m., the SCOPE Art Fair Pavilion at Lincoln Center presents “On the Contrary,” a six-hour screening of recent works by artists responding to war in the Middle East. Co-organized by Mary Billyou and Meredith Drum, the event presents a diverse range of cinema projects, each offering distinctive critiques of military occupation by the U.S. and its allies in the Middle East. Immediately after the screening, there will be a panel discussion deliberating the issues raised by the collected works. Moderated by Mary Billyou and Meredith Drum, panelists include several of the program’s filmmakers and associated independent curators.

The SCOPE Pavilion is located at Damrosch Park, on 62ndStreet, between Amsterdam and Columbus avenues. Admission to the Scope Pavilion is $15 for regular admission or $10 for students; this price includes the screening in addition to other SCOPE events. The videos will be screened in three time blocks followed by the discussion:

Program 1
12-2 p.m.
“Baghdad in No Particular Order,” 2003, by Paul Chan, 51:00
“Cheney & Powell, January 1991”, Mary Patten, 2003, 1:00
“Because There Are So Many: Iraq,” by Benj Gerdes and Jennifer Hayashida, 2007, 8:00
“Headlines: Baghdad,” by Sabine Gruffat, 2007, 3:00
“All the House (Haditha Massacre),” by Caroline Koebel, 2008, 5:50
“Eye/Machine II,” by Harun Farocki, 2002, 15:00
“Box Office,” 2007, by Jenny Perlin, 2:30
“News Release,” by The Yes Men, 2008, 2:00

Program 2
2-4 p.m.
“Operation Atropos,” by Coco Fusco, 2006, 59:00
“LOST,” by Jeanne Finley and John Muse, 2006, 4:00
“Summer Rain,” by Francisca Caporali and Brandon Jourdan, 2007, 4:00
“Mohamed Yousry: A Life Stands Still,” by Mary Billyou and Annelisse Fifi, 2008, 20:00
“Frozen War,” by John Smith, 2002, 11:00
“Headlines: Bomb Parts,” by Sabine Gruffat, 2007, 3:00
“Hit on the Head with a 1000 Anvils,” by Gabriel Fowler, 2001, :45

Program 3
4-6:30 p.m.
Upside Down Worlds
“Beyond Guilt Trilogy,” by Ruti Sela and Maayan Amir, 2003, 41:00
“Strategic Cyber Defense,” by Dara Greenwald, 2006, 4:18
“An Army of Dreamers: Not an Alternative,” by NYC Ya Basta, 2007, 4:22
“Hostage: The Bachar Tapes,” by Walid Ra'ad, 2001, 16:00
“Forbidden to Wander,” by Susan Youssef, 2004, 35:00
“Prototype (God Bless America!),” by Martha Rosler, 2006, 1:00
“G.I. Joe PSAs,” by Eric Fensler, 2003, 6:00 “State of the Union,” by Bryan Boyce, 2001, 1:43
“Meet Me in Wichita,” by Martha Colburn, 2007, 5:00
“Scenes from an Endless War,” by Norman Cowie, 2002, 32:00

Panel Discussion 6:30-8 p.m.
Shifting Alliances
A round table discussion moderated by Mary Billyou and Meredith Drum with Martha Rosler, Benj Gerdes, Chen Tamir, Judy Ditner, Caroline Koebel, Maayan Amir and Ruti Sela.

For a complete list of videos, with descriptions, and biographies of panelists, please visit:

SCOPE is the largest and most global art fair in the world featuring emerging contemporary art with seven markets worldwide. It’s goal is to present the most innovative galleries, artists and curators while networking them with patrons through a unique program of solo and thematic group shows presented alongside museum-quality exhibitions, collector tours, screenings, and special events.