tag:blogger.com,1999:blog-11762276737884428532024-03-08T03:34:24.867-08:00Anne Sherwood PundykAnne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.comBlogger54125tag:blogger.com,1999:blog-1176227673788442853.post-50195093771804575822016-10-18T10:30:00.002-07:002016-10-19T07:50:52.320-07:00Stepping Into the Same River<div class="MsoNormal">
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<b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXop4DLwvTZJukDcJ9mPOyXkR7iYpBEeuTnWG4eyG8igm5d9LOJfEjIt-GgI1DELZRo11IM53DoMcAsBnTdx0YqxzKfQHhtQzEqkzwXbVIz0vlVns8RK8M3dBSn_XY3UR8neWEKs-rbRap/s1600/Pitch_Anne+Sherwood+Pundyk.jpg" imageanchor="1"><img border="0" height="397" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXop4DLwvTZJukDcJ9mPOyXkR7iYpBEeuTnWG4eyG8igm5d9LOJfEjIt-GgI1DELZRo11IM53DoMcAsBnTdx0YqxzKfQHhtQzEqkzwXbVIz0vlVns8RK8M3dBSn_XY3UR8neWEKs-rbRap/s400/Pitch_Anne+Sherwood+Pundyk.jpg" width="400" /></a></b></div>
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<span style="font-size: x-small;">Anne Sherwood Pundyk, "Pitch," 2015, Latex, <span style="background: white; color: #20124d;">Acrylic, Colored Pencil and Stitching on Canvas,</span><span style="background-color: white; color: #20124d;"> </span><span style="background: white; color: #20124d;">86.25 x 91 inches</span></span><br />
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<i style="mso-bidi-font-style: normal;">Painters <a href="http://hoveybrock.com/home.html">Hovey Brock</a> </i><i style="mso-bidi-font-style: normal;"> and <a href="http://www.annepundyk.com/">Anne Sherwood Pundyk</a></i><i style="mso-bidi-font-style: normal;"> discuss their painting practices using Kant’s </i>Third Critique<i style="mso-bidi-font-style: normal;"> and two recent lectures on <span style="color: #0d0d0d;">speculative realism—one by <a href="https://www.youtube.com/watch?v=h3_L0HVYdYI">John Searle</a> </span></i><span style="color: #0d0d0d;"><i style="mso-bidi-font-style: normal;"> and the other by
<a href="https://www.youtube.com/watch?v=hK-5XOwraQo">Graham Harman</a> </i></span><span style="color: #0d0d0d;">]<i style="mso-bidi-font-style: normal;">—as</i></span><i style="mso-bidi-font-style: normal;"> points of departure.<o:p></o:p></i></div>
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<b style="mso-bidi-font-weight: normal;">Hovey Brock</b>: Philosophical
thought is a useful way to frame any kind of practice; all practices are
fundamentally speech acts of one type or another. So, anything that is born out
of a set of conventions, which is what I think painting is, amounts to a very
specific kind of speech act. I am interested in all the social conventions that
support what a painting actually is and I think this has something to do with
non-representational painting. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Anne Sherwood Pundyk </b>: My
attraction to Kant’s ideas on beauty in his <i style="mso-bidi-font-style: normal;">Critique
of Aesthetic Judgment</i> is centered on his logical digging down into how it
is we are aware of our own subjective experiences. This and his emphasis on
experiencing art in person are central to my painting: the interconnection of
the subjective voice and the body. Kant gives us permission to attribute weight
and value to the subjective vantage. I gather from the lectures you recommended
about speculative realism that you see a shift away from Kant’s emphasis on
subjectivity. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: I selected
the Harman lecture because there is a sense in which the object-oriented ontologies
in Harman’s form of realism hark back to Kant’s division between noumenal and
phenomenal. Specifically because he talks about those things where we can talk
about the object and then there is the object in and of itself, which we can’t
really talk about. I find Harman’s division a little too black and white. I
like Searle’s approach because he is working from the ground up and at some
point we do literally touch on physical objects in the world. I think that
there are ways that we do connect with the thing in and of itself. As a way to
tie these ideas to our paintings, let’s get to some specifics and then we can
bring in the philosophy. Tell me about your technique for making the painting, <i style="mso-bidi-font-style: normal;">Wind O</i>. Obviously there is some pouring,
some painting; there is a lot going on here.<o:p></o:p></div>
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<o:p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrC-cpzX9z6k3L_eLtglDN1p_kX5pPc_k5lbiVvUcw304HiSmSf-e1XoG0VgPXgQedZ9HTw6Rkn_9t2ZIzw_k0c7p5L2Ce0T3-cBB68XguO9dVEUmKF_LsM6KZcywz1ygZ0AJvDLDuviHV/s1600/Anaxagoras_Hovey+Brock.jpg" imageanchor="1"><img border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrC-cpzX9z6k3L_eLtglDN1p_kX5pPc_k5lbiVvUcw304HiSmSf-e1XoG0VgPXgQedZ9HTw6Rkn_9t2ZIzw_k0c7p5L2Ce0T3-cBB68XguO9dVEUmKF_LsM6KZcywz1ygZ0AJvDLDuviHV/s400/Anaxagoras_Hovey+Brock.jpg" width="400" /></a></o:p></div>
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<span style="font-size: x-small;">Hovey Brock, "Anaxagoras, 2015, " <span style="background-color: white; color: #222222;">30" x 48", oil on panel, 2015</span></span></div>
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THE MONKEY WRENCH<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: I want <i style="mso-bidi-font-style: normal;">Wind O</i> to create a space for the viewer
where she is the subject. The domain of my painting has shifted outward; I want
the viewer to feel that surge of attention and unconditional love. Like all my most
recent, large paintings, <i style="mso-bidi-font-style: normal;">Wind O</i> is on
unstretched, drop-cloth canvas. For me, it evokes a stage backdrop and feels more
direct and authentic than a stretched canvas. <o:p></o:p></div>
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Color drives my compositions, which play back and forth
between fluid, bleeding forms and vertical, zig zagging interventions. I make
large pours, folds and prints with the painting on the floor and move it up on
the wall to locate the geometric elements. For example, I made the bright blue
pour in <i style="mso-bidi-font-style: normal;">Wind O</i> and then folded the
canvas to create the central diagonal Rorschach shape. Given the size of the
pieces—7 by 8 feet—this is a full body process and that physical presence can
be felt in the work. I started the piece in the dead of winter when my studio
in Mattituck was surrounded by 4 feet of snow. By the time spring came and I
was able to take the painting outside to work. I created the purple tendrils
that flow across the painting by placing the painting on a sloped area of lawn
and pouring the paint across the surface.<span style="mso-spacerun: yes;">
</span>The last element is an architectural reference to a window. It’s not
fully rendered; it’s a degenerated image of an opening that was the basis for the
light grey panel.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: Are you
deliberately avoiding any overt references or are there references that I am
missing here?<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: I am not
looking for direct representation. I am not running away from it, but I am just
not interested in it. Imagery feels distracting. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: Ok. Good. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASB</b>: I made a
suite of 6 new paintings for a solo show at Christopher Stout Gallery, New York
last spring called, “The Revolution Will Be Painted.” Several of these along
with a new painting are now in, "Unconditional Paint," a solo show at Selena Gallery, LIU
Brooklyn up through October 28th. While I used a consistent formal premise, each painting resolves
itself in a different way. There is something that has to come in from outside
of the parameters of my process in order for the piece to feel finished—let’s
call it a “monkey wrench.” So, for instance, the window element in <i style="mso-bidi-font-style: normal;">Wind O</i> is not in the local vocabulary of
the piece, but it needed to be in there.<o:p></o:p></div>
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<o:p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVDCD4PsMqSylj-Y_vVbioEWR4NSINcovRz8a2P_cs-gajQAQNRgwvkkmAtH3iZc5Orj8YitW4RtDvVSFNwl9cXC62Vu7jWsZhcSKzk44jQoxrYyrOhlLGasC2n7dUcJ138KS-sjOTb8tH/s1600/Wind+O_Anne+Sherwood+Pundyk.JPG" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVDCD4PsMqSylj-Y_vVbioEWR4NSINcovRz8a2P_cs-gajQAQNRgwvkkmAtH3iZc5Orj8YitW4RtDvVSFNwl9cXC62Vu7jWsZhcSKzk44jQoxrYyrOhlLGasC2n7dUcJ138KS-sjOTb8tH/s400/Wind+O_Anne+Sherwood+Pundyk.JPG" width="398" /></a></o:p></div>
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<span style="font-size: x-small;">Anne Sherwood Pundyk,<b style="mso-bidi-font-weight: normal;"> "</b><span style="color: #20124d;">Wind O</span><span style="color: #20124d;">," 2015, <span style="background: white;">Latex, Acrylic, Colored Pencil, and Stitching on Canvas,</span> <span style="background: white;">84.5 x 92.5 inches</span></span></span></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: My take on
that is that there is something inductive that you are trying to do. You are
trying to bring in something outside the logic of your pictorial thinking that
would allow it to open up in a way that it would not ordinarily. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: Yes, It’s like
a logic pattern: “If it’s not this or that, there will be a third possibility.”
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<b style="mso-bidi-font-weight: normal;">HB</b>:<span style="mso-spacerun: yes;"> </span>Sure, this reminds me of Gadamer’s hermeneutic
process of reading something and then expanding your horizons based on this
reading. He talks about the horizon as a metaphor for what we are able to
encompass mentally. As you bring in new material you expand your horizon. The hermeneutic
circle is something where you are always going out to the horizon and then back
to the particular and figuring out how the particular works within the greater
horizon. You bring in your monkey wrench, which is a way to continually expand
your horizons. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: That’s
great. I like that. So let’s take a look at your painting, <i style="mso-bidi-font-style: normal;">Heraclitus.</i><o:p></o:p></div>
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THE BACKGROUND<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: This is a
work that’s painted on a wood panel. I want the wood to show through. Wood is
one of the ancient painting supports originally used. In the title I am
referring to Heraclites, the philosopher, but also as a form of thinking that
operates in the background. Heraclitus’ thinking is agonistic. He is always
talking about the road that leads up is also the road that leads down. He says
that there is something valuable in the very idea of war because conflict
generates something new. “Background” is a term Searle uses that is one part of
the thinking about the process of representation. <o:p></o:p></div>
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As far as the color goes, Heraclitus is interested in the
energy that is created through antagonism. I picked green as a reference to the
natural ways of the world. There is something primitive about the drawing
itself, which is deliberate; Heraclitus’ thinking has a primitive aspect. He is
one of four pre-Socratics I have chosen as subjects where their writings are
all only extant as fragments of copies. The only way we really know them is
from the way other people have interpreted them.<span style="mso-spacerun: yes;"> </span>I love that they literally form a background
to our thinking that is at this point is obscured. There is so much else in our
approach to thinking, which is obscured. It’s in the background and you can’t fully
recognize what it is. In the sciences, we are finally beginning to have enough
understanding of neuropsychology to get a sense of what the background is. I
also think the background involves certain fundamental physco-social processes
that allow for the construction of representation and the development of meaning.
I am using Heraclites and the other pre-Socratics as metaphors for these
psychosocial fixtures. These fixtures are very important in the formation of
our ability to use these very specific speech acts to create meaning in our
world. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4jG7aFZXfgwOWTl3uQrxZHVIjb735ZZKd7I4TBo7R6q8ndVrztM2ceIj_ZM37Hew6rP_7qzyJ1wjGwvoTbdkxkJw_NeqZjUvchp5ihL0RDCpe3iHpHUdcW2ewJk3AkOpXL8LSbaa9P3Ry/s1600/Herarclitus_Hovey+Brock.jpg" imageanchor="1"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4jG7aFZXfgwOWTl3uQrxZHVIjb735ZZKd7I4TBo7R6q8ndVrztM2ceIj_ZM37Hew6rP_7qzyJ1wjGwvoTbdkxkJw_NeqZjUvchp5ihL0RDCpe3iHpHUdcW2ewJk3AkOpXL8LSbaa9P3Ry/s400/Herarclitus_Hovey+Brock.jpg" width="400" /></a></div>
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<span style="font-size: x-small;"><o:p>Hovey Brock, "Heraclitus," 2015, </o:p><span style="background-color: white; color: #222222;">30" x 48", oil on panel, 2015</span></span></div>
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The writing on this painting is from some of Heraclitus’ fragments.
I used the most famous one, which translates as, “Stepping into the same river,
different waters flow.” Another way you could think of it is, “Different strokes
for different folks.” This is a fundamental type of agonistic thinking where your
point of view is not going to be my point of view, but in talking we are going
to arrive at some sort of understanding. For me, I would call that a
psychosocial event that happens in any creation of meaning, right? (Laughs)<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: Sure,
exactly.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: The fact is that
while we are sitting here having this conversation we are creating meaning.
It’s very agonistic in that you have your point of view and I have my point of
view. As the result of talking we will arrive at yet another point of view. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: I enjoy
thinking about this arena or space that you are talking about; a background
space that we can access—in the case of these specific thinkers—only in second
hand fragments. We can’t see an original source but we know it exists. You
mentioned the advances in understanding the brain’s functions and how that
correlates to psychology. Going back to speculative realism where there is
something outside the subjective realm Kant described, I have a question about the
background. Where is it? Is it in the biochemical synaptic architecture of our
brains? Or, is it in the patriarchal social structures that we have endured and
respond to? Where would you place it? <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: That is a
great question. My use of the background is as a very expansive term. It covers
a lot of layers. At the bottom most layer, it resides in very specific hardwiring
of neurophysical events. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: Would you
say that it is found in the old brain? The base of the brain is the oldest part
of and where the most animalistic, involuntary thought processes take place. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: Yes,
absolutely. I went to a great lecture by Scott Soames. He is trained both in
neuropsychology and Freudian Analysis. He talked how our sense of being in the
world is located in these very primitive brain centers. Without these, we don’t
really have a sense of our agency in the world. Jaak Pankseep is a
neuropsychologist who has mapped out certain areas of the brain. There are
certain fundamental affects that associated with the layer on top of this
ancient brain. So the ancient brain in basically, “I’m here.” In the next layer
are affects that we share with other mammals.<span style="mso-spacerun: yes;">
</span>Then as a social species we have a third layer from which social interactions
and relationships and language are controlled. This third layer is what I mean
by the psychosocial layer of thinking in which human society is structured. <o:p></o:p></div>
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<o:p> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFcjM2GXwl34vftB1mRIt_cLdnzqhDmMfccCnFQxZJjgBMCD0Cbe9c4D3u_NH2FqaliJPcjQftO4bldSRzXqEK9X_ZxzcM-mvpGCdCSUN8-mveOaVqRL2k1mV84PbD_f6obq_k24ut_E8t/s1600/Parmenides_Hovey+Brock.jpg" imageanchor="1"><img border="0" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFcjM2GXwl34vftB1mRIt_cLdnzqhDmMfccCnFQxZJjgBMCD0Cbe9c4D3u_NH2FqaliJPcjQftO4bldSRzXqEK9X_ZxzcM-mvpGCdCSUN8-mveOaVqRL2k1mV84PbD_f6obq_k24ut_E8t/s400/Parmenides_Hovey+Brock.jpg" width="400" /></a></o:p></div>
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<span style="font-size: x-small;"><o:p> Hovey Brock, "Parmenides," 2015, </o:p><span style="background-color: white; color: #222222;">30" x 48", oil on panel, 2015</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpETLVfUzCWMJAqjCxA6BcCrA-DuGf5j4rfgtjn10mjIIuNNMCICezNQVnifytIiLWM2tlpAAx8wJkg_HsoA1e57dUgXwDHug8Q-zbnGYLmFzVMMCYVR4AeHfP77dBQPHAlEWIPkFZapdK/s1600/Anne-050216-46220.jpg" imageanchor="1"></a>SPEECH ACTS<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: I’m very
interested the idea of the speech act. The ability to make a word, to say,
“that.” A baby will point at something when she identifies with something.
Pointing is the first impulse behind wanting to name it. In a sense, you
project something of yourself on to the object. It has meaning for you. There
is something very moving for me about that process. Word formation has an
emotional component because I feel it connects back to being able to understand
and defend your own identity.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: No question.
I’m very glad you said that it is moving, because I agree. It’s our emotions
that actually impel us to go out, connect with other people, talk, and become
the basis for cognition. You see this in “Descartes’ Error,” by Damasio. Its
not as if emotion and thought are separate; there is a very complex interaction
between them. Something about how complex that is to happen is very moving to
me because the project of modernism—and I think we are still in a modernist
phase—is to try to uncover this manifold background. I think Marx, Freud, and
all the thinkers of doubt, said, “We have this surface, but there is more to it
than that.” Painting is in a very good position to talk about this phenomenon,
not only the context of speech acts, but also about their long historical
background. There is a way in which our social interactions have had this long,
historical winnowing of certain processes that lead us to where we are now. They
have been shaped by history. It’s very interesting to look at painting’s long
history as a parallel. When I make a painting its almost as if I am trying to
present a map of the subject state that I have that actually brought me to
create that painting and this is what I have to offer to other people. I am
making the assumption that because you also have subjective states that are
somehow congruent with mine, this will actually have some meaning for you.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: I respond to
your work, I’m interested in it; I want to know more. I would say, you are
succeeding. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: Thank you.
(Both laugh) Good. We all have this intuitive assumption that there is going to
be a sufficient degree of congruency; we will be able to make representations
that we will be able universally understood. I am noticing, for example,
certain things that come up in your work; the sphere in <i style="mso-bidi-font-style: normal;">Diving Bell</i> and <i style="mso-bidi-font-style: normal;">Pitch</i> has
this wonderful map-like quality to it. Is there something you are trying to
work your way out of in these paintings or trying to move beyond? <o:p></o:p></div>
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<span style="font-size: x-small;"><o:p> Anne Sherwood Pundyk, "</o:p><span style="color: #20124d;">Diving Bell</span><span style="color: #20124d;">," 2015, Latex, Acrylic, Colored Pencil and Stitching on Canvas, 84 x 92 inches</span></span></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: As I move
from one piece to the next, I think about how Kant described the sublime as
something larger than us. I associate that with being overwhelmed by anxiety. I
am anxious almost all the time (laughs.) What I am looking for is some way to
address that, give it context and resolve it. The things that make me uneasy
are important yet somehow unapproachable. They are beyond the horizon. I know
something about them, but I don’t know enough to know what the proper, safe, interesting
or even funny response should be. The idea of inserting the monkey wrench is one
way—in the face of this uneasiness— of being able to find the resources to be
clear headed, calm and come up with a way regain direction. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: So throwing
in the monkey wrench is a way for you to break out of the stability and be comfortable
with the instability and in that way you are managing that aspect of trying to
hold on to control. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: For me, it’s
working to accept the situation. The phrase “going with the flow” comes to
mind. If you are skiing down a steep hill and you feeling like you are not in
control, then go straight down. Don’t fight the forces and try to do any
switchbacks. Its not relinquishing or giving up the struggle so much as
dwelling with it, learning from it and saying, “Oh, there’s a new word here.”
These paintings aren’t part of a series, so to speak, but I do find that there
is a dialogue between them especially because in a concrete way I will do a
pour on one painting and press another painting on the same pool of paint. The
mirror image of the shape will appear on the second painting.<span style="mso-spacerun: yes;"> </span>So, in some ways they make each other. I am motivated
to be as expansive as possible about the process. I want to find relief. I
change my mind a lot and I know a couple of things, but then I don’t know a lot
(laughs.)<span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HB</b>: Right. Your
story about going straight down the hill made me very anxious. I’m not sure
that’s the way I’d go about it. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">ASP</b>: It’s about
accepting that the moment is about speed. Finding that the momentum is with you
and through that you can regain control.<span style="mso-spacerun: yes;">
</span>Working from the old brain up.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">About the Artists:<o:p></o:p></b></div>
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<b><span style="color: black;"><a href="http://www.annepundyk.com/">Anne Sherwood Pundyk</a></span></b><span style="color: black;"> is a painter and writer
based in New York City and Mattituck on the North Fork of Long Island. Just as
abstraction has transformed representation in modern and contemporary painting,
performance poses its own problem to the medium. Pundyk’s new work is a
response to the question of how to paint the theatre of agency. Her painting, "The Revolution Will Be Painted," is on view through February 3, 2017 at The Schelfaudt Gallery, Bridgeport University, CT, as part of the group exhibition, "Reality of Abstraction," <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black;"><a href="http://hoveybrock.com/home.html">Hovey Brock</a><o:p></o:p></span></b></div>
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<span style="color: #222222;">Hovey Brock
is a Brooklyn-based artist and educator who practice painting and social
engagement. His current research focuses on consciousness and image theory. He
also writes for the <i>Brooklyn Rail</i> and other publications.<o:p></o:p></span></div>
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Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com4tag:blogger.com,1999:blog-1176227673788442853.post-69626185003590571792014-11-15T12:59:00.000-08:002014-11-15T12:59:15.804-08:00Unexpected Outcomes<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: Georgia, Times New Roman, serif;">The blue and white watercolors grew indirectly out of my use over many years of china cups as a subject for paintings. The cups were from my grandmother's house and were decorated with an old fashioned pattern called Blue Willow, also in blue and white, incorporating landscapes, a house, birds and trees inside a geometric border. My grandmother, Mary Sherwood Wright Jones, was an artist and illustrator. She lived in a large, magical house on a hill in southern Ohio. We would visit her several times a year when I was young. I used the cups as subjects for works in many different media and at different scales -- some as large as five feet tall. I juxtaposed the cups with open watery landscapes. </span><br />
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<span style="font-family: Georgia, Times New Roman, serif;">Eventually I realized that the pattern on the surface of the cups could be altered and provide a way to tell my own stories. The intimate scale of the watercolors evokes the experience of holding and drinking from a tea cup -- something done alone as a form of meditation or in conversation with a small group. One theme that surfaced in the blue and white watercolors was the "model falling on the runway" of which "Catwalk" is an example. The theme reveals one component of the stories I want to tell which stress the importance of recognizing one's own subjective experience as the foundation for one's thoughts and actions. Our sense of self is fluid, sometimes we feel confident, sometimes we feel invisible, sometimes as in "Catwalk" we need to adjust to an unexpected outcome. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Above images: 342 Granville St., Newark, Ohio and "Catwalk" 2012, 10" x 8", watercolor on paper. </span></div>
Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com1tag:blogger.com,1999:blog-1176227673788442853.post-31650207458716553672014-09-09T13:57:00.000-07:002015-12-08T06:34:20.745-08:00The Revolution Will Be Painted<div class="separator" style="clear: both; text-align: left;">
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Women have largely been excluded from the canon of painting. Rather than abandon it, and reinforce this bias, I choose to engage with the medium; there is much that has yet to be said. </div>
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Redressing the medium's established language is one such topic. Motherhood experienced rather than observed and regulated is another. Before I manipulate the traditional elements and processes of painting, my work originates within a non-material, interior realm. I am drawn unconsciously to a string of images each representing a moment of recognition. I believe the essence of who we are can be distilled from these moments.</div>
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"The Revolution Will Be Painted," is an installation that is part of the group exhibition, "<a href="http://gallerysensei.com/Milk-and-Night">Milk and Night</a>" at LES Gallery Sensei through September 21, 2014. The inter-related components of the installation are centered on my painting, "Shadow Realm" and the sequencing of its source material. The painting's central figure is a woman fencer. She is prepared to defend. As we all strive to do for ourselves as adults, a mother negotiates to protect the essential shape of her child's inner life so that it may flourish when she asserts herself in the uncertain outside world.</div>
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;">The painting is framed by a monumental canvas tapestry painted in an abstract conversation of color and form, becoming a protective cloak for both the painting and the viewer. The canvas was re-purposed from its use as a drop cloth on my studio floor for the last two years. It is thus charged with the specific history of my painting process along with the preparations that took place in my studio for collaborative events such as “The Clitney Perennial” at the Whitney Museum of Art. In the upcoming issue of <i><a href="http://www.becapricious.com/girls-against-god/">Girls Against God</a></i> which I co-edit, the source material for "Shadow Realm" is ordered as elements of a mother's protective spell; a rose, a stone and a leaf are gathered under candlelight while a child's favorite lullabies are sung. The painting, the cloak and the spell are evoked in the video, "<a href="https://vimeo.com/channels/177100/104974307">A Mother's Spell</a>" accompanying the installation yet playing in a steady loop in a remote, intimate space in the gallery. </span><br />
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<span class="Apple-style-span" style="font-family: "times" , "times new roman" , serif;"><b>Above images</b>: Anne Sherwood Pundyk "The Revolution Will Be Painted," (2014) 11' x 15', Acrylic and Latex on canvas with "Shadow Realm" (2013) 42" x 46", Oil and Acrylic on Linen.</span><br />
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<span class="Apple-style-span" style="font-family: "times new roman";"><br /></span>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com1tag:blogger.com,1999:blog-1176227673788442853.post-62667410593945667152014-06-02T07:34:00.000-07:002014-06-02T16:49:31.276-07:00 Two Ways to Do the (Paintings of) Dishes<div class="MsoNormal">
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<span style="font-size: x-small;">Anne Sherwood Pundyk, "Pitcher," 2012, Gouache on Paper, 9" x 9"</span></div>
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<span style="font-size: x-small;">Anne Sherwood Pundyk, video composite for <i>"</i>Object Classification<i>,"</i> 2014</span></div>
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<i>Is the story we associate with an object pressed within its physical
matter like a vinyl recording? Does it replay in our memory when triggered by
our experience of the object? Can these stories be shared through the exchange
or transformation of that object? </i> These
questions are prompted by two projects I worked on this spring centered on
still life paintings. Early in March I got an email from the LES gallery Lisa
Cooley offering the opportunity to participate in <i><a href="http://www.lisa-cooley.com/exhibitions/cynthia-daignault-das-tauschregal">Das Tauschregal</a> </i>(translated
as The Barter Shelf.) It was
part of an “experiment in participatory economics,” conceived of by the painter
Cynthia Daignault wherein I traded an "object of value," -- an old
coffee cup -- for a representational painting of it by her. About the same time
that I relinquished the cup to Daignault, I performed "Object Classification" at the <i>Last Brucennial</i>, a monumental
community art show put on by Vito Schnabel and The Bruce High Quality
Foundation. In front of more than 40
people gathered in the galleries, I let go of a white, china pitcher
that I had previously used as the subject of a painting. It fell to the
concrete floor and broke. Sharp triangles of porcelain popped and skidded
around my bare feet.</div>
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<span style="font-size: x-small;">Anne Sherwood Pundyk, "Object Classification<i>"</i> performance, 2014 (photos by Kyle Morrison)</span></div>
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<o:p> </o:p>There
is a personal story associated with the cup I submitted to Lisa Cooley. As part of the selection process I was
asked to describe the object on the back of a 3” x 5” index card. I wrote, <i>“My friend Leon Kenyon, III, had lived in
New York City before coming to college in Claremont, CA. He was exotic and
sophisticated about art and life. He made poetic collages and talked about the
abstract power of the color blue. He would serve coffee properly in this cup
when I came over to visit and talk about art and art history. Once when we were
walking together he found laying on the street a page out of a magazine
featuring a woman’s breasts. He matter-of-factly put the page on his
refrigerator with a magnet. Somehow, over all these many years, I have kept the
cup. It is small and round and creamy white. On the bottom of the cup it says
“USA.” </i>Leon inspired what I consider to be my first real work of art, this
collage:</div>
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<o:p><span style="font-size: x-small;">Anne Sherwood Pundyk, "Pink Pacific," 1978, 30" x 18", mixed media </span></o:p></div>
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During “Object Classification," a video
montage of layered source imagery for my small gouache still life streamed
over me. Before dropping the pitcher I explained to the audience, “For over 20
years I made paintings of cups and pitchers…They were objects of reassurance.
They contained my stories…But, after all those years, I wanted to be able to<b style="mso-bidi-font-weight: normal;"> tell</b> my stories, to <b style="mso-bidi-font-weight: normal;">participate</b> in them, <b style="mso-bidi-font-weight: normal;">become</b> them through their retelling.”<i style="mso-bidi-font-style: normal;"> </i>The <a href="http://vimeo.com/27565971">video</a> included short clips from
family trips and popular entertainment we enjoy together.<i style="mso-bidi-font-style: normal;"> </i>Outside the gallery’s window walls, the streets of New York City’s
meat packing district were flooded with shoppers and the sunshine of an
unseasonably warm mid-March afternoon.<i style="mso-bidi-font-style: normal;"><o:p></o:p></i></div>
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My performance was part of “<a href="http://www.annesherwoodpundyk.blogspot.com/2014/03/the-last-brucennial-program-sacred.html">Sacred Nipples: Feminist VideoScreening and Discussion</a>.” The art collective, Go! Push Pops -- with Katie
Cercone and Elisa Garcia de la Huerta -- and I organized the event because this
year <i>The Last Brucennial</i> included only women artists: 660 in total. (Similarly, the one-day exhibition up at the same time, <a href="http://iamfinley.com/whitney-houston-biennial-im-every-woman/"><i>The Whitney Houston Biennial</i>,</a> curated by Christine Finley featured over 80 women artists.) Just as I
had sought to get deeper inside the subject matter for my paintings, the
audiences’ discussion after the videos and performances focused on
transformation and choosing to challenge outdated rules. Feminism and the
mechanisms of inequity within the art market were topics of interest, bringing
together a diverse audience.</div>
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<span style="mso-bidi-language: EN-US;">For the Lisa Cooley
exhibition, Daignault transformed my cup and 30 other objects into small,
representational paintings. According to the gallery, “Since the paintings were
installed concurrently with the Frieze Art Fair, <i>Das Tauschregal</i>
suggests an alternative art market, exploring the notions of value independent
of price.” <span style="mso-bidi-font-style: italic;">The paintings </span><i style="mso-bidi-font-style: normal;">were</i> on display from the beginning of
the Frieze Art Fair, which took place on Randall’s Island and was attended by 50,000
people over a four-day period, but they were installed at 6 Decades Books
located on Canal Street. While the show was up through May </span>31<sup>st</sup>, the
store is only open two days a week. I would be surprised if 200 people saw the
show. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrG67AdtthdcHGsl3zGTssoLpOnB94H0FXWrQLw-X8OChmmHlh4u_zPAa784kFgi4R0oUii6ynnWtiahIjzEgd5rYRaVCagAXVkUkL-_kVOEuwAxKDoL0njFvYLLSsgxCHeau6xZcIRDR7/s1600/photo+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrG67AdtthdcHGsl3zGTssoLpOnB94H0FXWrQLw-X8OChmmHlh4u_zPAa784kFgi4R0oUii6ynnWtiahIjzEgd5rYRaVCagAXVkUkL-_kVOEuwAxKDoL0njFvYLLSsgxCHeau6xZcIRDR7/s1600/photo+1.JPG" height="240" width="320" /></a></div>
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<span style="font-size: x-small;">Cup traded for a painting</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzQ05cj4WUO7uHJAeH1xNyfXy1YEBzaUVQCNxuC2motpqpD-0Egyt5F4P-H3v6w1AIIFwGa7j-hxMzW1XgG-lpoLTOXSn_RHe_ut3BA8xU3fbDzP9qGEG34s13GTZS_kxAjg3SmkUtjIFD/s1600/sef6_CDBarterShelfMay24.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzQ05cj4WUO7uHJAeH1xNyfXy1YEBzaUVQCNxuC2motpqpD-0Egyt5F4P-H3v6w1AIIFwGa7j-hxMzW1XgG-lpoLTOXSn_RHe_ut3BA8xU3fbDzP9qGEG34s13GTZS_kxAjg3SmkUtjIFD/s1600/sef6_CDBarterShelfMay24.jpg" height="312" width="320" /></a></div>
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<span style="font-size: x-small;">Cynthia Daignault, <i>Das Tauschregal, </i>installation view courtesy of Lisa Cooley Gallery </span></div>
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<span style="mso-bidi-language: EN-US;">Daignault’s expression of an alternative value system, was segregated
from the mainstream art market that predominately serves institutions lead by
white men. We concluded at the<i> Last Brucennial</i> discussion that <span style="mso-bidi-font-style: italic;">having a large, supportive audience – in
galleries, museums, in collections and in the press -- improves the chances of
keeping the stories not yet given their proper due alive through their
retelling.<o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeIm9JDK0zGuH0BAonFQVjSWC_qulZrFGtLO_Z8mMNSng7fYwgCIEtdW_nvkQq_27FjK-01nvKzJEjyEyNBdNl0rLiHCXs2GgNcU3zvCgea6ub2LkuTGGDHETDIdFbL9VmSRdFMdY_0jMR/s1600/prep.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeIm9JDK0zGuH0BAonFQVjSWC_qulZrFGtLO_Z8mMNSng7fYwgCIEtdW_nvkQq_27FjK-01nvKzJEjyEyNBdNl0rLiHCXs2GgNcU3zvCgea6ub2LkuTGGDHETDIdFbL9VmSRdFMdY_0jMR/s1600/prep.jpg" height="286" width="320" /></a></div>
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<span style="mso-bidi-font-style: italic; mso-bidi-language: EN-US;"><o:p><span style="font-size: x-small;">Clitney Perennial preparations in Anne Sherwood Pundyk's studio</span></o:p></span><br />
<span style="mso-bidi-font-style: italic; mso-bidi-language: EN-US;"><o:p><span style="font-size: x-small;"> included Sienna Shields, Anne Sherwood Pundyk, </span></o:p></span><o:p><span style="font-size: x-small;">Katie Cercone, </span></o:p><br />
<span style="font-size: x-small;">Elisa Garcia de la Huerta, and Asha Man (Photo by Andrew Hutner)</span></div>
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<span style="mso-bidi-font-style: italic; mso-bidi-language: EN-US;">Two Months later, as a corollary to the conversations started around
the Last Brucennial, Go Push Pops!, Asha Man and I lead an</span> activist art
happening at the Whitney Biennial called <i style="mso-bidi-font-style: normal;"><a href="https://www.facebook.com/events/236075889925740/">The Clitney Perennial</a></i>. Our goal was to reinforce the existence of inequitable
gender and racial representation in the exhibition. The event was inherently
defiant; we did not seek the museum’s permission. We took the risk of expulsion
or worse to show by example what is necessary to fight for important social
changes. We were pleased to have endorsements from artists such as Suzanne Lacy
and The Guerrilla Girls. We acted in solidarity with members of the <a href="http://howdoyousayyaminafrican.com/">Yams Collective</a>, who had pulled their video “Good Stock on the Dimension Floor: An
Opera, 2014” from the Biennial days before to protest the institutionalized
white supremacy embodied by the museum. Throughout the evening, informal
dialogue between participants and audience members touched on many personal
examples of limiting and destructive treatment in the art world. The
camaraderie we felt was fueled by the open structure of the event, the
opportunity to raise awareness, and by the sense of unity bonding those who had
chosen to embrace the risk of speaking out. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR2fwGquQ-msC-EC2oFd4l04ZLkEr-WkbtftQzvwS1Q1k-Zvu-OiiVX4X9iNDF0aXJHBdTnqI4f7jGwzlbmptLmHCdkNlmN9cgXQMTCfhr_VkgVPhMqodRNPAHHoF_JFuR177nf4wFskYH/s1600/DSC01862.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR2fwGquQ-msC-EC2oFd4l04ZLkEr-WkbtftQzvwS1Q1k-Zvu-OiiVX4X9iNDF0aXJHBdTnqI4f7jGwzlbmptLmHCdkNlmN9cgXQMTCfhr_VkgVPhMqodRNPAHHoF_JFuR177nf4wFskYH/s1600/DSC01862.jpg" height="212" width="320" /></a></div>
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<span style="font-size: x-small;">Clitney Perennial at The Whitney Museum (photo by Jillian Steinhauer)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEike9Jd2zJ-4X8mGtqV55WcFDHyg-iCv77TIJg6y7kgTgYDVqC02zXbXD2iszWvq53Pu3ot1aOqMY4hMW0zQaz_l87F_LeZYrwOtdLMjHXWT2X6qz7fb_OKF1uNkwhRd9TbzEEGeAy7WWtt/s1600/Clitney+Perennial+Poster+May+16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEike9Jd2zJ-4X8mGtqV55WcFDHyg-iCv77TIJg6y7kgTgYDVqC02zXbXD2iszWvq53Pu3ot1aOqMY4hMW0zQaz_l87F_LeZYrwOtdLMjHXWT2X6qz7fb_OKF1uNkwhRd9TbzEEGeAy7WWtt/s1600/Clitney+Perennial+Poster+May+16.jpg" height="400" width="308" /></a></div>
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<span style="font-size: x-small;"> Clitney Perennial Poster by Anne Sherwood Pundyk</span><o:p></o:p></div>
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<o:p><b>Related Links:</b></o:p><br />
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<o:p><i>Posture Magazine: </i><a href="http://posturemag.com/2014/06/02/the-clitney-perennial-realtalk/">The Clitney Perennial #REALTalk</a></o:p><br />
<o:p><i>Hyperallergic</i>: <a href="http://hyperallergic.com/93821/the-depressing-stats-of-the-2014-whitney-biennial/">Depressing Stats of the 2014 Whitney Biennial</a></o:p><br />
<o:p><i>Sneaky</i>: <a href="http://www.sneakymag.com/art/art-protesting-art/">Art Protesting Art?</a> </o:p><br />
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<i>SoHo20 Gallery Blog</i>: <a href="http://soho20gallery.com/2014/05/19/feminist-protests-ensure-in-the-whitney-museum/">Feminist Protests Ensure in the Whitney Museum</a><br />
<i>Bad at Sports Contemporary Art Talk</i>: <a href="http://badatsports.com/2014/what-you-should-have-noticed-in-may/">Whitney Closes with Late Soft Drama</a><br />
Hyperallergic: <a href="http://hyperallergic.com/126420/artist-collective-withdraws-from-whitney-biennial/">Artist Collective Withdraws from the Whitney Biennial</a><br />
<i>artnet News</i>:<a href="http://news.artnet.com/art-world/the-yams-on-the-whitney-and-white-supremacy-30364"> On the Whitney and White Supremacy</a><br />
<i>artnet News</i>: <a href="https://www.blogger.com/"><span id="goog_5787435"></span>A Wake-up Call for the Whitney Biennial<span id="goog_5787436"></span></a><br />
<i>BHQF University</i>: Episode 1: <a href="https://www.blogger.com/"><span id="goog_1650017789"></span>Feminist Urgent Round Table: Ana Mendieta's Artistic Legacy and the persistence of patriarchy<span id="goog_1650017790"></span></a><br />
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Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-86696404485581481942014-03-04T09:11:00.000-08:002014-03-18T08:55:11.638-07:00The Last Brucennial Program: Sacred Nipples: A Feminist Video Screening and Group Discussion<h1 class="h1" style="background-color: white; color: #202020; font-family: Arial; font-size: 34px; line-height: 34px; margin: 0px 0px 10px;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoSA4xbb5FYnNMQPg9S-WpKPmWkbMvSB2QtRJTuA4_6s2GkJlDiJwwNM1CwwIlmwzbIU2Bxs91R66gR6mycBN3sc0HLX8233-lp5nb-e6lmCz5qx7chGGzTK5r21mrEcBXSzYPX5KFeCb1/s1600/facebook+3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoSA4xbb5FYnNMQPg9S-WpKPmWkbMvSB2QtRJTuA4_6s2GkJlDiJwwNM1CwwIlmwzbIU2Bxs91R66gR6mycBN3sc0HLX8233-lp5nb-e6lmCz5qx7chGGzTK5r21mrEcBXSzYPX5KFeCb1/s1600/facebook+3.jpg" height="145" width="400" /></a></div>
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<span style="color: #333333; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 16.639999389648438px;"><strong><a href="http://brucennial.com/">The Last Brucennial</a></strong>, a group exhibition presented by <b>Vito Schnabel</b> and T<b>he Bruce High Quality Foundation</b> opens Thursday, March 6 from 6 -10 pm at:<br /><br />837 Washington St., New York, NY.<br /><br />The exhibition runs from March 7 - April 4, 2014.</span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;">The gallery is open Wednesday through Sunday 12 - 6 pm.</span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><br />Included in this year's exhibition is the following program of videos, performances and an audience group discussion. The event is hosted by <b>Anne Sherwood Pundyk</b> with <b>Go! Push Pops </b>and takes place on:<br /><br />Saturday, March 15, 2014 from 5:30 - 7:30 pm,</span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;">at <b>The Last Brucennial</b> exhibition space 837 Washington Street, New York, NY.</span><br />
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<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;">PROGRAM DETAILS:</span><br />
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<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>5:30 - 6:15 pm</b> - video screening including the following works:<br />"Pee on Presidents," by <b>Melanie Bonajo</b>, with a performative speech; </span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;">"The Proprietor" by <b>Bianca Butti</b>;</span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;">"Treemonisha Drank Up (Kakey Long Tongue Redux)" by <b>Katie Cercone</b>; </span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;">"Object Classification" by <b>Anne Sherwood Pundyk </b>with voiceover</span><br />
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<span style="color: #505050; font-family: arial, helvetica neue, helvetica, sans-serif;"><span style="background-color: white; font-size: 14px; line-height: 21px;">others pieces to be screened are by</span></span><br />
<b style="color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;">Go! Push Pops</b><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>Claudia Bitran</b></span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>Ariel Hahn</b></span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>Elisa Garcia de la Huerta</b></span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>Greem Jellyfish </b></span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>Nika Kaiser</b></span><br />
<span style="background-color: white; color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>Mike and Claire </b></span><br />
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<span style="color: #505050; font-family: arial, 'helvetica neue', helvetica, sans-serif; font-size: 14px; line-height: 21px;"><b>6:15 - 7:15 </b>- discussion with <strong>Suzanne Stroebe</strong> and <strong>Caitlin Rueter</strong> of <b>A Feminist Tea Party</b>, <strong>Kara L. Rooney </strong>and the other artists.</span><br />
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<span style="color: #505050; font-family: arial, helvetica neue, helvetica, sans-serif;"><span style="font-size: x-small; line-height: 21px;">Above image: video still from "Object Classification" by Anne Sherwood Pundyk</span></span><br />
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<span style="color: #505050; font-family: arial, helvetica neue, helvetica, sans-serif;"><span style="line-height: 21px;"><b>Photographs of the event by Mira Shor, Claudia Bitran, Mimi Balmori, Kyle Morrison, and Elisa Garcia de la Huerta:</b></span></span><br />
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<span style="color: #505050; font-family: arial, helvetica neue, helvetica, sans-serif;"><span style="font-size: x-small; line-height: 21px;"><br /></span></span>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com13tag:blogger.com,1999:blog-1176227673788442853.post-38465734482394295242014-02-14T09:49:00.003-08:002014-02-14T09:49:37.082-08:00Fold<div class="separator" style="clear: both; text-align: center;">
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<b style="line-height: 200%;"><span style="font-family: Garamond;"><span style="font-size: x-small;">Anne Sherwood Pundyk, "Small Tower Window,"2012, Oil and Acrylic on Linen, 60" x 63"</span></span></b><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: large; mso-bidi-font-family: "Times New Roman";">The following dialogue will be published in the upcoming catalogue for the exhibition, "<a href="http://www.susaneleyfineart.com/index.php?globalnav=exhibitions&sectionnav=stadia">Stadia: New Work by Anne Sherwood Pundyk</a>," at Susan Eley Fine Art, New York, NY, November 7 - January 5, 2014.</span></b><br />
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<b><span style="font-family: Garamond; font-size: 12pt;">Winter 2013-2014</span></b><br />
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">A
Conversation </span></b><br />
<b style="line-height: 200%;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">with Anne Sherwood Pundyk </span></b><br />
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">Barry Schwabsky<o:p></o:p></span></i></b></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">When
you don’t know you should ask. And as I began to become aware of Anne Sherwood
Pundyk’s multifarious activities around her exhibition “Stadia” as well as the
magazine she co-edits, </span></i><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">Girls Against
God<i style="mso-bidi-font-style: normal;">—and I don’t mind admitting that I was
immediately seduced by the joyfully refractory tone of that title—I had to
wonder: How did these gutsy, energetic paintings with their eccentric
amalgamation of gesture and geometry or her more restrained and allusive figurative
watercolors relate to her installation </i>Rented World<i style="mso-bidi-font-style: normal;"> or her collaborative efforts on the magazine and elsewhere? So I
decided to ask. And as many of the most rewarding conversations, it seems to
have started right in the middle of things and ended somewhere very nearby,
having in the meantime taken in more terrain than I might ever have expected
and leaving me with the happy premonition that the dialogue is not yet over.<o:p></o:p></i></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">Anne
Sherwood Pundyk: </span></b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">This might be a place to start: on November 17th I
wrote in my journal: “The stage is not stable. Carnivore—kill or be killed. If
there is something you want this is what you have to be able to do.” <o:p></o:p></span></div>
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<b><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">Barry Schwabsky: </span></b><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-weight: bold;">For a minute I thought you wrote,
“The stage is not <i style="mso-bidi-font-style: normal;">a</i> stable.” Like,
it’s not a place for the horses of instruction. You see yourself, rather, among
the tigers of wrath?</span><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">ASP: </span></b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">That’s funny. I like misreads; I also like your
phrase, “horses of instruction.” We learn to ride on that set that of
monumental creatures. Who is teaching whom? The rider learns the animal’s
language (or a tamed dialect) by recognizing her own wildness. When I said
the stage is unstable I meant that having a platform for expression of voice
once attained isn’t then necessarily a given.<o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>If
not horseback riding lessons, I would like further instruction for the stage:
how to make an entrance naturally and engagingly or how to command the stage
with humility and humor all the while planting subversive truths. Getting
comfortable there seems like one way to ward off the tigers, wolves, or wild
boar waiting in the wings. As you and I spoke about in the gallery, the work
in “Stadia” melds my experience with collaborative projects outside the studio
with my solitary work within its sanctum. As a way to celebrate this crossing
over and share it with the audience, I included in the exhibition’s program two
performance events linking both modes. In so doing, the show creates an
opportunity to perform and learn from having more experience “on stage.” The large painting in the main room is titled, “Self-taught” – perhaps
the truest form of learning. I am also taking my cues from the performance
artists with whom I have recently worked, including Suzanne Lacy, Kembra
Pfahler, and Bianca Casady.<o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>The
first performance at “Stadia” on November 10<sup>th</sup>, revived a 70’s
consciousness-raising format for group conversation. I lead the discussion with
my co-editor of <i>Girls Against God</i>, Bianca Casady. Fifteen of us sat in a
circle in the gallery. Speaking and listening in turns, without interruption or
judgment, everyone recounted his or her experiences related to feminism.
Suzanne Lacy, an activist-artist based in Los Angeles led a project with
Creative Time and the Brooklyn Museum this fall called “Between the Door and the Street.” It was a performance with over 400 people engaging in this type of
feminist dialogue. I had participated in the piece with other’s from GAG and
wanted to continue the conversation at a smaller scale. <o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>Collage
as a process is core to my approach to painting. I underscore this connection
with the “My Atlas” books and videos composed of collected source material
included in the show. Last summer, during a launch party at Printed Matter for
the first issue of <i style="mso-bidi-font-style: normal;">GAG</i>, we gathered
several of the magazine’s contributors including Kembra Pfahler. That
afternoon, she lectured on “how to do a performance.” (Step one: set a date.
Step two: make a poster. Step three: tell your friends.) She practices
Availibism; use what is on hand to make your art. What better example of
Availibism than collage? Enter: “Drinkollage,” a community collage-making collaboration
between artists Rachael Morrison and Jamie Gaul. Rachael Morrison, who is also
a librarian, most recently at the Museum of Modern Art’s library, invited me to
visit MoMA’s stacks. While sitting on the floor surrounded by artist’s books, I
learned about her interest in collage and her collaboration with Jamie. Having
subsequently experienced the communal bliss of collage making during one of
their “Drinkollage” events I knew I wanted to invite them to “Stadia.” <o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>The
second event took place on December 10<sup>th</sup>. In the morning I went to
my studio and pulled up the large canvas drop cloth that had been covering the
floor during the making most of the work in “Stadia.” I brought it to the
gallery and spread it on the floor. Jamie and I then set up the tables, chairs,
source material, scissors and glue. That evening, the
audience/participants for “Drinkollage”/“Stadia” worked upon the flooring of my
studio, transposed to the gallery. During the event, the 20 collagists in
unison readily fell under the meditative spell and solitary pleasure of
searching for connection to the subjects in the magazines and books spread over
the long center table.<o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>So,
Barry, do <i>you</i> think we need the killer instinct to fully realize our
endeavors and take center stage?<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">BS:</span></b><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";"> My phrase is from William Blake’s <i style="mso-bidi-font-style: normal;">Marriage of Heaven and Hell</i>: “The tygers of wrath are wiser than
the horses of instruction.” He also taught: “Without Contraries is no
progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are
necessary to Human existence. From these contraries spring what the religious
call Good & Evil. Good is the passive that obeys Reason. Evil is the active
springing from Energy.” So when I hear about your consciousness-raising session
I worry that it may not be—in Blake’s sense—evil enough. I understand the value
of suspending judgment (and practice it a lot) but never want to be without
judgment. I’m sure that when you work along in your studio on a painting, you
allow yourself great freedom without self-censorship—but then you exercise
ruthless judgment. Is it harder or easier to do the same when you are working
in collaboration with others?<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">ASP:</span></b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> The two-step
of any creative endeavor you described for the solo artist, unfettered
origination partnered with critical excision, requires a different type of
management during collaborative projects. It feels harder to me, although I
realize that the work involved becomes the basis for an education. You learn
the equivalent of street smarts, but also, you are exposed directly to other
artists’ processes and orientations. I don’t think this valuable intimacy could
be attained any other way. The difficulty I feel while working collaboratively
could be that I am more practiced as a solo artist. Each subsequent
multi-player project has had its own distinct challenges, but I am gradually
becoming more familiar with the stresses of group work.<o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>To
address your point about the consciousness-raising piece, it was designed to
isolate that first, free state of the creative process so that as a group
everyone could savor what was said before censoring. I know I had critical
thoughts during the 2-hour discussion, but as with meditation, I watched myself
on occasion being judgmental, registered it and then worked to remain open to
the stories being told. Bianca and I have talked about hatred – the
severest form of judgment – and found its roots in self-hatred.
Consciousness-raising, like meditation or prayer, is an on-going endeavor. The
shared conversation is designed as the starting point for personal activism. It
was meaningful for me because it transferred the practice of opening up I feel
in my studio to a group experience.<o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>I
want to go back to the stresses. Alongside those who are generous and
inspiring, there are divas. There are slackers. There are saboteurs and spies.
There are lazy and weak institutional authorities. It’s tough being the
captain. And for everyone involved there is the duality of the collective needs
alongside, and sometimes competing with, the urge for individual recognition. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">BS:
</span></b><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">Have you always done collective work
alongside your individual studio practice, or is that a fairly recent thing? Do
you see the impulses or desires that go into each one as quite different, or do
they feed into each other?<o:p></o:p></span></div>
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<span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Garamond; mso-fareast-language: JA;"><b>ASP</b>: Alongside my own drawing and painting, I made super-8 films about magic
with the cartoonist Paul Karasik, when we were thirteen. At the Rhode Island School
of Design I met artist Karen Yama; after school we successfully collaborated
on a project called “Oma Minion” shown at Minor Injury Gallery in Brooklyn (documented in Exit Art’s <i style="mso-bidi-font-style: normal;">Alternative
Histories</i>, published by MIT Press, 2013.) Despite the gratification of
creating the story, documentation and artwork of this fictional, forgotten
artist, it was here I began to feel the conflict of collaborative work versus
my own individual painting.<span style="mso-spacerun: yes;"> </span>For the next
ten years I pursued my own work. In the last five years, in response to outside
invitations, I’ve resumed projects with others as a counterpart to my studio
work. Lenny Cassuto, an English Professor invited me to work on "Captivity," a
multi-disciplinary art exhibition and writing project with students at Fordham University. Following this came three more multi-artist
pieces with Tara Mathison, Curator and Director of the Queens College Art
Center: “Express + Local,” “Utopia,” and “Rapunzel in the Library.” Kara Rooney
subsequently asked me to do a large site-specific piece for a show she curated
called “MATERIAL TAK” at Panepinto Galleries in Jersey City.<o:p></o:p></span></div>
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<span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Garamond; mso-fareast-language: JA;"><span style="mso-tab-count: 1;"> </span>I have always been
naturally content to work alone. Growing up, we moved every few years. While it
was good to have exposure to different parts of the country, it shredded any
cohesion in my social life. Learning to be an expert, “new girl” meant entertaining
yourself, observing the new social scene and patiently waiting for the right
friendships to gel. Making friends became a craft to practice and hone, just
like life drawing or collage.<span style="mso-spacerun: yes;"> </span>This
awareness and conscious effort kicks in for my collaborative work. I would be
happy as a clam in my own embryonic world but there is an equally strong
imperative to engage with others.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Garamond; mso-fareast-language: JA;"><span style="mso-tab-count: 1;"> </span>Ideally, the relation of
my solo work to the group work I undertake would be modeled on the relation
between team members in a relay race. You have to be a strong contributor on
your own, which is where your solo practice comes in. You have to hone your own
perspective, techniques and methods for realizing your vision. My solo work
stands alone, but through my work in a team, I experience the work of others
while contributing to a larger effort where we each have a role, defined by our
interests and strengths. You learn from each other’s stories and experience
this way. <o:p></o:p></span></div>
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<span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: Garamond; mso-fareast-language: JA;"><b>BS</b>:
A lot of your recent paintings seem to be collaborations between abstract,
planar space and volumetric, perspectival space. Or maybe not a collaboration
but a dispute between the two? For a lot of artists and art lovers these days,
just being interested in pictorial space seems to be something that can be
dismissed as a hopelessly formalist pursuit. (I'm not one of them, by the way.)
How does abstract painting fit into your gamut of artistic pursuits?<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">ASP</span></b><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">: </span><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">I paint with
a consciousness of the medium's tradition; its span from earliest depictions of
goddesses and goats on the walls of caves to Kandinsky’s discovery of the
expressive potential of disembodied form and line in 1908. As part of my
academic instruction in art, I encountered the mind-dulling categorization and
hierarchic judgments related to figuration and abstraction in painting. These
two modes can both be attributed by the viewer to any one of my paintings,
alone or together. But because of the way I approach my work that in and of
itself is of no concern to me. </span><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">What you first see when looking at my work are objects made
using a vocabulary of materials associated with a traditional painting process
(oil and acrylic paint, charcoal, linen, and stretchers) but before I
manipulate these elements my work originates within a non-material, interior
realm. I am drawn unconsciously to a string of images each representing a
moment of recognition. The selection of one visual creates the context for the
next decision within the creation of any one painting. I believe the essence of
who we are can be distilled from these moments. <o:p></o:p></span></div>
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<span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>My paintings
are made of overlaid, figuratively intended responses to these selected images.
Depicting a pictorial space per se is not my ultimate intention; I am
interested in conveying the consciousness of experience. The art historian Christopher
Wood has written about this<span style="color: #535353;"> </span>phenomena in his
essay, “<span style="mso-bidi-font-style: italic;">Painting and Plurality.” Wood
asks</span>, “Can we picture to ourselves, when we hear of a plurality<span style="color: #141413;"> of images, not a collection of discrete individual
images but an abundance unsurveyable and without internal differentiation? Just
as one hears in so many languages of the waters: <i>die Wässer</i>, <i>les eaux</i>.
. . . In the flux of experience it may be no more possible to isolate a
singular ‘image’ than it is to isolate a singular ‘water.’ The waters,
according to Roberto Calasso in his meditation on Hindu mythology, <i>Ka</i>,
symbolize the glittering flow of inner images, the ceaseless proliferation of
specters and simulacra, that constitutes consciousness</span>.” In a new form,
my paintings house the sequence of recognized moments, ready for reception and
interpretation by my audience. Embedded in the string of images layered within
each painting are my own essential stories. They overlap with older stories
such as myths, fables, and fairy tales. In so doing, they begin to communicate
to others the inaudible truth of the inner self. <o:p></o:p></span></div>
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<span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>The
collaborative, communal work I did over the last three years alongside my
studio practice was the catalyst for the observable changes in my work shown in
“Stadia.” By comparing my experiences responding to the two work environments –
studio and public space – I became aware of their differences. One specific
manifestation of this awareness in my paintings was the addition of a new set
of tools. Along with the brushes I have been using for years, I added a
selection of scraping tools such as spackle knives and spreaders. The hard,
stiff nature of these tools creates an unbroken plane of color on my painting’s
surface indicating, perhaps, a less mutable realm or space in the paintings. I
also began to mix different shades of grey<span style="color: black;"> to use
with the knives. I have found that these neutral, emotionally cool tones serve
as a foil for the spectrum of colors applied with a brush. For the paintings in
“Stadia” I transmit personal experience within a painterly proscenium; the
unbroken applications of paint frame layered, avian brushstrokes of saturated
color. The paintings are a record of my work to </span><span style="color: #1d1d1d;">assert
and test my own ideas on the larger, public platforms and confirm where my
subjective voice connects to a collective consciousness.<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">BS:</span></b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> Yes, I can
see that in these paintings, you want to connect a private, interior sense of
experience with, as you say, a public platform. To me, that’s a project that
can be connected to the so-called Abstract Expressionists. What you say reminds
me of Mark Rothko: “I do not believe that there was ever a question of being
abstract or representational. It is really a matter of ending this silence and
solitude, of breathing and stretching one’s arms again.” Or even Barnett Newman:
“Instead of making <i style="mso-bidi-font-style: normal;">cathedral</i>s out of
Christ, man, or ‘life,’ we are making it out of ourselves, out of our own
feelings”—isn’t that what you call the subjective voice connecting to a
collective consciousness?<o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>I’m
curious, therefore, about the fact that in sketching your tradition you leap
from the caves to Kandinsky. </span><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New";">I
assume that encompasses a lot of what came in between, but what</span><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> about the
century since then? Do you also feel connected to more recent occurrences in
painting—Abstract Expressionism or anything else? And if so, or even if not for
that matter, what is it that your tradition has nonetheless failed so far to
accomplish? In other words, do you have a sense that there is any necessary and
unfulfilled project for art today?<o:p></o:p></span></div>
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<b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">ASP:</span></b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> I have to ask, why “so-called”
Abstract Expressionists? Do you question or object to the use of art labels
generally? Is it the term itself? A favorite reference book of mine is Herbert
Read’s, <i>A Concise History of Modern Painting</i>. It is well written, conceptually
sophisticated, and while you might quibble about his use of any given term, he
presents a clear justification for its use. Fittingly for our discussion, the
seventh chapter is called “The Origins and Development of an Art of Internal
Necessity: Abstract Expressionism.” Both Rothko and Newman are included in this
chapter. The directness of Rothko’s statement appeals to me; melding painterly
expression, natural motions of the body, and communion with others. Newman
proposes the inversion of self over any one of several spiritual stages. <o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>Another
approach to the paradigm of self and stage I often think about is based on
Kant’s <i>Critique of Judgment</i>. He constructs an argument for the
justification of a judgment of beauty. It is initially a unique, subjective, <i>individual
</i>experience. Kant finds a basis to broaden it to a subjective requirement
for everyone – the communal collective stage. He states that a judgment of
beauty “resembles” a logical judgment because it asserts a quality of necessary
universality, although this universality is subjective rather than logical.
<o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>I
stopped my trajectory at Kandinsky because beyond Kandinsky a stylistic
pluralism bloomed that proliferates to this day. Photography, film and
mechanical means of representation and reproduction both have a secure place in
this conversation, as do more recent technologies and the Internet. I see this
pluralism as tied to Newman’s inversion of self and institution.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>I
only have real patience for painting that melds experience with a presentation
of context forming a nuanced sense of reality: Manet, Morisot, Seurat, Matisse,
and de Kooning. The sensations produced by the marks of these artists as they
become line, shape, color, discernable form, and space are understood through
the artist’s body first, incorporating the artist’s vision of him or herself,
and later through the viewer’s body. Using the body as the source and the
destination of sensation recorded and perceived opens the possibility of
genuine experience. Among the many contemporary painters I admire and learn
from include Joan Mitchell, Cecily Brown, and a friend Sangram Majumdar. <o:p></o:p></span></div>
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<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>What
is left to accomplish? At the artist’s reading at The MoMA Library this week,
Jon Hendricks read a chapter of <i>Adventures in the Arts: Informal Chapters on
Painters, Vaudeville and Poets</i> a book by Marsden Hartley written in 1921.
Hartley was struck by the potential of the Dada movement for engendering a
perpetual questioning and renewal of ideas. He spoke of the “fatality of habit”
in art. The artist Diana Puntar talks about using her art as a way to resist
and question society’s “programming.” My hope for the work in “Stadia” is to
represent by example, a willingness to question and see art as functioning
outside the confines of the art world. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";">BS:</span></b><span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";"> I do think the term “Abstract Expressionism” is misleading.
De Kooning’s <i style="mso-bidi-font-style: normal;">Woman I</i> might be
expressionist but it’s not abstract; and Newman’s <i style="mso-bidi-font-style: normal;">Onement I</i> might be abstract—though not, he insisted, in the way
that a painting by Mondrian was abstract—but it’s not expressionist. And it
seems odd to make them part of the same “movement” just because they worked in
the same city at the same time. They were worlds apart in so many ways.<o:p></o:p></span></div>
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<span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>By
the way, given artists’ recurrently expressed intention to resist programming,
resist habit and convention—have you noticed how little most seem to resist the
art world’s own programming? And what conventional ideas we have of what an
artist’s career looks like? No one thinks that it’s odd that a poet might be an
insurance executive like Wallace Stevens or a baby doctor like William Carlos
Williams, or even a cleaning woman as Lorine Niedecker was for a time—but it’s
seemingly not allowed that an artist today should have any other life than one
devoted to producing for the art market. “Outsiders” are much appreciated—as
long as they are safely dead.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Times New Roman";"><span style="mso-tab-count: 1;"> </span>Of
course there are some who contest this. But I’m usually not satisfied with
their ideas either. People who speak, as you just did, of art operating outside
the art world usually sound to me like they mean giving up on art. Maybe
something more like social work. In your case I know that’s not what you mean.
I think you are insisting on a broader sense of what art can be. I like what
you say about the body as source and destination. To me, that has to do with
intensity—with sensations that can’t necessarily be categorized as pleasurable
or painful, and that are both impersonal and intimate.<span style="mso-spacerun: yes;"> </span>Maybe that’s what Matisse understood by <i style="mso-bidi-font-style: normal;">volupté</i>. What do you think?<o:p></o:p></span></div>
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<br /></div>
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<b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">ASP: </span></b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman";">I
referred earlier in our conversation to the “</span><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">the mind-dulling categorization
and hierarchic judgments related to figuration and abstraction in painting.”
Likewise, I concur with your point about the limitations of labels for
“movements” in art. They become one step in the packaging of the art experience
thus further removing the viewer from her own individual response to the work.
I think it is helpful to be informed about art history; knowledgeable about the
context for experiencing artwork in the time it was produced, but shrink
wrapping together great batches of works, as you point out, doesn’t serve the
audience, which includes artists. It does serve the market, however, by helping
to pre-digest the vast diversity of output. When you were asking me before if I
think of my work in relation to past movements, I don’t think of the labeled
groupings. They don’t serve me. I do relate to an individual artists’ struggle
to articulate and give meaning in the time each artist was working. These
stories are instructive to my own work.</span><span style="color: black; font-family: "Courier New"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>Holland
Cotter recently wrote about programming in the art world: “Lost in the
Gallery-Industrial Complex, Holland Cotter Looks at Money in Art,” (<i>NYT</i>,
January 17, 2014). He focused on money as the hypnotic elixir convincing
artists, collectors, gallerists and museums to conform. He makes the case that
when art can be easily packaged and sold, it can thus be treated as a
commodity. Artists, especially white men, using the traditional forms of
painting, sculpture, photography and drawing have an advantage in the art
world; traditional media and identifiable movements will be amply rewarded by
the market. These artists can live off the money they make selling their
artwork. Cotter calls attention to the less tangible, time-based art such as
performance, installation and video that are harder to quantify and sell.
Furthermore, as Cotter says, “[We need] to get a global mix of voices into some
of New York’s big, rich art museums.” I would include women’s voices in that
mix.</span><span style="color: black; font-family: "Courier New"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>The
art world is very similar to the visually-based fashion and entertainment
industries where often so-called creativity is a rapid recycling of previously
endorsed ideas. Perhaps poetry is immune from pre-programmed ideas in its
immateriality and written format. The fields of art, fashion and entertainment
are especially harsh on women. From my own experience both within and without
of the art world, whenever I say I am an artist, the next question is, “Is your
studio in your house?” The presumption is that my art is a homebound hobby. To
your point about programming, I would say an artist’s lifestyle choice and how
they earn a living has no bearing on the quality of work they produce. Of
course, having time to work both alone in a studio, or in a collaborative mode,
is crucial. Good work can be starved if there isn’t enough time devoted to it.
I’ve been thinking about labels or movements as they apply to women artists
lately. The terms “feminist” and “feminist art” can be useful; <i style="mso-bidi-font-style: normal;">Girls Against God</i> is a “feminist” arts
publication. The label is used primarily as a starting point for discussion,
but I seek to avoid dogma once the conversation is underway. </span><span style="color: black; font-family: "Courier New"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>The
cultural theorist Viola K. Timm digs further. She has written about the role of
war and conquest in the formation of museum culture. Museums were created to
house looted, “exotic” booty. Connecting the production of contemporary art to
museum acquisition—the benchmark of acceptability—means it also feeds off war
and its glorification. Immortality for an artist means bankability. Bankability
can thus be connected with destructive, dark urges. This idea ties to Cotter’s
point about the object versus the experience in art. You could say that a
painting or sculpture, as an object suitable for museum display, is a
conceptual “dead end.” Time-based, experiential art such as performance cannot
be acquired in the same way as an object. Experience is part of the flow in the
cycle of Life/Death/Life we associate with matriarchal values. It is tied to a
stronger connection to nature and a life enhancing association with the earth—a
guaranteed immorality through biological processes. It is acquiescence to
the inevitability of death that provokes conformity? </span><span style="color: black; font-family: "Courier New"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";"> <span style="mso-tab-count: 1;"> </span>You
might ask at this point, “But, don’t <i style="mso-bidi-font-style: normal;">you</i>
make paintings?” Yes, I do! This conversation is based on my exhibition of
paintings in “Stadia.” The context for the show was my engagement with many
other experience-based projects. I am weighing the experience of making the
paintings and the experience my audience will have viewing the works with the
knowledge I’ve gained working outside my studio. They feed each other as I
deeply question the value of each even as I am engaged in the creative process.
So let’s look to </span><span style="color: #141413; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">the glittering flow of inner images Woods
described, </span><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">to Kandinsky and the river of stylistic plurality that followed
him, at Hartley’s hope to avoid the “fatality” of habit-based artwork, at
Puntar’s resistance to programming and consider
your question about Matisse. My friend, the musician Yasmine Hamdan, who lives
in Paris used the term <i>volupté</i> at dinner this week. In France today, the
word is used on the packaging of bath soap. I asked Yasmine what the term means
to her. She couldn’t find an equivalent in English. She tried, “sensual” but
said that wasn’t quite right. The heightened and developed appreciation
of sensation and aesthetics you find in the French culture, certainly in
Matisse’s work, could correlate to an understanding of how rich as an
expressive resource the living body is. </span><span style="color: black; font-family: "Courier New"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="background: white; line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">BS: </span></b><span style="color: black; font-family: Garamond; font-size: 12.0pt; line-height: 200%; mso-bidi-font-family: "Courier New"; mso-fareast-font-family: "Times New Roman";">It seems
we’ve spiraled back to where we started from: the “carnivore—kill or be
killed”—art as cultural plunder, war trophy. This versus the <i>volupté</i><span style="mso-bidi-font-style: italic;"> of the life-giving body. Art involves us in
that too. </span></span><span style="color: black; font-family: "Courier New"; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-89117164258709735042014-01-10T07:54:00.000-08:002014-01-10T08:49:30.637-08:00Disturbance and Beauty in Stadia Paintings: Guest Post by Elizabeth Sadoff<a href="https://www.blogger.com/blogger.g?blogID=1176227673788442853" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=1176227673788442853" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="webkit-fake-url://8D214A31-671C-48E5-B039-6B99BE477E39/application.pdf" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><span class="Apple-style-span" style="font-size: 19px;"><i><br /></i></span>
<span class="Apple-style-span" style="font-size: 19px;"><i>Stadia:
New Work by <a href="http://www.annepundyk.com/">Anne Sherwood Pundyk</a></i></span><br />
<br />
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">at <a href="http://www.susaneleyfineart.com/index.php?globalnav=exhibitions&sectionnav=stadia">Susan Eley Fine Art</a>, New York, NY</span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">November 7 - January 5th, 2014<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">I
am initially taken by the ferocious activity of Pundyk’s brushwork in this
latest exhibition of her work<i style="mso-bidi-font-style: normal;">, Stadia</i>.<span style="mso-spacerun: yes;"> </span>I am also struck
by how familiar this brushwork is, particularly where resolute lines are articulated.
<span style="mso-spacerun: yes;"> </span>I know that I am revisiting a familiar
choreography and this is a pleasing revelation.<span style="mso-spacerun: yes;">
</span>For all the back and forth laying down and subsequent pushing back of
her paint, the artist’s confident, economical draftsmanship serves to direct
her surface.<span style="mso-spacerun: yes;"> </span>Her line work implies a
narrative, but it never fully oversteps. A pure delight is elicited by the
immediacy of her compositions and bracing colors.<o:p></o:p></span></div>
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<br /></div>
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<a href="https://www.blogger.com/blogger.g?blogID=1176227673788442853" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="https://www.blogger.com/blogger.g?blogID=1176227673788442853" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a><a href="webkit-fake-url://8D214A31-671C-48E5-B039-6B99BE477E39/application.pdf" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">I appreciate
the equilibrium that Pundyk achieves in her paintings; disturbance goes hand in
hand with overarching beauty.<span style="mso-spacerun: yes;"> </span>Ultimately,
the elemental disquiet of her painted forms is tempered by a luscious reverence
for flesh, for voluptuousness that speaks of a wholly feminine profile. Subversiveness
is folded into a visual harmony - a complexity that finds resolution by virtue
of the artist’s worldly vision placing real womanliness in an actual context.<o:p></o:p></span><br />
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span>
<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;">Elizabeth Sadoff</span></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></div>
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<div class="separator" style="clear: both; text-align: center;">
</div>
<a href="http://esadoff.com/">Elizabeth Sadoff Associates Fine Art Advisory</a><br />
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzT_bGImMdGuXkCoYTBwg72AUf9EcefhQ4b1MpbVsBEEIpqHzqBnadhkvF5PanTap8exbQDy84WJF0Iu5IbO9SfEVSeq4JnOw6RxBqJqGM09RiZG82TByQbPt83JUDpYYRgjgWQutRWDG8/s1600/Shadow+Realm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzT_bGImMdGuXkCoYTBwg72AUf9EcefhQ4b1MpbVsBEEIpqHzqBnadhkvF5PanTap8exbQDy84WJF0Iu5IbO9SfEVSeq4JnOw6RxBqJqGM09RiZG82TByQbPt83JUDpYYRgjgWQutRWDG8/s1600/Shadow+Realm.jpg" height="371" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
"Shadow Realm," 2013, Oil, Acrylic and Charcoal on Linen, 42" x 46"</div>
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<br /></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsC3_nXeheEUvITiL9tg00PNKB09WJnn7wQvXDLDQxsASsHATo7NoNON1psxyjl3Lj8DUatGqpKA_uQiz9E7XW4o9GlftU8VknLby3KjYvWv4R_CP5hmOzFshVdeuSeBzBcv87V0lwBYN4/s1600/Roots.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsC3_nXeheEUvITiL9tg00PNKB09WJnn7wQvXDLDQxsASsHATo7NoNON1psxyjl3Lj8DUatGqpKA_uQiz9E7XW4o9GlftU8VknLby3KjYvWv4R_CP5hmOzFshVdeuSeBzBcv87V0lwBYN4/s1600/Roots.jpg" height="320" width="319" /></a></div>
<div style="text-align: center;">
"Roots," 2013, Oil, Acrylic and Charcoal on Linen, 36" x 36"</div>
<div style="text-align: center;">
<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNcAEQu1eQnrOdd2ZQ5O_Km4dSK6r33NDRwtXWFab5GwJCaQ7W1EiJ-d-0xq25hf-cbBFVuypO1ASc6BtSLZ1twyqfk19CwhRjCNJc2LjC_eZxBaFjlB_R4XwDcWnB3-B-AXyUTDzd0IC2/s1600/Self-Taught.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNcAEQu1eQnrOdd2ZQ5O_Km4dSK6r33NDRwtXWFab5GwJCaQ7W1EiJ-d-0xq25hf-cbBFVuypO1ASc6BtSLZ1twyqfk19CwhRjCNJc2LjC_eZxBaFjlB_R4XwDcWnB3-B-AXyUTDzd0IC2/s1600/Self-Taught.jpg" height="400" width="381" /></a></div>
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<span style="font-size: 11.0pt; mso-bidi-font-size: 12.0pt;"><o:p>"Self-taught," 2013, Oil and Acrylic on Linen, 63" x 60"</o:p></span></div>
<!--EndFragment-->Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com1tag:blogger.com,1999:blog-1176227673788442853.post-26476770228596524782013-10-21T15:17:00.003-07:002013-11-25T10:26:52.877-08:00STADIA: New Work by Anne Sherwood Pundyk<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGqtNUoBGOwpALSfGQIEhSe6oVLk7FiIP-sF241YdodWkDp4VVhs2Acr5zXrZG6jpW0hCad64x3BN1kD4h5KsnmNgjSkmXFziM2SPF2oSyeUyvz7fEQ-E-DPXOjfwMcf_7B97qUTm9fH13/s1600/Anne-052213-52494+Self-Taught.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGqtNUoBGOwpALSfGQIEhSe6oVLk7FiIP-sF241YdodWkDp4VVhs2Acr5zXrZG6jpW0hCad64x3BN1kD4h5KsnmNgjSkmXFziM2SPF2oSyeUyvz7fEQ-E-DPXOjfwMcf_7B97qUTm9fH13/s400/Anne-052213-52494+Self-Taught.jpg" width="380" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Anne Sherwood Pundyk, "Self-taught," 2013, 63" x 60", Oil and Acrylic on Linen</span></td></tr>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-size: 12.0pt; font-weight: bold; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: normal; mso-hansi-theme-font: major-latin;">PRESS RELEASE<span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 6;"> </span></span></span></b><br />
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-size: 12.0pt; font-weight: bold; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: normal; mso-hansi-theme-font: major-latin;">October
21, 2013<span style="mso-tab-count: 2;"> </span></span></span></b><span style="font-family: Calibri;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-tab-count: 5;"> </span></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; font-size: medium;"><span style="font-family: Calibri; font-size: 14.0pt; font-style: italic; font-weight: bold; mso-ascii-theme-font: major-latin; mso-bidi-font-style: normal; mso-bidi-font-weight: normal; mso-hansi-theme-font: major-latin;"><br /></span></span></i></b></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Calibri; font-size: medium;"><span style="font-family: Calibri; font-size: 14.0pt; font-style: italic; font-weight: bold; mso-ascii-theme-font: major-latin; mso-bidi-font-style: normal; mso-bidi-font-weight: normal; mso-hansi-theme-font: major-latin;">STADIA: <span style="mso-spacerun: yes;"> </span>New Work by <a href="http://www.annepundyk.com/">Anne Sherwood Pundyk</a><o:p></o:p></span></span></i></b></div>
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<span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-size: 12.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">November 7 – December 31, 2013<o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-size: 12.0pt; font-weight: bold; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: normal; mso-hansi-theme-font: major-latin;">Opening: November 7, 6–8 pm<o:p></o:p></span></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; font-size: large;"><br /></span></div>
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<b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Susan Eley Fine Art </span><span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri;"><o:p> </o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-weight: bold;"><o:p>46 West 90th Street, 2nd Floor</o:p></span></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-weight: bold;"><o:p>New York, NY</o:p></span></span></b><br />
<span style="background-color: white; color: #4c442e; font-family: Helvetica, sans-serif; font-size: 12px; line-height: 14.390625px; text-align: left;"><b>917.952.7641 </b></span><br />
<span style="background-color: white; color: #4c442e; font-family: Helvetica, sans-serif; font-size: 12px; line-height: 14.390625px; text-align: left;"><b>or email: susie@susaneleyfineart.com</b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-weight: bold;"><o:p><br /></o:p></span></span></b></div>
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<span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-size: 12.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">GALLERY HOURS:<o:p></o:p></span></span></div>
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<span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-size: 12.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Tuesday – Thursday, 11 – 5 pm and
by appointment<o:p></o:p></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><a href="http://www.susaneleyfineart.com/index.php?globalnav=exhibitions&sectionnav=stadia">Susan Eley Fine Art</a> is pleased to present
“Stadia,” a solo exhibition of works by <a href="http://www.annepundyk.com/">Anne Sherwood Pundyk</a>. This personal
work was made concurrently with the artist’s participation in several large,
collaborative and site-specific projects. Pundyk’s new body of work was shaped
by these recent experiences outside her studio, engaging directly with other
artists and her audience. Working within expanded formats -- in academic
settings and private galleries, a public commercial space and through
co-creating a feminist art publication – underscored for the artist the
importance of defining her own position. Most importantly, asserting and
testing her ideas on these platforms confirmed where her subjective voice
connected to a collective consciousness. A short profile of the artist,
produced by The Tribeca Film Institute, shows her recent studio and
installation work (Link to video <a href="http://vimeo.com/75308864">here</a>).<o:p></o:p></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">In “Stadia” over 25 works will be shown including
oil paintings on linen and paper, watercolor and collage on paper, video, books
and a gallery-specific installation. In the larger works, Pundyk transmits her
experience within a painterly proscenium; her angular unbroken applications of
paint frame layered, avian brushstrokes of saturated color. Embedded in the
overlaid string of figuratively intended images within each painting are the
artist’s own essential stories. Pundyk’s hunch that these narratives merge with
older, archetypal stories was confirmed in her collaborative projects. For
example in “<a href="http://rapunzelinthelibrary.blogspot.com/2012/02/rapunzel-in-library-poster.html">Rapunzel in the Library</a>,” at Queens College Art Center in 2012, she
lead 22 other artists, writers, and performers in a contemporary retelling to
the fairytale. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Two site-specific projects honed Pundyk’s
studio practice by bringing the artist’s engagement with her audience to the forefront:
“<a href="http://artandutility.com/~annepund/context/parallax-painting">Parallax Painting</a>,” at Panepinto Galleries in Jersey City, in 2012, and this
year’s “<a href="http://artandutility.com/~annepund/context/rented-world">RENTED WORLD</a>,” at the Mave Hotel in Manhattan. Critic Charles Kessler
observed about “Parallax Painting, “By creating a wallpaper-like background for
her paintings, Pundyk transformed this large, Chelsea-style space into a
congenial environment — a more private, almost residential, space that allows
you to slowly savor this rich work.” In contrast, her installation, “RENTED
WORLD,” situated in a “non-art” mid-town commercial space challenged the status
quo. According to cultural theorist, Viola K. Timm, when walking by Pundyk’s
unexpected, glass enclosed, prismatic arrangement of paintings, “…The passerby
encounters the supplemental form of her or his own shadow, setting off the
childhood monsters of the modern “rented” world.” Most recently, Pundyk has
co-created with multi-disciplined artist Bianca Casady of the musical duo,
CocoRosie, a new feminist arts magazine, “<a href="https://www.facebook.com/GirlsAgainstGod">Girls Against God</a>,” (published by
Capricious </span></span><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">.) Through
this collaboration, she has further</span></span><span style="font-family: Calibri;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span></span><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">strengthened her intuitive powers by selecting and presenting
stories and artwork that challenge restrictive and destructive social
structures. <o:p></o:p></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">In this exhibition at SEFA, Pundyk explores
the nuances of her visual vocabulary in smaller </span></span><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">works
on paper. Blue and white watercolors of female figures from her “Bodily Fluids”
series respond to core feelings such as vulnerability, disorientation, joy or
relief. Pundyk’s book-page paintings layer found</span></span><span style="font-family: Times New Roman; font-size: x-small;"><span style="font-family: "Times New Roman"; font-size: 11.0pt;">
</span></span><span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">and
original typewritten text and watercolor imagery over white washed pages from a
contemporary novel. The artist’s “Adoptions” watercolor series isolates a dual
framework (derived from the structures created in “RENTED WORLD”) suggesting
the changeability of her audience’s perspective. Pundyk’s found photographic
source material is reworked for her videos. For this exhibition, her video
piece, “Object Classification,” a vintage trio of black and white monitors
silently transmits three concurrent loops of original content. “Remember” a
book made from a whitewashed road atlas -- a pre-smartphone relic -- is a
yearlong meditation on the force defining the stage of Modernism: nuclear
power.<span style="mso-tab-count: 2;"> </span></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Curator Helen A. Harrison wrote in a Guild
Hall Museum catalogue essay in 1988 <span class="apple-style-span"><span style="font-family: Calibri;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">“…[Pundyk’s] work suggests that understanding
requires another interpretive tool, or perhaps a personal surrender to a
deeper, less accessible, level of cognition.” Since then, over the last 25
years, the artist has developed her practice, showing her work internationally.
Recent exhibitions include Fondazione Querini Stampalia, Venice, Italy; The
Wand Gallery, Berlin, Germany; The Meltdown Festival, London, England; MoMA
Library, New York, NY; Panepinto Galleries, Jersey City, NJ; The Brucennial
2012, New York, NY; Ruth Bachofner Gallery, Los Angeles, CA; Queens
College Art Center, New York, NY; Fordham University, New York, NY; Exit Art,
New York, NY; Susan Eley Fine Art, New York; NY, Art Miami, Miami, FL; The
Philoctetes Center, New York; NY; University of Virginia, Charlottesville, VA;
and Washington & Lee University, Lexington, VA.</span></span></span><span class="apple-converted-space"><span style="font-family: Calibri;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> </span></span></span><span class="apple-style-span"><span style="font-family: Calibri;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">This fall,
with “GAG,” she was invited by Creative Time and The Brooklyn Museum to
perform as part of Suzanne Lacy’s large scale feminist project, “Between the Door
and the Street;” and the</span></span></span><span class="apple-converted-space"><span style="font-family: Calibri;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"> launch of the 2<sup>nd</sup> issue of GAG
will be held at MoMA PS1 this coming January.<span style="mso-tab-count: 2;"> </span></span></span></span></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span class="apple-converted-space"><span style="font-family: Calibri;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;"><span style="mso-tab-count: 2;"> </span><o:p></o:p></span></span></span></span></span></div>
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<span style="font-family: Calibri; font-size: x-small;"><span style="font-family: Calibri; font-size: 11.0pt; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">Pundyk’s work is included in corporate,
institutional and private collections here and abroad including Luciano Benetton
Foundation, Milan Italy; Equity Residental, New York, NY; Barclay’s Bank, New
York, NY; State Street Bank, Boston, MA; Glamorise Foundations, Inc., New York,
NY; television journalist, Katie Couric, York, NY; Anthony Grant, Sotheby's
Contemporary Art, Rye, NY; and the late painter Cy Twombly, Rome, Italy. She
has taught at Fordham University and lectured at Printed Matter, Manhattan
Marymount College, Sotheby's Art Institute; and at Washington & Lee
University in Lexington, VA. She was granted The William Steeple Davis
Fellowship, a year-long painting residency in Orient, NY. In addition to
editorial role in “Girls Against God,” Pundyk is a freelance art writer and
curator; contributing to The Brooklyn Rail, Art in America, ArtUS, Broadway +
Thresher and she maintains a blog about contemporary art. She hold a BA in Fine
Art from Pomona College, Claremont, CA and an MFA in painting from RISD.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Calibri; font-size: small;"><span style="font-family: Calibri; font-size: 12.0pt; font-weight: bold; mso-ascii-theme-font: major-latin; mso-bidi-font-weight: normal; mso-hansi-theme-font: major-latin;">Events related to the exhibition
to be held in the gallery include</span></span></b><span style="font-family: Calibri;"><span style="font-family: Calibri; mso-ascii-theme-font: major-latin; mso-hansi-theme-font: major-latin;">:<o:p></o:p></span></span></div>
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<span style="font-size: large;"><span style="font-family: Calibri;"><span style="font-family: Calibri;"><b>November
11, 6-8 pm</b>. A group discussion of current feminist issues related to “<a href="https://www.facebook.com/GirlsAgainstGod">Girls Against God</a>,”</span></span><span style="font-family: Calibri;"><span style="font-family: Calibri;"> with co-editors
Anne Sherwood Pundyk, Bianca Casady and others from the magazine.<o:p></o:p></span></span></span><br />
<span style="font-family: Calibri;"><span style="font-family: Calibri; font-size: large;"><br /></span></span><span style="font-family: Calibri;"><span style="color: magenta; font-family: Calibri; font-size: large;"><b>PLEASE NOTE: CHANGE OF DATE AND TIME. DRINKOLLAGE WILL TAKE PLACE ON TUESDAY, DECEMBER 10TH, 6:30 - 9:30</b></span></span><br />
<span style="font-family: Calibri;"><span style="font-family: Calibri; font-size: large;"><b>December
10, 6:30-9:30 pm</b>. </span></span><span style="font-family: Calibri; font-size: large;">Group collage-making event in association</span><span style="font-family: Calibri; font-size: large;"> </span><span style="font-family: Calibri;"><span style="font-family: Calibri; font-size: large;">with </span></span><span style="font-family: Calibri; font-size: large;"><span style="font-family: Calibri;"><a href="http://drinkollage.tumblr.com/">DRINKOLLAGE</a>.</span></span><span style="font-family: Calibri; font-size: large;"><span style="font-family: Calibri;"> DRINKOLLAGE began in the fall of 2011 with a group of friends, a stack of magazines, scissors, glue, and some cans of Coors Lite. It has since developed into a semi-regular gathering of artists and friends who make collages together and drink beer. In May of 2013 we published the first issue of our zine, and launched the second volume in September 2013 at the New York Art Book Fair. DRINKOLLAGE is brought to you by <a href="http://jamiegaul.tumblr.com/">Jamie Gaul</a> and <a href="http://www.eyeheartbrains.org/">Rachael Morrison</a>.</span></span></div>
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<!--EndFragment--></div>
Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com1tag:blogger.com,1999:blog-1176227673788442853.post-54178447790596429472013-08-13T16:38:00.001-07:002013-08-28T16:14:53.616-07:00"With Choir," Emely Neu with No Bra<link href="file://localhost/Users/Anne/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml" rel="File-List"></link>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy9E9Leq6lgldX4Pou2KrVDl6kNRAzmCkcsn8WfyPA_4zzQP3D3aAJblNQ010Nwonrf_ku4ZVgnUDoEMjuX-rDlk1DFbatCnT20yc-8Ly5nEKmVNrGKsULttrCA15YDIRPAtjq3b_UdLVe/s1600/Emely+and+No+Bra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy9E9Leq6lgldX4Pou2KrVDl6kNRAzmCkcsn8WfyPA_4zzQP3D3aAJblNQ010Nwonrf_ku4ZVgnUDoEMjuX-rDlk1DFbatCnT20yc-8Ly5nEKmVNrGKsULttrCA15YDIRPAtjq3b_UdLVe/s640/Emely+and+No+Bra.jpg" width="640" /></a></div>
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<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">The
musician Susanne Oberbeck, a.k.a. No Bra, and journalist-turned-artist, Emely
Neu met for a live interview in London on May 25, 2013. The occasion was Neu’s master’s thesis
performance entitled “With Choir.” It was structured as a traditional
interview, but Neu added a third element – a trio of masked actors -- calling
it a “triangular situation.” Neu said the chorus was meant to embody the
natural discomfort of any exchange. I know from my own experience, that the
process of interviewing someone is fraught with uncertainly. A seemingly straightforward exchange between
a prepared interviewer and a willing interviewee can easily go off course. Yet, these detours often produce the most
interesting material. <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">Each participant after the fact reported feeling
uncomfortable with the outcome of the event. I’ve since become further
acquainted with Neu and Oberbeck individually, and I can guess why. They are both contemporary German-born
artists, fully engaged in their respective fields, but their aesthetics and
personalities are very different. Neu is motivated to take concrete action
inviting others to collaborate. She responds viscerally to injustice and seeks
solace in nature. She is the curator of a book called, “Let’s Start a Pussy
Riot,” created as a way to raise funds for the wrongfully imprisoned members of
the Russian collective, Pussy Riot. In
contrast, Oberbeck is an understated, urban realist; a solitary observer. She catches the small details revealing
society’s alienating forces. Her early interest in filmmaking shifted to
singing and songwriting in 2003. Her pop sound places an industrial
instrumentation behind her pointed ballads. I believe that even in a
traditionally formatted interview, the conversation would have been bumpy. <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">I
attended the performance with my husband, Jeff. It took place on the top floor
of Rich Mix, a venue used for exhibitions and screenings located on Bethnel
Road. We entered a large, darkened theatre space. Chairs had been placed on
three sides of a spotlit set in several neat rows. A small coffee table with water
glasses sat between two upholstered armchairs. Just beyond the
shadows, three masked, bronze-painted young actors stood wearing togas. They
emitted soft giggles, moans and sniffing sounds. As people entered the room and
selected their seats, they glanced at the disguised group. Most people smiled
quizzically and conferred with their neighbors. The murmurs from the stage
combined with the audience’s hushed conversations as if in parallel play. <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">Once
everyone was seated the strange prologue of mirrored whispers quieted as Neu,
wearing a neat white blouse and dark slacks, purposefully entered the square of
light with her guest. In slim patterned pants, sneakers and a large leather
jacket, Oberbeck seated herself across from Emely in the adjoining chair. Her
hip-length hair – often her only on-stage attire above her shorts --
contributed to her spare presence. Neu’s
questions for Oberbeck covered topics such as the personal significance of the
fall of the Berlin wall and her musical influences. Jeff pointed out that the format suggested a
typical television talk show: the Greek chorus functioned as both the house
band and the side-kick for Neu. As such, the “choir” felt slightly aligned with
Neu leaving Oberbeck outnumbered. Her defense tactic was in keeping with her
personal style: she shut down and answered back with comments she later said
were aimed at “entertaining the audience.” Neu carried the conversation forward
against this tide. The trio did disrupt the interview in an entertaining way
for this particular exchange, but ultimately Oberbeck’s retorts seemed to
unsettle the flow more than the squeaks and sighs interjected by the actors.
Thus true to Neu’s objective the “choir” was the catalyst for and gave physical
form to the unexpected. <o:p></o:p></span></span></div>
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<br /></div>
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<br /></div>
<!--EndFragment-->
Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-29236962212790084612013-07-23T14:17:00.000-07:002013-08-28T16:48:13.543-07:00Erin Haldrup: Painting and Parenthood<link href="file://localhost/Users/Anne/Library/Caches/TemporaryItems/msoclip/0clip_filelist.xml" rel="File-List"></link>
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<br />
<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">Two
days before her due date, <a href="http://erinhaldrup.tumblr.com/">Erin Haldrup</a>, a young painter, asked if we could have
lunch together. On one of the first truly warm days of spring, we stopped by my
studio before getting a bite. I took this
photograph of Erin, in front of “Change My Mind,” a large painting I’d finished
a year prior, around the time we first met. <o:p></o:p></span></span><br />
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaxUBULYbhDRb5uxi9rrYgEVgaOvMUh6_PpWSaOndhI1P9E6VvlSMfhuBvQYVarzLvGsM8tUo10auOgYR1bBbBENfiMIuIp_H-rOoR02NYxlc8H6NAVCLi7vNcZpxaI85Nxh2XyJF-FZ0h/s1600/Erin+Haldrup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaxUBULYbhDRb5uxi9rrYgEVgaOvMUh6_PpWSaOndhI1P9E6VvlSMfhuBvQYVarzLvGsM8tUo10auOgYR1bBbBENfiMIuIp_H-rOoR02NYxlc8H6NAVCLi7vNcZpxaI85Nxh2XyJF-FZ0h/s640/Erin+Haldrup.jpg" width="411" /></a></div>
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<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;"><br /><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">Sitting
together at an outdoor café, Erin asked me for my best advice about balancing
motherhood and painting. Erin and I have
a friendship that feels fated – our paths have crossed in so many unlikely ways
that it would be fool-hardy not to embrace it.
Happily, the fates were right to throw us together – as usual – and I
set out to give her a glimpse of my experience as a working painter and parent.<o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">My
children are now grown; Phoebe is 22 and Evan is 19. I have been a practicing artist for more than
35 years. Contrary to the stereotypical notion that children get in the way of
making art, I found that the great responsibility of parenthood feeds
art-making rather than detracts from it. Bonding with our children engendered
the most profound self-understanding and ability to empathize with others.
While its not guaranteed, being a parent can teach humility and awe. <o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">I
did find, as I started my family, that certain trade offs were in store. The energy spent tolerating art world
politics was going to be saved and then spent on my children. Again, the conventional
wisdom is that children are a distraction; but which is more of a waste of
time: getting the run-around from people who will never give weight to your
thoughts, or helping your child take on the world? There is also, to be sure, a
prejudice against women, further enhanced by the status of motherhood, common
to most fields. This attitude is thriving in the artworld – which seems to be
the antithesis of a meritocracy. Parenthood is, however, the original D.I.Y.
art practice. I half jokingly suggested that Erin and I start an
inter-generational feminist art collective rooted in the ethics of motherhood. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">With
these broader perspectives as a foundation, I offered Erin some practical
advice: even if you have to work at the kitchen table, keep on working. A
series of small watercolors can keep the flame alive until you get back to a
larger canvas. Communicate your requirements for time alone. Take several
mornings and a weekend day to yourself. This won’t always happen, but knowing
that you need them is important. Children have enriched my thinking and still
continue to do so. This intimacy between generations is a link to the future.
As I move forward through time, staying focused on the future through the
perspective of youth allows for the powerful blend of wisdom and innovation, a
magical brew. After lunch, Erin said she
had an urgent mission. I thought it would be something for her baby, but she
was going to the art supply store around the corner to get paper and fresh
watercolor paint. <o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Cambria; font-size: small;"><span style="font-size: 12pt;">Note:
Erin’s son, Antonio Robert, was born in May and far from doing small watercolors at the kitchen
table she is now in Cleveland working on a large-scale public art project. <o:p></o:p></span></span></div>
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<br /></div>
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Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-72566069744308261452012-11-30T23:17:00.002-08:002013-01-19T10:06:38.222-08:00RENTED WORLD<!--[if gte mso 9]><xml>
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<b style="background-color: white;"><span style="font-family: News Gothic MT;"><span style="font-size: large;">Installation by <a href="http://www.annepundyk.com/">Anne Sherwood Pundyk</a></span></span></b><br />
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<b style="background-color: white;"><span style="font-family: News Gothic MT; font-size: small;"><span style="font-size: 12pt;"><a href="http://www.themavehotel.com/?gclid=CIOe4-PS-LMCFUKd4AodEVwAFA">The MAve Hotel</a></span></span></b><br />
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<span style="font-family: News Gothic MT; font-size: small;"><span style="font-size: 12pt;">62 Madison Avenue (at 27<sup>th</sup> Street)<o:p></o:p></span></span></div>
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<span style="font-family: News Gothic MT; font-size: small;"><span style="font-size: 12pt;">New York, NY <o:p></o:p></span></span></div>
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<span style="background-color: white; font-family: 'News Gothic MT'; font-size: 12pt;">December 1, 2012 – February 28, 2013</span></div>
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<span style="font-family: News Gothic MT; font-size: small;"><span style="font-size: 12pt;">Visible from the street 24/7<o:p></o:p></span></span></div>
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<span style="font-family: News Gothic MT; font-size: small;"><span style="font-size: 12pt;">#RentedWorld</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHkP36wj2GeXf5BG7dyLauC3r8XIHPDOeF3cBoXAHn4q9z0tDufW73czpCNk2NzL8khd5Ywduqo1NNJsEayNLdr6N08KkT3ja5vgk4A4Ib7DiZNe6ylJWUkiYHtNwwEVFNFvpWmuL7Q59P/s1600/1-Mave-flesh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHkP36wj2GeXf5BG7dyLauC3r8XIHPDOeF3cBoXAHn4q9z0tDufW73czpCNk2NzL8khd5Ywduqo1NNJsEayNLdr6N08KkT3ja5vgk4A4Ib7DiZNe6ylJWUkiYHtNwwEVFNFvpWmuL7Q59P/s400/1-Mave-flesh.jpg" width="300" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7vnFw-ltC0aFVTzRN2R9gct0LO7WPVGOMxRevGeXGLNyg_JiK7JpRTi3ajq0PGACDFORFAEd1VulFi6fK0S6AsYR50ocBeT0YIQughOY8khXiy4dCz6VH7ZWlhkAPDpGSTZJNYy4v-3ud/s1600/3-Mave-moonwatre.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7vnFw-ltC0aFVTzRN2R9gct0LO7WPVGOMxRevGeXGLNyg_JiK7JpRTi3ajq0PGACDFORFAEd1VulFi6fK0S6AsYR50ocBeT0YIQughOY8khXiy4dCz6VH7ZWlhkAPDpGSTZJNYy4v-3ud/s400/3-Mave-moonwatre.jpg" width="300" /></a></div>
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<span style="font-family: News Gothic MT; font-size: large;"><b>Opening Reception, Wednesday, December 19, 2012, 6:00 pm to 8:00 pm</b></span><br />
<span style="font-family: News Gothic MT; font-size: large;">Featuring remarks by Harriet Shugarman, environmental activist and <a href="http://www.climatemama.com/">Climate Mama</a> founder.</span></div>
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<span style="font-family: News Gothic MT; font-size: small;"><span style="font-size: 12pt;">Transitional states,
temporary structures and a shifting sense of time and space are the properties
of a rented world. For her installation
so named, Pundyk joins three of her large, gestural paintings -- “Aqueous
Flesh” (2009), “Moonwater” (2009), and “Liz’s Beach” (2011) -- to form a self-supporting triangular
prism. The structure is positioned at the front of The MAve Hotel’s
glass-walled street level salon, a block from Madison Square Park. A sky blue
triangle is painted directly on the back wall of the space. <o:p></o:p></span></span></div>
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<span style="font-family: News Gothic MT; font-size: small;"><span style="font-size: 12pt;">Pundyk shifts
expectations by presenting her work in this exposed non-art space; the effect
is further reinforced by her unexpected use of media: paintings become
sculpture and a permanent wall becomes a temporary canvas. On the floor between
the three-sided structure of recycled paintings and the painted geometric shape
beyond, several pounds of blue gravel form a shallow triangle. Illuminated at
night by raking light, the gravel’s gritty topography could be a moonscape, a
moonlit beach, or a sample of material that will be intact far into the future.
<o:p></o:p></span></span></div>
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<span style="font-family: News Gothic MT; font-size: small;"><span style="font-size: 12pt;">On the ceiling, high
above the “V” of stretchers, arching
over the gravel patch and the flat blue inverted triangle on the back wall is a projected
montage loop. This flow of images generated from within the space created by
the paintings replicates the free association of a changing state of mind, and,
in the wake of Hurricane Sandy, a changing state of our city and of our world. <o:p></o:p></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB6xr2ULpHSx-HtUgoRAc4HqM7ACVSE4rbc09BTMABBeSeuX-Pwz4IctYuyFAR44HluUpojOdGmYBjE6qQBktk-cuyplpED7jytX5oAJCW6EJ_i-bo6JY8RvLekT3ib6qLkuZ2am82Nses/s1600/1+RENTED+WORLD+by+Anne+Sherwood+Pundyk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB6xr2ULpHSx-HtUgoRAc4HqM7ACVSE4rbc09BTMABBeSeuX-Pwz4IctYuyFAR44HluUpojOdGmYBjE6qQBktk-cuyplpED7jytX5oAJCW6EJ_i-bo6JY8RvLekT3ib6qLkuZ2am82Nses/s400/1+RENTED+WORLD+by+Anne+Sherwood+Pundyk.jpg" width="331" /></a></div>
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<b><span style="font-family: News Gothic MT; font-size: small;"><a href="http://www.annepundyk.com/">Anne Sherwood Pundyk</a></span></b><span style="font-family: News Gothic MT;"> is a Manhattan-based
painter, writer and curator interested in the subjective perspective. Her work
is in public and private collections here and abroad. She has recently
exhibited paintings, videos and installations at Panepinto Galleries, Jersey
City, Ruth Bachofner Gallery, Los Angeles, Queens College Art Center, New York
City, The Brucennial 2012, New York City, Susan Eley Fine Art, New York City
and Art Miami, Miami, Florida. Her video, “<a href="http://vimeo.com/17864880">My Atlas: Lindsay/A Report to anAcademy,</a>” won the Bronze Award at The Standard Hotel’s screening in West
Hollywood, CA. She regularly contributes to critical art publications including
<i>The Brooklyn Rail</i>, <i>artUS,</i>
and <i>Art in America</i>, <i>Broadway + Thresher,</i> the feminist publication <i>GAG</i>. <o:p></o:p></span></div>
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<span style="font-family: News Gothic MT; font-size: small;">This project is generously sponsored by <b><a href="http://www.themavehotel.com/?gclid=CIOe4-PS-LMCFUKd4AodEVwAFA">The MAve Hotel</a>;</b></span><span style="font-family: News Gothic MT;"> project lighting is generously provided by <a href="http://frostproductions.biz/" style="font-weight: bold;">Frost/Productions</a>;<b> </b>and<b> </b><a href="http://www.printedmethods.com/"><b>Printed-Methods</b></a> provided support for signage and printed promotional materials. </span></div>
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<!--EndFragment-->Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com4tag:blogger.com,1999:blog-1176227673788442853.post-71688678285581856262012-10-10T06:45:00.002-07:002012-10-10T06:45:49.683-07:00More Love<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5NZwvpgdEoNWy9V2rL9aJ6HfeozHPTc2mooNtG1bufJT-yhU66avLdpXWdhxkVh68uJzFRSF0Z5vzv0dThwut8z5dZKv7F1ZvUcgZdqDjybM5KlKgDhNUvLiBgIMUqQV6AXEvKsOJPrDB/s1600/phandra.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5NZwvpgdEoNWy9V2rL9aJ6HfeozHPTc2mooNtG1bufJT-yhU66avLdpXWdhxkVh68uJzFRSF0Z5vzv0dThwut8z5dZKv7F1ZvUcgZdqDjybM5KlKgDhNUvLiBgIMUqQV6AXEvKsOJPrDB/s640/phandra.jpg" width="393" /></a></div>
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Just as the Taliban were actually trying to assasinate 14 year old <span style="background-color: white; font-family: georgia, 'times new roman', times, serif; font-size: 15px; line-height: 22px;">Malala Yousafzai, an activist for girls' right to education in Pakistan,</span> Kembra Pfahler performed a mock funeral for patriarchic attitudes at PARTICIPANT INC in New York City. The symbolically fitting performance was part of her current show "<a href="http://participantinc.org/wp-content/uploads-new/KembraPfahlerPR.pdf">Fuck Island</a>," a major solo exhibition of her new work. “Fuck Island” is a protest anthem, love song, and manifesto written for her band, The Voluptuous Horror of Karen Black. As Pfahler describes this song-as-exhibition: “It’s the first annual Karen Black cock festival. But it’s really more like a happy funeral. We are celebrating the death of the patriarch, and you are all party to this secret.”<br />
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Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com3tag:blogger.com,1999:blog-1176227673788442853.post-89974452182225617172012-09-09T10:06:00.000-07:002012-09-20T05:42:52.960-07:00Where is the love?<br />
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="color: purple;">One day its Walter Benjamin on the reversing of the ratio of authors to readers over time </span>("<span style="background-color: white;"><span style="color: #333333;"><span style="line-height: 20.799999237060547px;">Thus, the distinction between author and public is about to lose its basic character. The difference becomes merely functional; it may vary from case to case. At any moment the reader is ready to turn into a writer. As expert, which he had to become willy-nilly in an extremely specialized work process, even if only in some minor respect, <b>the reader gains access to authorship</b>." See </span></span><a href="http://www.annesherwoodpundyk.blogspot.com/2009/01/walter-benjamin-snack.html" style="color: #333333; line-height: 20.799999237060547px;">Walter Benjamin Snack</a><span style="line-height: 20.799999237060547px;"><span style="color: #333333;">.) </span><span style="color: purple;">Another day its Viola Kolarov Timm on the two "spears," Shakespeare and Britney</span><span style="color: #333333;"> (The image [of a body scattered over a battlefield] is reminiscent of Freud's definition of modern man as a "prosthetic god" who grew techno extensions in the place of missing body parts, and of another cripple with oversized ears and hands, Mickey "the Mouse who roared" or, less cynically put, sang our lullabies. <b>His club of perpetual -- nihilistic--childhoods is the educational institution next to the haunted playground that graduated Britney Spears to "Slave 4 U</b>." See "</span><a href="http://ejournals.library.ualberta.ca/index.php/imaginations/article/view/12294" style="color: #333333;">On Hamlet's Crypt</a><span style="color: #333333;">," Imaginations, Issue 2-1, 2011 by Viola Kolarov Timm.) </span><span style="color: purple;">Today it is Zadie Smith on Jay-Z</span><span style="color: #333333;"> ("On 'Who Gon Stop Me,' Jay-Z asks that we 'please pardon all the curses' because 'when you're growing up worthless,' well, things come out that way. Black hurt, black self-esteem. It's the contradictory pull of the 'cipher,' rap terminology for the circle that forms around the kind of freestyling kid Jay-Z once was. <b>What a word! Cipher (noun): 1. A secret or disguised way of writing; a code. 2. A key to such a code. 3. A person or thing of no importance.</b>" See "</span><a href="http://www.nytimes.com/2012/09/09/t-magazine/the-house-that-hova-built.html?_r=1" style="color: #333333;">The House that Hova Built</a><span style="color: #333333;">," by Zadie Smith in The New York Times Style Magazine, Men's Fashion Fall 2012.)</span></span></span></span><br />
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<span style="font-family: Times, Times New Roman, serif;"><span style="background-color: white;"><span style="line-height: 20.799999237060547px;"><span style="color: #333333;">Above image: Anne Sherwood Pundyk, "Ghost Transmissions," Painting and Video Installation 2012.</span></span></span></span>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com2tag:blogger.com,1999:blog-1176227673788442853.post-51827401428624299672012-06-24T14:25:00.003-07:002012-06-24T14:27:34.734-07:00I am a rock<div class="separator" style="clear: both; text-align: center;">
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<br />Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com1tag:blogger.com,1999:blog-1176227673788442853.post-24848125267110348582012-03-09T08:20:00.000-08:002012-05-11T07:21:40.378-07:00A Day's Composition<br />
On my horizon is "<a href="http://rapunzelinthelibrary.blogspot.com/">R</a><a href="http://rapunzelinthelibrary.blogspot.com/">apunzel in the Library/ in perpetuum Forever II</a>," a group exhibition and performance I am leading, at Queens College Art Center (opening April 4, 2012); Phoebe coming home for the weekend tomorrow; friends visiting the city from California and Germany and a family trip overseas next week. I am concerned about being able to get everything done that I need to. I compose my day in order to keep my anxiety in check. It unfolds only to become the basis for the next day's composition.<br />
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To start I focus on researching at the 42nd St. main New York Public Library surveying Joan Simon's writing and curatorial career. I read: <i>Calder, the Paris Years 1926-1933</i>, <i>Ann Hamilton An Inventory of Objects</i>, <i>Susan Rothenberg</i>, <i>Bruce Nauman</i>, <i>William Wegman Funny/Strange</i>, <i>Sheila Hicks: 50 Years</i> and an interview with Jenny Holzer. I am looking for common themes to Simon's thinking about these artists. While each of these artists' work is familiar, reading Simon's writing about them makes me feel like I am discovering their work for the first time. Her considered approach puts their careers solidly in a cultural context. I also want to get a sense of the art world during the time she was Managing Editor of "Art in America" from 1974-1983 and spend several hours flipping through old issues -- this is not enough time.<br />
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I leave time at the end of the day to pop back to <a href="http://www.occupywithart.com/blog/2012/1/8/mic-check-the-humanmicoccupy-at-sideshow-gallery-brooklyn.html">MIC:CHECK (The:human mic)(OCCUPY</a>) at Richard Timperio's <a href="http://www.sideshowgallery.com/index.html">Sideshow Gallery</a> in Williamsburg up through March 18, 2012. I have two pieces in this large annual group exhibition. The installation itself is the real work of art in this show of nearly 500 artworks. "Its a painting. Through the use of strategic juxtapositions you can see each work individually," observes Timperio. This it the 12th year of the show. With so many artworks arrayed, I wanted to see which works I gravitate to, as a way to reconnect with my own artwork, rather than make any objective assessments. Here are the works with gesture and color as the backbone of composition that caught my eye:<br />
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Osamu Kobayashi</div>
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Susan Heller<br />
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Emily Berger<br />
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Dan Christensen<br />
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Karen Marston<br />
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Michael Filan<br />
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John Schofield Guilliams<br />
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Ron Gorchov<br />
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Craig Olsen<br />
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Cora Cohen<br />
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Jenny Lynn McNutt<br />
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Marianne Gagnier<br />
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Here are my pieces:<br />
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"Tokyo," 2011, Oil and Acrylic on Panel, 14" x 11"<br />
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"Deep Six," 2011, Oil and Acrylic on Panel 14" x 11"<br />
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During my visit to Sideshow Gallery I have the opportunity to learn about Timperio's upcoming two-person show at <a href="http://www.ablefineartny.com/bbs/board.php?bo_table=g02_b01&wr_id=74">Able Fine</a> Art in Chelsea (March 15 - April 5, 2012, with the opening reception on March 15 from 6 - 8 pm.)<span style="font-family: Arial; font-size: x-small;"><b> </b></span>He had stopped painting in 2003, but resumed last summer. His approach to painting is grounded in composing with pure color. His color selections are made in collaboration with Art Guerra, of <a href="http://www.guerrapaint.com/">Guerra Paint and Pigment</a>, where limited batches of unique pigments not found in your typical art supply store are available. When I comment that Timperio's work feels musical, he told me about a collaborative performance he will be doing this summer with percussionist <a href="http://www.youtube.com/watch?v=mt9lr2Jn9XE&feature=related">David Van Tieghem</a> (known for his work with The Talking Heads and Laurie Anderson.) Timperio will make paintings in real time as Van Tiegham performs his music. Stay tuned....<br />
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Richard Timperio in his studio<br />
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Guerra paints<br />
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New work by Timperio<br />
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New Work by TimperioAnne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-30929004853698383042012-02-27T20:17:00.000-08:002012-03-05T14:54:17.470-08:00BRUCENNIAL 2012<div class="separator" style="clear: both; text-align: left;">
<span style="background-color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;">BRUCENNIAL 2012: Harderer. Betterer. Fasterer. Strongerer. </span></div>
<span style="background-color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 13px; line-height: 16px;">Opens February 29th, 6-9pm, at 159 Bleecker Street (btwn Thompson and Sullivan)</span><br />
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<span style="font-size: x-small;">Anne Sherwood Pundyk, "Portrait of Rita Ackermann," 2012, Oil on Panel, 10" x 8"</span></div>
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<span style="font-family: inherit;"><span style="font-size: x-small;">BRUCENNIAL 2012 Opening on James Kalm's <a href="http://www.youtube.com/user/jameskalmroughcut#p/a/u/1/meb0EAQE1HA">Rough Cuts Video Channel</a>:</span><span style="background-color: white; color: #666666; line-height: 20px;"><a href="http://www.youtube.com/user/jameskalmroughcut#p/a/u/1/meb0EAQE1HA"><span style="font-size: x-small;"> </span></a><span style="font-size: 12px;">Painter Loren Munk's video tour of the opening of BRUCENNIAL 2012 including conversation with Anne Sherwood Pundyk about her work..</span></span><span style="font-size: x-small;"> </span></span></div>
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<span style="font-size: x-small; text-align: left;">Josh Smith Floor Painting</span></div>
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<span style="font-size: x-small; text-align: left;">Osamu Kobayashi's Blue and White Painting</span></div>
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<span style="font-size: x-small;">"Rapunzel in the Library" at BRUCENNIAL 2012</span></div>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-35173736209093067562012-01-09T20:01:00.000-08:002012-01-09T20:09:45.835-08:00See Yourself Seeing<div class="MsoNormal" style="text-align: left;"><br />
</div><div class="MsoNormal" style="text-align: left;">(Note: I wrote this essay for Tim Quigley's aesthetics class at The New School in the fall of 2008. )</div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal" style="line-height: 200%;">Nothing is straightforward. Or rather, nothing is as straightforward as it might initially seem, particularly looking at a painting. Specifically, I took in paintings by Elizabeth Peyton<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference">[i]</span></a> Joan Mitchell<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference">[ii]</span></a>, and Cecily Brown<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference">[iii]</span></a> in New York, December 2008.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference">[iv]</span></a> These artists approach painting in different ways, especially with respect to gesture, representation and the figure. I was particularly interested in how their approaches to painting affected my approach to viewing their work. As a way to parse my experience I drew upon selected writings of the philosophers Immanuel Kant, Martin Heidegger, Maurice Merleau-Ponty and Gilles Deleuze<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference">[v]</span></a>. Their writings reveal a rich array of different but overlapping concepts and propositions related to art. Significant ideas from these philosophers correlate and give form to my aesthetic undertaking. In scanning the landscape of thought available through these philosophical works, I posit that painting, as a medium and as an endeavor, is especially appropriate for expressing a complete world appealing equally to our imagination and our understanding.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn6" name="_ednref6" title=""><span class="MsoEndnoteReference">[vi]</span></a></div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">In his <u>Critique of Judgment</u>, Kant sets out to describe how we make a judgment of beauty about an object, in this case, a works of art. His initial requirement for “deciding whether something is beautiful or not” is that you refer to your own reaction to the actual object.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn7" name="_ednref7" title=""><span class="MsoEndnoteReference">[vii]</span></a> <i>In other words, the only way to see a painting is in person</i>.<span class="MsoFootnoteReference"> </span>Kant describes a judgment of taste, or beauty, as starting initially as a unique, subjective, individual experience and finds a basis to broaden it to a subjective requirement for everyone. As with his prerequisite of seeing an artwork in person, his concept of the subjective nature of an aesthetic judgment underscores the importance of bringing an open mind to the experience. He states, “Hence a judgment of taste is not a cognitive judgment and so is not a logical judgment, but an aesthetic one by which we mean a judgment whose determining basis cannot be other than subjective.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn8" name="_ednref8" title=""><span class="MsoEndnoteReference">[viii]</span></a> Judging beauty or taking in an artwork happens within the individual and is not based on pre-existing concepts or guidelines.<o:p></o:p></div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">The impression should be our own impression, not a received impression from an “authority,” and the work should be the actual piece, not a facsimile. We have all had an initial impression of a simple image based on a reproduction give way to a complex and layered reality when confronted with the work in person – provided we are open to viewing the piece for ourselves and to forming our own impressions. We must, quite literally, see the work for ourselves.</div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">Kant breaks down the parts of a judgment of taste: that an individual make it, that it be singular, and that it may not be biased or based on a given criteria or concept. Embedded in his <u>Critique of Judgment</u> is a section, titled “The Principle of Taste Is the Subjective Principle of the Power of Judgment as Such”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn9" name="_ednref9" title=""><span class="MsoEndnoteReference">[ix]</span></a> in which he summarizes the mechanics of how we make a judgment of taste, emphasizing its universal, subjective qualities. He states that a judgment of taste “resembles” a logical judgment because it asserts a quality of necessary universality, although this universality is subjective. When judging an object, (or the “presentation by which an object is given” to the us) we must be able to feel a harmony between our imagination (“in its freedom”) and understanding (“with its lawfulness”). What criteria do we use to make our judgment of taste? We use this feeling of a harmonizing, free play of the cognitive faculties (imagination and understanding) in relation to a quality of “purposiveness” or “undetermined formal unity”.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn10" name="_ednref10" title=""><span class="MsoEndnoteReference">[x]</span></a> Finally, in a subsequent section, Kant writes “we must be entitled to assume a priori that a presentation’s harmony with these conditions of the power of judgment is valid for everyone.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn11" name="_ednref11" title=""><span class="MsoEndnoteReference">[xi]</span></a> <o:p></o:p></div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">I want to emphasize Kant’s initial requirement for an aesthetic judgment -- that we see the object in person -- because despite the cerebral nature of his writing about aesthetic judgments overall, we can put this point to practical use and be confident that it is an important place to start. <i>Seeing a painting in person is to see the artwork with your body present.</i> The concept of the body as a key for understanding art resonates indirectly in the writings of Kant and Heidegger and directly in the work of Merleau-Ponty and Deleuze. This idea takes us outside of art; or rather, takes art outside of art and connects it to profound ideas of how we are situated as conscious beings in the world. </div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">As I am looking at each of the paintings I am open to the experience of each work. <i>I see my body as present and as part of the experience of looking at the artwork.</i><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn12" name="_ednref12" title=""><span class="MsoEndnoteReference">[xii]</span></a> I see the work for myself and, in doing so, interact with the piece uniquely. Elizabeth Peyton’s “<a href="http://www.flickr.com/photos/showupnow/2965205349/in/gallery-jungjinkyo-72157622576880644/">Blue Liam</a>” is a slightly larger-than-life-size portrait in oil on board. The white ground is slathered on the board and noticeable through the precise yet casually rendered features of a young man with a direct expression: his hair, eyes, lips, neck and dark, mock-turtle neck top. Peyton’s brushwork is minimally worked. Individual features of her backlit subject are efficiently formed. For example, the blue and purple shadows under the eyes are each a dripping pool of color, not actually brushstrokes at all. While, I know I am looking at a young man’s portrait, I find myself dismantling the image and responding only to distinct passages of paint. </div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">In his essay, <i>Eye and Mind</i>, Merleau-Ponty believes a shift in our point of view from an objective, science-driven vantage, to an organic, body-driven framework as more accurately describing reality. He writes:</div><div class="MsoNormal"> “Scientific thinking, a thinking which looks on from above, and thinks of the object-in-general, must return to the “there is” which precedes it; to the site, the soil of the sensible and humanly modified world such as it is in our lives and for our bodies – not that possible body which we may legitimately think of as an information machine, but this actual body I call mine, this sentinel standing quietly at the command of my words and my acts.” <a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn13" name="_ednref13" title=""><span class="MsoEndnoteReference">[xiii]</span></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="line-height: 200%;">He envisions a grounded, balanced existence where we understand our place in the world, not by using instruments or machines, but through our own physical experiences. For Merleau-Ponty, painting is a pursuit that is already based on this concept. “It is by lending his body to the world that the artist changes the world into paintings.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn14" name="_ednref14" title=""><span class="MsoEndnoteReference">[xiv]</span></a> What we can see happening in paintings is the result of the painter’s body having “intertwined vision and movement.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn15" name="_ednref15" title=""><span class="MsoEndnoteReference">[xv]</span></a></div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">An artist assesses her work as it is created; the audience makes its assessment when the work is done. Yet, there is a connection made through the work. Peyton has painted “Blue Liam” with her body present<i>. As I stand in front of her painting I am seeing the work through the artist’s body</i>.<span style="color: red;"> </span>A <i>crossover</i> takes place between us. What am I learning about the artist? “Blue Liam” is a portrait of a specific person. All features are intact, as in a photograph or a mirror. Her representational vision, according to Merleau-Ponty, relies on Cartesian principals, where mind is separate from body and based on perspective techniques from the Renaissance.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn16" name="_ednref16" title=""><span class="MsoEndnoteReference">[xvi]</span></a> Yet, the paint strokes and her clear colors emanate from the world of the body; the paint has meaning that is separate from the image it forms. I am pulled back, though, to a face whose features are preordained, floating on the surface of the painting’s ground. The scale of the subject is almost the same as my own. The paint drapes the outermost layer of the work closest to my face. I recall the experience of holding still while looking at my reflection in a glass mirror. The portrait mirrors my own face. Is my gaze intertwined, in some form, with the artist’s as she sees some aspect of herself? Have I caught her eye, mid-stare?<o:p></o:p></div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">Joan Mitchell’s painting, “<a href="http://www.cheimread.com/exhibitions/2011-11-03_joan-mitchell/?view=checklist">Yves</a>”, towers above me, a large presence. Scrubbed palm-width brushwork fills the large vertical rectangle with vivid colors. The paint strokes describe the reach of the artist’s arm and the speed of her movements. Her presence as the author of the gestures is undeniable. I am reminded of another painter, Louise Fishman (1939), who knew Joan Mitchell, and feels an affinity with her work.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn17" name="_ednref17" title=""><span class="MsoEndnoteReference">[xvii]</span></a> Painted gestures made with a variety of instruments reflect Fishman’s sense of her own body in relation to the canvas she is working on. Fishman seeks to avoid any representational reference in her work. The resulting work <i>presents</i> itself to the viewer, rather than re-presenting an image using techniques to create an optical illusion. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="line-height: 200%;">Heidegger’s essay, <i>The Origin of the Work of Art,</i> uses a spiraling, self-referential language to describe his beliefs about art. For him, language and poetry, determine how we understand reality. “Or could it be that even the structure of the thing as thus envisaged is a projection of the framework of the sentence?”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn18" name="_ednref18" title=""><span class="MsoEndnoteReference">[xviii]</span></a> Within this poetic framework, the artist, her physical efforts, and her relation to her materials determine what art is and how it is created. There is an echo of Kant’s concept of harmonizing the free play of intuition and understanding – or polar qualities finding balance together -- in Heidegger’s concept of world and earth. Despite their opposing qualities -- world, as self-disclosing, and Earth, as self-secluding -- they support each other in a state of repose within an artwork.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn19" name="_ednref19" title=""><span class="MsoEndnoteReference">[xix]</span></a> </div><div class="MsoNormal">“But as a world opens itself the earth comes to rise up. It stands forth as that which bears all, as that which is sheltered in its own laws and always wrapped up in itself. World demands its decisiveness and its measure and lets beings attain to the Open of their paths. Earth, bearing and jutting, strives to keep itself closed and to entrust everything to its law. The conflict in not a rift as a mere cleft is ripped open; rather <i>it is the intimacy with which opponents belong to each other</i>. This rift carries the opponents into the source of their unity by virtue of their common ground. It is a basic design, an outline sketch that draws the basic features of the rise of the lightening of beings. This rift does not let the opponents break apart; it brings the opposition of measure and boundary into their common outline.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn20" name="_ednref20" title=""><span class="MsoEndnoteReference">[xx]</span></a> </div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">The implied upheaval and resolution in the process Heidegger describes reflects Mitchell’s process of painting. The forms and masses of color are made -- and then are partially or completely covered. Some of those covered are brought forth again to the surface by subsequent, overlaid gestured shapes. Fishman has said that during the process of making a work she is concerned when she paints over an area that she likes, but then she realizes that the gestures and passages that she paints over eventually reappear in the work. She hasn’t lost them at all. The overall composition evolves from the cycle of disclosures and concealments, bringing the work to resolution. </div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">I notice a related, but different transference of opposing qualities by pairing the paintings by Peyton and Mitchell. As I look at each of their works, I am struck by their mutability: Peyton’s representational portrait dissolves, becoming passages of paint. Mitchell’s “pre-sentational,” abstract strokes of color, form facial features that became the image of a large, free-floating skull. (The painting is titled “Yves.” Is it a portrait?) At the level of the brushwork, the categories of representational and abstract mutate. Kant emphasizes that a judgment of beauty must be disinterested. “In order to play the judge in matters of taste, we must not be in the least biased in favor of the thing’s existence but must be wholly indifferent about it.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn21" name="_ednref21" title=""><span class="MsoEndnoteReference">[xxi]</span></a> By not bringing any preconceptions to the paintings, my reflections are uniquely my own. Thus, one realizes that the act of viewing a painting is a duet, pairing what the artist brings to the painting with what the viewer brings.</div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">The pathway to understanding “<a href="http://www.artnet.com/Artists/LotDetailPage.aspx?lot_id=7F70EA6D002FE553CB0E761CCBAB3ADF">Girl Eating Birds</a>”, by Cecily Brown, is not straightforward. You can feel lost and wonder if you are going the right way; but signposts abound. The triptych stretches laterally, beyond my peripheral vision. Just before my glance is whiplashed into analyzing the painted chaos, I do notice painted effects (of every color and stripe) completely fill the three, merged, vertical rectangular canvases. Mouth open, dumbfounded, my curiosity leads me into the work. Painted forms change by the second from inconsistently scaled human body parts (wrapped, clothed, fleshy, gesturing, prone) to tree limbs (trunks, logs, stumps, sticks, branches) then to objects (tents, posts, structures, tableware and rucksacks.) As a catalyst for unfolding the work, color (families of reds, blues and greens, browns and earth tones) leads my eye from one moment of the painting to another, and then circles back to show me that what I saw before is now something different. </div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">As an alternative to beauty in judgments of taste, Kant associates the sublime with disorienting, overwhelming, perhaps even thrilling physical reactions.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn22" name="_ednref22" title=""><span class="MsoEndnoteReference">[xxii]</span></a> He writes, “For the one liking ([that for] the beautiful) carries with it directly a feeling of life’s being furthered…But the other liking (the feeling of the sublime) is a pleasure that arises only indirectly; it is produced by the feeling of a momentary inhibition of the vital forces followed immediately by an outpouring of them that is all the stronger.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn23" name="_ednref23" title=""><span class="MsoEndnoteReference">[xxiii]</span></a> In Deleuze’s <u>Francis Bacon, The Logic of Sensation</u> , he reconfigures Kant’s aesthetic argument of the sublime.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn24" name="_ednref24" title=""><span class="MsoEndnoteReference">[xxiv]</span></a> </div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">Taking a contrarian’s view to Kant’s aura of reason and order, Deleuze is drawn to ideas of chaos and catastrophe. He describes a new logic comprised of four elements forming a cycle starting with “aesthetic comprehension,” or measure, leading to “rhythm,” or units of scale, confronting “chaos,” or the sublime, ending with “force,” a means to overcome chaos. “The abandonment of simple figuration is the general fact of modern painting and, still more, of painting altogether, of all time.<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn25" name="_ednref25" title=""><span class="MsoEndnoteReference">[xxv]</span></a> In place of figuration, rhythm becomes the unifying concept of painting based on sensation. With Brown’s painting I feel lost, then find a way into the painting, only to feel lost once again. My experience seems to parallel Deleuze’s cycle where the sense of being overwhelmed, with no footing, alternates with a reorientation determined by recognizing the painting’s internal rhythms. <o:p></o:p></div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">Merleau-Ponty echoes Kant’s thinking about how we bring outside sensations into our mind and what happens to them once there. Stepping further into Merleau-Ponty’s body-derived vision of the world, he highlights the significance of our ability to see ourselves seeing: “…the undividedness of the sensing and the sensed.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn26" name="_ednref26" title=""><span class="MsoEndnoteReference">[xxvi]</span></a>. <i>We see our own body as it sees.</i> Not surprisingly, the concept of self-apprehension links to ideas in painting concerning representation,</div><div class="MsoNormal">“The painter’s vision is not a view upon the outside, a mere “physical optical” (Klee) relation with the world. The world no longer stands before him through representation; rather, it is the painter to whom the things of the world give birth by a sort of concentration or coming-to-itself of the visible. Ultimately the painting relates to nothing at all among experienced things unless it is first of all “autofigurative.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn27" name="_ednref27" title=""><span class="MsoEndnoteReference">[xxvii]</span></a></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="line-height: 200%;">The idea of an objective, disembodied point of view is artificial and doesn’t reflect the actual practice of painting. Brown’s vision moves with her body as she sees, and this movement is inseparable from the process of seeing. The movement is a record or evidence of her self-perception as part of the act of both seeing and painting. Deleuze also focuses on the sensations of the body as central to an understanding of art and a rethinking of representation and the figure. “Whereas “figuration” refers to a form that is related to an object it is supposed to represent, the “Figure” is the form that is connected to a sensation, and that conveys the violence of this sensation directly to the nervous system.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn28" name="_ednref28" title=""><span class="MsoEndnoteReference">[xxviii]</span></a><span style="color: red;"> </span>According to Deleuze, Bacon and<span style="color: red;"> </span>Paul Cézanne solved the problem of how to extract the Figure from its figurative, narrative, and illustrational link; they thought about how to “paint the sensation” and “record the fact.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn29" name="_ednref29" title=""><span class="MsoEndnoteReference">[xxix]</span></a> When experiencing Brown’s work, it feels like her brushwork is creating a complete experience, a record of sensation and movement, a painted world integrating the overwhelmed sensations of imagination and understanding.</div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal" style="line-height: 200%;">These philosophers could be seen as part of the audience viewing the art. Their writings address the importance of the artist’s body in the conception and production of art. “Nature is on the inside,” says Cézanne. Merleau-Ponty elaborates, “Quality, light, color, depth, which are there before us, are there only because they awaken an echo in our bodies and because the body welcomes them.”<a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_edn30" name="_ednref30" title=""><span class="MsoEndnoteReference">[xxx]</span></a> How do these ideas come to bear on my experience with paintings by Peyton, Mitchell and Brown? Any a priori concepts I may bring to these works with respect to representation, gesture and the figure, are a false measure. The sensations produced by the marks of the artist as they become line, shape, color, discernable form, and space are understood through the artist’s body first, incorporating the artist’s vision of herself, and later through the viewer’s body. Using the body as the source and the destination of sensation recorded and perceived opens the possibility of genuine experience. <i>The appetite of the body for meaning is genuine and inescapable.</i> </div><div class="MsoNormal" style="line-height: 200%;"><br />
</div><div class="MsoNormal">Anne Sherwood Pundyk is a painter living and working in New York City, January 2009. </div><div class="MsoNormal"><br />
</div><div style="border-bottom: solid windowtext 1.5pt; border: none; padding: 0in 0in 1.0pt 0in;"><div class="MsoNormal" style="border: none; mso-border-bottom-alt: solid windowtext 1.5pt; mso-padding-alt: 0in 0in 1.0pt 0in; padding: 0in;"><br />
</div></div><div class="MsoNormal">While standing in front of each painting, I took notes on what I saw. My reactions to the work in “real time” are recorded below. Descriptive comments in [<i>italics</i>] are added later for clarification.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b>Image 1:<o:p></o:p></b></div><div class="MsoNormal"><u>Elizabeth Peyton (1996) “Blue Liam,” Oil on masonite, 17 x 14 inches<o:p></o:p></u></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">December 10, 2008, New Museum, New York.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Slightly larger than life size (not really staring at me.) White/grey face and background all one – blue drippy shadows for eye. Then the red (too red) lips. Single line of eyebrow, feathery hair (strokes) outline of chin. (I have my doubts about choosing Peyton – the work seems too simple and flat – plus the Orient irony anger/frustration.)</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Shirt is purple/shadows are purple blue (artificial – cobalt) like the lips are artificial red </div><div class="MsoNormal">Dark shirt anchors the head. Angled lips. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Three horizontal lines [<i>formed by</i>] hair, brow, and lips. Each at a slightly different angle, but leading to a point on the horizon. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Vague engagement with the viewer. “In your face”</div><div class="MsoNormal">Skull like, death-like, despite the youthful features, sickly.</div><div class="MsoNormal">[<i>Standing now</i>] At 3’ range the face pulls into 3-D – eyes looking in different directions (one at me, one away) sinister smile.</div><div class="MsoNormal">Engagement with viewer at the right distance.</div><div class="MsoFootnoteText"><br />
</div><div class="MsoFootnoteText"><br />
</div><div class="MsoFootnoteText"><span style="font-size: 13pt;"><b>Image 2:<o:p></o:p></b></span></div><div class="MsoNormal"><u>Joan Mitchell (1925 - 1992)</u><u> ”Yves,” </u><u>1991</u><u>, </u><u>Oil on canvas,</u><u> </u><u>110 1/4 x 78 3/4 inches</u></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">December 10, 2008, Cheim & Read Gallery, New York.<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Much taller than me – somewhat wider than me. Blue/black core comes to my attention first. (Distracted by DL asking me a question.) Then a second “eye” just to the left, next to the first blue/black disk appears. Now the large [<i>overall</i>] mass in the white is a skull. Simultaneously a “grainy” mass at the top with the orange that “burns through”. A patch of green at the top is hopeful (a garden). My attention is drawn down to green “teeth”. Back up to the “brain event leading to a “third eye” of sky color in blue. The Cerulean blue at upper left and on the “nose”.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Lavender in “ground” leading [<i>mixed with the white</i>] to “Ochre” in top.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I think this is a portrait with the “orange” intelligence glowing from inside the medium small green island at top. Red Ruby in center top of read.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Then back to the beginning: The blue-black left eye at the center.</div><div class="MsoNormal">Raining down of drips small slices, gentle light rain as well.</div><div class="MsoNormal">Then it turns into a landscape a pond with mountains/hills behind and a Buddha by the water.</div><div class="MsoNormal">Over all gesture: rising up to green island floats away at the very top.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b>Image 3:<o:p></o:p></b></div><div class="MsoFootnoteText"><u>Cecily Brown (1969) “Girl Eating Birds,” 2004, Oil on linen</u><span style="font-family: ArialMT; font-size: 13pt;"><b><u>, </u></b></span><u>Triptych: 77 x 165 inches overall</u></div><div class="MsoFootnoteText"><br />
</div><div class="MsoFootnoteText"><span style="font-size: 13pt;">December 11, 2008, Gagosian Gallery, New York.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">White, bandaged figure to the upper left (a mummy) turning away. Small figure in the center (sticking out tongue) raising his fist (thumb). Red gloved hand pointing down as a counterpoint to the [<i>little man’s</i>] (rendered, flesh) arm pointing up. The green, sad pin-wheel flower in the center. Blue, broken [<i>man</i> <i>made</i>] post between these three elements.</div><div class="MsoNormal">Now I see the greenery (the forest floor) and some large [<i>human</i>] limbs and maybe on the left an upturned buttocks. On the left, as mass/blob of flesh (oh no! what is it?) The red/orange begins to look like blood, and then I notice the blood [<i>red color</i>] throughout, but mostly concentrated on the lower right, and a little bit on the top. </div><div class="MsoNormal">Next the brown sticks (sticks in the front and logs – [<i>or</i>] larger sticks in the background – so the sense of the landscape opens up -- and the scale of the man in the center seems too small. What is visible next is the blue – (L.N. interrupts to introduce herself). Different blues and turquoise – it doesn’t feel like sky or water, but is feels of the living world. </div><div class="MsoNormal">Now the shape on the right [<i>the mummy</i>] (worried slightly that the jig is up, but no. Calm yourself). Could be a bag or a canvas sack slung over a tree. A cup and saucer below the bag or maybe it’s a birch tree– are these little white rabbit ears (signature?) on the lower right?</div><div class="MsoNormal">Flicks of green grass amidst the flesh/earth.</div><div class="MsoNormal">At the upper left there is a view beyond the forest with sticks that are both pointing the way out and blocking the way, but there is a place beyond. And now there is a possibility that the blues and greens are beyond the woods – especially with the medium-pale forest-green at the top right. </div><div class="MsoNormal">There is a “bloody” [<i>as in British slang adjective</i>] nervous quality to the work. Help! Where do I look? Where can I rest? Look here! Look here! </div><div class="MsoNormal">(I notice office girls in the gallery talking.) </div><div class="MsoNormal">Ok. There is a red star flower (was it blood before?) on the lower right. A Columbine [<i>flower</i>]. Here and there amidst the flesh – faces/orifices. A married couple. An old-fashioned George Washington wig on the upper right. Then the cup looks like a sawed off tree and the mummy/bag are both holes (like Alice’s [<i>in Wonderland</i>] hole) – ways to leave (especially) the bag/mummy. Are the large fleshy limbs bound?</div><div class="MsoNormal">Now, in terms of paint application, I see the long blue drips in the center panel. (P. calls my cell phone.) The little “doodle” of dark grey at the top has caught my eye a couple of times: penis and testicles shapes? – (I’m running out of patience and my mind is wandering to E., whose mind wanders – get him to learn meditation. David Lynch, etc., etc.) (Coincidently E. calls my cell phone.) (M. walks through – C.B.’s “person”.)</div><div class="MsoNormal">Back to the lovely recognizable flora on the forest floor and I “remember through all these interruptions” that I’m finally noticing all the smatters of drips of all colors sort of “spitting” like London rain (Yikes! “Larry’s” on the phone.) </div><div class="MsoNormal">As I conclude, I notice that the triptych format could be three separate paintings – in fact they aren’t really “linked up” – now I wonder if they are like three views of the same scene – like “unstitched” photos. Cool idea. Were they painted together? Does it matter” Voodoo doll/bird at the top in the left panel.</div><div class="MsoNormal">Another possibility is that the left panel is a “close up” still life. There is, back on the left a blue “block” man-made – and maybe the edge of a root or tent. A snaky red stick snake with a shadow at the very lower left. Bright yellow green in the foreground (cheerful?) – more splatters come into focus there.</div><div class="MsoNormal">Now I’ drawn into all the detail like looking at the stitchery in a tapestry. I notice that is really painted from edge to edge. (No air space.) Scratchy dry brush, unfinished forms on the left.</div><div class="MsoNormal">Am I done? – Would I keep going? I see the humor in staying all night. I’m conscious of the chair I’m sitting in – that I’m sitting (that they have given me a chair.) And I realize that the work is longer than it is high – in fact it feels like the height of modern office windows. But, certainly meant to be stepped into. The width is noticeable – you can’t really see the whole painting from 5’ away – and it doesn’t really feel that tall when you get up close.</div><div class="MsoNormal">Close up – the flesh mass on the left is clasped red and white hands. Up close under painting – 2 inches to ¼ inch side little curves and straight marks (L. gave me some water.) Pulled away.</div><div class="MsoNormal">Flesh mass on the left side is “Baconesque” – the faces and eyes are contortions.</div><div class="MsoNormal">Stick as the letter “E”.</div><div class="MsoNormal">Go and go – each passage close up –</div><div class="MsoNormal">Strokes, drips, suites of color.</div><div class="MsoNormal">The little man in the middle has a bandage on his thumb and is holding a spear/ski pole. Is he a king? – is he stabbed? – is there part of a house in front of him? What is he wearing?</div><div class="MsoNormal">Large leg with bent knee center left.</div><div class="MsoNormal">Right side – tents upper left of right panel.</div><div class="MsoNormal">On bag/mummy – below are dry brush strokes in cream – and I notice brown pods growing that could be spots without the leopard at the bottom.</div><div class="MsoNormal">Up close – surprise purple dot. I thought that was the end, but I spot some more purple by the tent. At the top.</div><div class="MsoNormal">Am I done now?</div><div class="MsoNormal">The purple-blues are now calling me from the top.</div><div class="MsoNormal"><br />
</div><div><br />
<hr align="left" size="1" width="33%" /><div id="edn1"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref1" name="_edn1" title=""></a><b>Endnotes<o:p></o:p></b></div><div class="MsoEndnoteText"><br />
</div><div class="MsoNormal"><span class="MsoEndnoteReference">[i]</span> Elizabeth Peyton (1965) “Blue Liam,” 1996, Oil on masonite, 17 x 14 inches.</div></div><div id="edn2"><div class="MsoEndnoteText"><br />
</div><div class="MsoNormal"><span class="MsoEndnoteReference">[ii]</span> Joan Mitchell (1925 - 1992) ”Yves,” 1991, Oil on canvas, 110 1/4 x 78 3/4 inches.</div></div><div id="edn3"><div class="MsoFootnoteText"><br />
</div><div class="MsoFootnoteText"><span class="MsoEndnoteReference">[iii]</span> Cecily Brown (1969) “Girl Eating Birds,” 2004, Oil on linen<span style="font-family: ArialMT; font-size: 13pt;"><b>, </b></span>Triptych: 77 x 165 inches overall.</div><div class="MsoEndnoteText"><br />
</div></div><div id="edn4"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference">[iv]</span></a> Notes on my “real time” response to each painting are at the end of this essay, above the Endnotes.</div></div><div id="edn5"><div class="MsoEndnoteText"><br />
</div><div class="MsoEndnoteText"><span class="MsoEndnoteReference">[v]</span> Selections made by Timothy R. Quigley, PhD, Associate Professor at the New School for General Studies, New York, NY. The selected writings are: Immanuel Kant, <u>Critique of Judgment</u>, trans. Werner S. Pluhar (Indianapolis/Cambridge: Hacket Publishing Company, 1987) 43-230; Martin Heidegger, <i>The Origin of the Work of Art</i>, <u>Poetry, Language, Thought</u>, trans. Albert Hofstadter (New York: Harper & Row, 1971) 17-87; Maurice Merleau-Ponty, <i>Eye and Mind</i>, <u>The Primacy of Perception and Other Essays…</u>, ed. James M. Edie, trans. Carleton Dallery (Evanston: Northwestern University Press, 1964.); Gilles Deleuze, <u>Francis Bacon, The Logic of Sensation</u>, trans. and intro. Daniel W. Smith, author’s intro. trans. Lisa Liebman (Minneapolis: University of Minnesota Press: 2003)</div></div><div id="edn6"><div class="MsoEndnoteText"><br />
</div><div class="MsoEndnoteText"><span class="MsoEndnoteReference">[vi]</span> Kant, 62. I want to refer here to the components of Kant’s basic building blocks of perception, that nonetheless form a complete experience. “Now if a presentation by which an object is given is, in general, to become cognition, we need imagination to combine the manifold of intuition, and understanding to provide the unity of the concept uniting the [component] presentations.” </div></div><div id="edn7"><div class="MsoEndnoteText"><br />
</div><div class="MsoEndnoteText"><span class="MsoEndnoteReference">[vii]</span> Kant, 44. Kant describes our reaction to an object under consideration as our use of imagination to refer the presentation (or object of our direct awareness) to us and our resulting feeling of pleasure or displeasure. Later, on page 59, Kant’s statement that “all judgments of taste are singular judgments,” reinforces the requirement that the object or artwork be seen in person. Before seeing something, we cannot have the idea that it is beautiful, otherwise we will be using logic in our judgment. We must judge on a case-by-case basis.</div></div><div id="edn8"><div class="MsoEndnoteText"><br />
</div><div class="MsoEndnoteText"><span class="MsoEndnoteReference">[viii]</span> Kant, 44.</div></div><div id="edn9"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref9" name="_edn9" title=""><span class="MsoEndnoteReference">[ix]</span></a> Kant, 150-152.</div></div><div id="edn10"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref10" name="_edn10" title=""><span class="MsoEndnoteReference">[x]</span></a> Timothy R. Quigley, “Kant: Notes on the Critique of Judgment,” October 12, 2008, 4.</div></div><div id="edn11"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref11" name="_edn11" title=""><span class="MsoEndnoteReference">[xi]</span></a> Kant, 155.</div></div><div id="edn12"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref12" name="_edn12" title=""><span class="MsoEndnoteReference">[xii]</span></a> The experiences I had looking at the paintings in person were later impossible to replicate by looking at smaller reproductions of the works. The colors were different, the texture of the paint wasn’t visible and the size had no reference to the actual work. More importantly the reproduction had no reference to my body or my perspective.</div></div><div id="edn13"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref13" name="_edn13" title=""><span class="MsoEndnoteReference">[xiii]</span></a> Merleau-Ponty, 2.</div></div><div id="edn14"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref14" name="_edn14" title=""><span class="MsoEndnoteReference">[xiv]</span></a> Merleau-Ponty, 2.</div></div><div id="edn15"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref15" name="_edn15" title=""><span class="MsoEndnoteReference">[xv]</span></a> Merleau-Ponty, 2.</div></div><div id="edn16"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref16" name="_edn16" title=""><span class="MsoEndnoteReference">[xvi]</span></a> Merleau-Ponty, 10.</div></div><div id="edn17"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref17" name="_edn17" title=""><span class="MsoEndnoteReference">[xvii]</span></a> I visited Louise Fishman in her studio on November 2, 2008 where she discussed her work.</div></div><div id="edn18"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref18" name="_edn18" title=""><span class="MsoEndnoteReference">[xviii]</span></a><span lang="DA"> Heidegger, 24.<o:p></o:p></span></div></div><div id="edn19"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref19" name="_edn19" title=""><span class="MsoEndnoteReference">[xix]</span></a><span lang="DA"> Heidegger, 48.<o:p></o:p></span></div></div><div id="edn20"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref20" name="_edn20" title=""><span class="MsoEndnoteReference">[xx]</span></a><span lang="DA"> Heidegger, 63.<o:p></o:p></span></div></div><div id="edn21"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref21" name="_edn21" title=""><span class="MsoEndnoteReference">[xxi]</span></a><span lang="DA"> Kant, 46.<o:p></o:p></span></div></div><div id="edn22"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref22" name="_edn22" title=""><span class="MsoEndnoteReference">[xxii]</span></a><span lang="DA"> Kant, 98.<o:p></o:p></span></div></div><div id="edn23"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref23" name="_edn23" title=""><span class="MsoEndnoteReference">[xxiii]</span></a><span lang="DA"> Kant, 98.<o:p></o:p></span></div></div><div id="edn24"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref24" name="_edn24" title=""><span class="MsoEndnoteReference">[xxiv]</span></a><span lang="DA"> Deleuze, xix.<o:p></o:p></span></div></div><div id="edn25"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref25" name="_edn25" title=""><span class="MsoEndnoteReference">[xxv]</span></a><span lang="DA"> Deleuze, xxxii.<o:p></o:p></span></div></div><div id="edn26"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref26" name="_edn26" title=""><span class="MsoEndnoteReference">[xxvi]</span></a> Merleau-Ponty, 3.</div></div><div id="edn27"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref27" name="_edn27" title=""><span class="MsoEndnoteReference">[xxvii]</span></a> Merleau-Ponty, 14.</div></div><div id="edn28"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref28" name="_edn28" title=""><span class="MsoEndnoteReference">[xxviii]</span></a> Deleuze, xiii.</div></div><div id="edn29"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref29" name="_edn29" title=""><span class="MsoEndnoteReference">[xxix]</span></a> Deleuze, xiv.</div></div><div id="edn30"><div class="MsoEndnoteText"><a href="http://www.blogger.com/post-create.g?blogID=1176227673788442853#_ednref30" name="_edn30" title=""><span class="MsoEndnoteReference">[xxx]</span></a> Merleau-Ponty, 4.</div><div class="MsoEndnoteText"><br />
</div><div class="MsoEndnoteText"><br />
</div></div></div>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com4tag:blogger.com,1999:blog-1176227673788442853.post-64536476787609416872011-09-07T07:18:00.000-07:002012-01-09T20:06:18.591-08:00Two Personal Heroes: Edwin Parker “Cy” Twombly (1928-2011) and Dirck Winser Brown (1928-2002)<div class="MsoNormal">On the Occasion of “Cy Twombly: Sculpture” Exhibition</div><div class="MsoNormal">The Museum of Modern Art</div><div class="MsoNormal">May 20 - October 3, 2011</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">To accompany my review of the exhibition in <i>The Brooklyn Rail</i>: "<a href="http://brooklynrail.org/2011/09/artseen/cy-twombly-sculpture">Cy Twombly: Sculpture</a>."</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Late in December, 1998, I visited with Cy Twombly in Lexington, VA. He gave me a tour of his house and studio, where I remember seeing several sculptures. He was gracious, engaging and as I recall, slightly bemused. This summer, I was compelled to write about MoMA’s small, but comprehensive exhibition of Twombly’s sculpture (including one he made in Lexington); sadly he died just after the show opened. As part of reconciling with Twombly’s passing and to prepare for writing the review I wanted to revisit his life’s work. Also, I wanted to graft my own personal associations onto my reassessment; my familiarity with Lexington, I realized, gave me insight into some key aspects of the artist’s background. What resonated even more, were the circumstances of my encounter with the artist, which had been a personal milestone.</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Lexington has a beauty that seems to enchant through its disarming physical attributes, but it is the ghosts from Revolutionary and Civil War times who are doing the heavy lifting. As proof, ruminations about past great generals and bloody battles are still part of everyday conversation at the local coffee shops. The white column studded architecture, resting on hedge-lined green lawns, all of which are floating amidst the low blue-grey Blue Ridge Mountains, have a pull my parents couldn’t resist. In 1993 they moved there, as an exercise in nostalgia; they were looking for a town that resembled their hometown in southern Ohio, also a history-steeped, college town, (but wasn’t <i>actually</i><span style="font-style: normal;"> their hometown – too many familiar ghosts.) Correctly, they felt they could pursue their interests unimpeded in Lexington. They are pioneers, my father in adoption counseling and my mother in ecology education. (I, however, wasn’t for the move. I prefer ghosts of people I’ve actually known. Their prior home in Orient Point, NY where my grandparents and their parents has lived, had all the charm I needed and it was seven hours closer to </span><i>my</i><span style="font-style: normal;"> parent’s grandchildren we were raising in New York City.)</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In his interview with David Sylvester, in 2001, Twombly refers to Lexington’s subtle charms “<span class="apple-style-span"><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial;">… where I'm from, the central valley of Virginia, is not one of the most exciting landscapes in the world, but it's one of the most beautiful. It's very beautiful because it has everything. It has mountains, there are streams, there are fields, beautiful trees. And architecture sits very well in it.” He had first left Lexington, his birthplace and hometown, when he was in his 20’s gravitating to Rome and establishing a life-long pattern of relocating to different parts of the world for each season of the year. He had been pulled back to Lexington regularly because the area reminded him of his adopted Mediterranean home across the Atlantic. Based on the epic myths and ancient tales of war he used in his artwork, I can’t help thinking that it was also Generals Washington and Lee or fallen heroes from the Battle of New Market who were calling Twombly back when he acquired his house and studio in Lexington. Coincidently this was the same year as my parent’s move there.</span></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I was personally familiar with regular relocation. Growing up, as a family we had moved many times throughout the United States. My father’s first career had taken us to several different cities, but I knew our moves were fueled in part by my father’s personal restlessness. He lived with a taboo. He had been adopted. The impact of this fact on his psyche was complete and total. I trace almost every move he made as reverberating from the circumstances of his birth and his adoption. He came to understand after a lifetime of soul searching and hard work, the impact that secrets and denial related to adoption have on families. Watching this process as his daughter, I came to appreciate its difficulty and all the considerable insight and bravery my father had facing it down. This isn’t to say I didn’t feel the bumps and don’t have the scars of someone who was there. In reviewing Twombly’s biography, I couldn’t help feeling a sense of alarm, as I read of his constant travels reportedly for inspiration and work. The parallels between Twombly’s life and my father’s were coming to the surface. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I don’t really know why Twombly was always on the move. He was a very discreet and private person, keeping a circle of family, friends and associates closed around him. What I do see, however, is the fruits of fighting the same sort of struggle my father faced down: the single-minded dedication to and defense of subjectivity. Twombly’s inclination and ability to separate himself from the provincial pull of both his hometown and strong conservative currents in American art led to his accomplishments in the art world. I have a sense of the depth of his intellectual pursuits – his embrace early in life of the founding premises of modern art -- “progressive art” it was called – and creative milestones in the companion fields of philosophy, literature, and psychology. This, Twombly’s warm humor, skeptical attitude toward authority, independent thinking, and dedication to his work are all qualities he shared with my father. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I can’t separate my association of Twombly with my father for one other simple reason: he introduced me to the artist. Since my father had not always embraced my artwork, this was a gift and show of support. My father made Twombly’s acquaintance at Lexington’s Virginia Military Institute where popular weekly cadet parades occur. They would meet occasionally and my father asked if he could introduce me when I came for a visit from Manhattan. Most thrilling for me, during my visit to Twombly’s home that day, was the time he spent looking at a group of my small collages and images of larger works on paper I had just finished. From my journal notes of the meeting I recount that Twombly said my work was “intelligent and sensitive,” and he “loved” the collages – which I’m sure prompted me to ask if he would like one. He picked one out, which included a chair cut out from a 1984 <i>House & Garden</i><span style="font-style: normal;"> magazine photo-spread of The Villa Medici in Rome, home to the French Academy, which had been lovingly renovated by the painter Balthus.* I’m slightly chagrined to note in my journal that the next day I called Twombly to ask if I could borrow the collage back to photograph it. He said he had already sent it to his framer and from there it was going to Rome. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Twombly was born at the Stonewall Jackson Hospital in Lexington in 1928; the same year as my father. Symbolic of the nature of personal exchanges and intersections my father died in Lexington in December 2002 and is buried in the Stonewall Jackson Cemetery. Twombly died this summer in Rome, his adopted city and from all accounts a place he associated with all he held dear. I like to think that now, instead of on the VMI parade grounds, my father and Cy will meet again on the Elysian Fields.<br />
<br />
<br />
___________________________________<br />
* I found the issue in my studio this week; the article accompanying the photographs reports, "In 1961 Andre Malraux, [French] Minister of Culture, had named as director his friend the painter Balthus, who fulfilled his mission [to restore the Villa] over the course of sixteen years with singular prestige and with results that cannot be too much appreciated. " I recall in my conversation with Twombly during our visit, that he said he knew the building. Twombly, himself restored several Italian villas and perhaps had referred to Balthus' sensitive and well-researched efforts.<br />
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<i>House & Garden</i>, January 1984, p. 64 (ghost of chair image cut out and used in my collage)</div>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com2Lexington, VA 24450, USA37.784020800000008 -79.44281569999998337.769026300000007 -79.466300199999978 37.799015300000008 -79.419331199999988tag:blogger.com,1999:blog-1176227673788442853.post-6159084745882756512011-06-06T21:12:00.000-07:002011-06-07T04:40:31.383-07:00Epilogue: Mourning Tower, Mourning Train<div class="MsoNormal"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFU1xZfR84miS0axnRKUbe6v0pqgQVmx_Dycv9n9myKmiU2NjbWv_BqKn__AYpYYsnt2TuNPPrF8eaOrmiSy1lNNz6ULQNfe4GfTNOSfE2MPafzyGvtzicAxSypGx_uNqm6u3UNz7GjoP_/s1600/513V2yF8dqL.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFU1xZfR84miS0axnRKUbe6v0pqgQVmx_Dycv9n9myKmiU2NjbWv_BqKn__AYpYYsnt2TuNPPrF8eaOrmiSy1lNNz6ULQNfe4GfTNOSfE2MPafzyGvtzicAxSypGx_uNqm6u3UNz7GjoP_/s400/513V2yF8dqL.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br />
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</div>The spontaneously formed crowds of people who gathered beside the tracks to witness the passing of the funeral train that carried Robert F. Kennedy’s body from New York City to Washington D.C. on June 8, 1968 are testament to our capacity for shared grief. The immediacy and magnitude of the expression of public mourning over the loss of such an inspiring public figure revealed in the photographs by Paul Fusco has a fascinating psychological impact. It is a record of the emotional facts. It shows that as a country we have the capacity to mourn together, out in the open. Or that we had it once. It also underscores the multitudes of nearly anonymous, officially obscured military-related deaths that currently go un-recognized. Have we forgotten how to grieve together? </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The idea of “public morning” resonates with me as I’ve recently completed the installation, “<a href="http://www.annepundyk.com/mourning-tower-installation">Mourning Tower</a>” at Queens College Art Center, which calls for a remembrance of those who have been killed or wounded at this time of war. A visual link between Fusco’s photographs of the Kennedy train ride and the installation is the iconic image of the American flag. The difference is that the outpouring of grief after Kennedy’s assassination was immediate, unrestrained, and shared throughout the republic, but the casualties from our current wars are not publicized - there is a public “un-mourning” that surrounds them. Fusco has addressed this in another beautiful photographic series of photographs of grieving families called "<a href="http://www.magnumphotos.com/c.aspx?VP=XSpecific_MAG.StoryDetail_VPage&pid=2K7O3R9LOMK0">Bitter Fruit</a>."</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Fusco and art dealer <a href="http://www.danzigerprojects.com/history/">James Danziger</a> talked about that historic day at a panel discussion at Aperture Gallery, the resulting photographs, and what the photographs have come to mean. The panel was held to publicize the debut of Jennifer Stoddart’s film, “<a href="http://www.hbo.com/documentaries/one-thousand-pictures-rfk-s-last-journey/index.html">A Thousand Pictures</a>,” tomorrow night on HBO and Aperature’s publication of the book, <i><a href="http://www.aperture.org/exposures/?tag=paul-fusco">Paul Fusco: RFK</a></i><span style="font-style: normal;"> both examining Fusco’s accomplishment. In concert with the book publication and the film release, <a href="http://www.20x200.com/blog/2011/05/announcing-fusco-prints-to-benefit-mf-legacy.html">20x200</a>, the on-line art editions gallery, will be offering a limited edition of a pair of Fusco’s funeral train images this Wednesday to support the Magnum Foundation.</span><br />
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</div>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-67312831031618685742011-05-06T07:34:00.000-07:002011-05-15T08:06:23.349-07:00“Mourning Tower” Rosenthal Library Rotunda Installation: Inside a Library We Can Enter the Realm of Ideas<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGAd3pClotZT0wx7aJp7ercUkojE14na7iojLk_H5mKVYMIO6V6zzPKtiShvxV-VQ3C8AK6YZNGUAokZg2p4u4kzU6iZoQsZz6EokMZG9fXnaz1VwAq1oST2Gk4EEZ116W3wrNIedQaidn/s1600/1+Change+My+Mind_Martian+Easter+Tree.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGAd3pClotZT0wx7aJp7ercUkojE14na7iojLk_H5mKVYMIO6V6zzPKtiShvxV-VQ3C8AK6YZNGUAokZg2p4u4kzU6iZoQsZz6EokMZG9fXnaz1VwAq1oST2Gk4EEZ116W3wrNIedQaidn/s320/1+Change+My+Mind_Martian+Easter+Tree.jpg" width="185" /></a></div><br />
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<div class="MsoNormal"><span style="font-size: 14pt;"><b>“Mourning Tower”<o:p></o:p></b></span></div><div class="MsoNormal"><span style="font-size: 14pt;"><b>Rosenthal Library Rotunda Installation<o:p></o:p></b></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b>By Anne Sherwood Pundyk<o:p></o:p></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Inside a library we can enter the realm of ideas by opening one of the books we find there and turning its pages. </div><div class="MsoNormal"><br />
</div><div class="MsoNormal">“Mourning Tower” installation begins with unfurled pages -- printed with the sequential history of a painting – that wrap the glass walls of the Rosenthal Library’s Rotunda, simultaneously encircling the large American flag displayed in the space’s open heart. Printed in color images starting at the top of the tower’s interior (adjacent to the painting <i>Change My Mind/Martian Easter Tree</i><span style="font-style: normal;"> from which the story is derived) the visual narrative repeats, fading to a black and white version as its string of pages descend from floor to floor. A mesh-like hem of empty black paper forms at the base of the rotunda. Collectively the spiraling rows appear to embrace and safeguard the space of ideas while, as the American flag is glimpsed amidst the lower rows of black “missing” pages, we are reminded of those who have been wounded or killed especially most recently in this time of war. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">“Mourning Tower” is an extension of the group exhibition, “Express + Local: NYC Aesthetics,” curated by Tara Mathison, located in the Queens College Art Center. </div>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-21116266752061841042011-04-30T21:23:00.000-07:002011-04-30T21:23:58.010-07:00Express + Local: NYC Aesthetics Group Exhibition, May 5 - June 30, 2011<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyTCOm-XekDTvxZ62EFpLCqkSRS6phoX91Ptiv8d5OMMF7n3dkruFMFS-dbYzkXBDwGj4C5B948KrdHC3yCyIQcbjJSOf02pFGGmv02lRP_GS-eSJdtjFDo-1WOLSsNC0NFzbkUJTK9VtP/s1600/Change+My+Mind_Martian_Easter_Tree.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="400" width="379" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyTCOm-XekDTvxZ62EFpLCqkSRS6phoX91Ptiv8d5OMMF7n3dkruFMFS-dbYzkXBDwGj4C5B948KrdHC3yCyIQcbjJSOf02pFGGmv02lRP_GS-eSJdtjFDo-1WOLSsNC0NFzbkUJTK9VtP/s400/Change+My+Mind_Martian_Easter_Tree.jpg" /></a></div><br />
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I’ve translated my experiences and interactions as a participant in the 15-artist residence program <a href="http://qcpages.qc.cuny.edu/Art_Library/exhibitions.html">Express + Local: NYC Aesthetics</a> at Queens College Art Center this spring into paintings and a large scale installation. These works are included in a group exhibition of all artists' work resulting from the residence program, which opens Thursday, May 5th.<br />
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“Mourning,” my architectural-based installation in The Queens College Art Center’s zoetrope-like library atrium, refits the ivory tower with a broadcast tower; tune in - we are in a time of war. The installation sends and receives, reflects and collects evidence through which to consider the relationship between the cultural framework of the art world and our current state of war.<br />
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Express + Local: NYC Aesthetics Group Exhibition, May 5 - June 30, 2011<br />
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<b>RECEPTION: Thursday, May 5, 2010, 5 - 8PM. Artists' Talks with Curator Tara Mathison from 6 - 7 PM</b><br />
<a href="http://qcpages.qc.cuny.edu/Art_Library/about.html"><br />
Queens College Art Center</a> (part of the Selma and Max Kupferberg Center for the Arts)<br />
Benjamin S. Rosenthal Library, Level Six<br />
Queens College, 65-30 Kissena Blvd., Flushing, NY 11367-1597 <br />
Gallery Hours: Monday–Thursday, 9 am–8 pm; Friday and April 18–22, 25-26, May 31–June 30, 9 am–5 pm; closed May 30, weekends and holidays<br />
Free and open to the public<br />
For more information: (718) 997-3770<br />
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For directions to Queens College, click <a href="http://www.qc.cuny.edu/welcome/directions/Pages/default.aspx">here</a>.<br />
For a campus map, click <a href="http://www.qc.cuny.edu/welcome/directions/2d/pages/default.aspx">here</a>.<br />
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Above image: Anne Sherwood Pundyk, "Change My Mind/Martian Easter Tree," 2011, 63" x 60,"Oil and Acrylic on LinenAnne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com1tag:blogger.com,1999:blog-1176227673788442853.post-38200536743077803702011-04-19T07:28:00.000-07:002011-04-19T07:28:50.052-07:00Artists' Work, War and MuseumsThrough their work and attitudes, artists ultimately respond to the larger framework of museum culture since it is the platform for those giving them support and credence: patrons, curators and critics. Noted cultural theorist, Viola Kolarov expands upon this and the dependence Freud described between museums and war in her essay “Marlene McCarty: Report to a Museum.” We are now in a time of war. Armed with Kolarov’s insights, I propose a call to artists, patrons, curators, critics and museum leaders to question the moral underpinnings of their work as it relates to the cultural cycle that perpetuates violence, torture, and cruelty.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEA5_PAW0PPt8RqQx-dhkjPOKr28nhABRTS5l6H5NaTnQ7WShtQDhBCeqiLZZIsAxeBb9ILaw-FNeTucLh1NajWv258mjoPTDI0siDBYQtUjP3R8wF-svNn10oYALpyCaOwUwZJ9_t3MSo/s1600/evan.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="397" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEA5_PAW0PPt8RqQx-dhkjPOKr28nhABRTS5l6H5NaTnQ7WShtQDhBCeqiLZZIsAxeBb9ILaw-FNeTucLh1NajWv258mjoPTDI0siDBYQtUjP3R8wF-svNn10oYALpyCaOwUwZJ9_t3MSo/s400/evan.jpg" /></a></div>"Evan" by Anne Sherwood Pundyk, 2010, 24" x 24," Oil and Acrylic on Panel<br />
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Kolarov notes that in 1915 -- another time of war -- Freud wrote about a theoretical positioning of the function of the museum and museum culture with respect to war. Freud’s observations on the state of war (which he considered an exception) and its impact on the norm of peacetime suggest the psychic parameters of contemporary artists’ current work. He focuses on the crumbling of the ethical norms that structure the space of the museum at times of war. During peacetime, members of western civilization enjoy the foreign “cultures” hosted within the walls of the museum. In wartime what has allowed this pleasure reveals itself in its pure form: the reduction of the world and its history into a manageable size for consumption. This is possible because the museum’s audience is stuck in an unenlightened, self-focused state of mind. <br />
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The premise for Freud’s speculation, Kolarov suggests, is that the museum contains products of war. War opens the doors of culture to looting (a close relative to creative transgressing) and also reignites the hungry aggression that powered the construction of the museum in the first place. In a sense, museums honor the aggressive acts with forms of celebration that mimic mourning by using funeral procession-like arrangements of objects in cases and in rows. Psychologically those aggressors must put a distance between themselves and their violent acts by framing the contents of the museum as being from the past, from faraway, or to be kept and considered for the future (and forever.) The museum maintains a distance between the housed artwork and its audience – preventing the process of mourning and allowing for the denial of the violence and transgressions of war.<br />
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How do contemporary artists, creating new art, grapple with this distance required by the museum: the source of their support and credibility? Kolarov formulates two possibilities: one, that artists can choose between denying that the original works they create are connected to or refer to western civilization and its violent practices – in other words – their creations come out of nothing. But in so doing, they eventually have to admit that the work then means and is worth nothing. A second choice is to embrace the museum’s culture of war, even to enhance the attractiveness of violence by connecting it to sex. This option promotes the image of the artist as having a destructive, transgressive character – a distancing devise familiar to those versed in museum culture. <br />
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We are now in a time of war. Are there other possible responses besides completely denying our state of war or worse, participating in the insidious hidden-in-plain-sight consequences of war culture? Is it possible for all involved to acknowledge the wrongs and transgressions of our participation in war, to fully mourn the losses of war together as a “civilization,” and to rebuild our collective conscience?Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-68478267325302791342011-04-16T13:39:00.000-07:002011-04-16T13:39:37.035-07:00Look at my other blog: Express + Local: NYC AestheticsFor the month of April, I've been working at The Queens College Art Center as part of the Express + Local: NYC Aesthetics artist residency program. <a href="http://expresslocalart.blogspot.com/2011/04/whats-going-on-in-april-at-express.html">Take a look<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7nuhl5FyYwo02b6GUCWbwY_uIiX4yWEAEsJSVbxp3H8zryzXLag4MhInYit11Ts6sSlQ9GbCfq7PN64UZPWFZnUMn5IiIxFOj1ujEDWwOaJ3_ZweBNwp-AeR3MDM-UfNOiaiSzbhenW70/s1600/a+resized+IMG_7261+art+library+images.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="400" width="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7nuhl5FyYwo02b6GUCWbwY_uIiX4yWEAEsJSVbxp3H8zryzXLag4MhInYit11Ts6sSlQ9GbCfq7PN64UZPWFZnUMn5IiIxFOj1ujEDWwOaJ3_ZweBNwp-AeR3MDM-UfNOiaiSzbhenW70/s400/a+resized+IMG_7261+art+library+images.jpg" /></a></div><br />
</a>!Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0tag:blogger.com,1999:blog-1176227673788442853.post-31953069344434402482011-03-01T20:28:00.000-08:002011-03-18T14:48:46.213-07:00Lindsay Captured Red-Handed and Seven Other Outlaw Stories<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhitTBfhW-SGSsrCbBohq4vE2K80PUeJEYSUFSIkjPi-lGMdQqC66lEjd8rHZCHtWfiF5WvXbT4NzOSY6Cw5G3B-Rybie0Fw3iY7yfqGnajEJxLwesO5Sf5gk03mvJKFG18MQ3fCw5A3bFh/s1600/My+Atlas-+Lindsay-film+still+1.JPEG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhitTBfhW-SGSsrCbBohq4vE2K80PUeJEYSUFSIkjPi-lGMdQqC66lEjd8rHZCHtWfiF5WvXbT4NzOSY6Cw5G3B-Rybie0Fw3iY7yfqGnajEJxLwesO5Sf5gk03mvJKFG18MQ3fCw5A3bFh/s320/My+Atlas-+Lindsay-film+still+1.JPEG" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2X9_6R-_c_HIny3COT3QZ0kwKVJPpMtT9eSmjhaX0_eV8NxWEOT-H5ejcdeVDLZ5oI4uN1t5OaC4Nlxc4ESD2CewBCQzmjvrjw9zlwyOifQhNKKedbE6r5I6VKpAmVBb1WrcFmep1iJhT/s1600/My+Atlas+-+Linsday+still+5.JPEG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2X9_6R-_c_HIny3COT3QZ0kwKVJPpMtT9eSmjhaX0_eV8NxWEOT-H5ejcdeVDLZ5oI4uN1t5OaC4Nlxc4ESD2CewBCQzmjvrjw9zlwyOifQhNKKedbE6r5I6VKpAmVBb1WrcFmep1iJhT/s320/My+Atlas+-+Linsday+still+5.JPEG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"></div><br />
<div style="font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;"><span style="font-size: small;">Anne Sherwood Pundyk, </span><link href="file://localhost/Users/Anne/Library/Caches/TemporaryItems/msoclip1/01/clip_filelist.xml" rel="File-List"></link> <style>
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</style> <span style="font-size: small;"><i>My Atlas: Lindsay/A Report to an Academy video stills 2010</i></span> </div><br />
<b>PRESS RELEASE</b><br />
<div style="color: orange;"><a href="http://www.blogger.com/goog_493290746"><br />
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</style> </div><div class="MsoNormal"><span style="font-family: Helvetica;"><a href="http://www.artillerymag.com/events/open-call-video-award.php" style="color: orange;">Artillery Magazine’s Open Call Video Contest Screening: April 5, 2011</a><o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Helvetica;">Lindsay Captured Red-Handed and Seven Other Outlaw Stories<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Helvetica;">Artillery Magazine presents a selection of 8 Video shorts empathically framing behavior outside the norm: celebrity martyrs, social outliers, sexual taboo detonation experts, and obsessed rocketeers. The 30-minute program culled from a nation-wide open call will be screened at the Standard’s Purple Lounge in West Hollywood on April 5<sup>th</sup>. The line-up includes artists and filmmakers from Los Angeles and New York City many of whom will attend the screening: <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;">Zig Gron: <i>ApocoLips</i>, LA filmaker <o:p></o:p></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;">McLean Fahnestock: <i>Grand Finale</i>, LA artist <o:p></o:p></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;">Readymade 777: <i>It's My Desire</i><i><span style="font-style: normal;">, LA filmmaker<o:p></o:p></span></i></span></div><div align="center" class="MsoNormal" style="text-align: center;"><i><span style="font-family: Helvetica;"> </span></i><span style="font-family: Helvetica;">Jules Marquis: <i>Just You and Me, NYC </i><i><span style="font-style: normal;">art collaborative</span></i> <o:p></o:p></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;">Anne Sherwood Pundyk: <i><a href="http://vimeo.com/17864880" style="color: orange;">My Atlas: Lindsay/A Report to an Academy,</a> </i><i><span style="font-style: normal;">NYC artist</span><o:p></o:p></i></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;">Lindsey Schulz: <i>Rabbit Hole, </i><i><span style="font-style: normal;">LA artist<o:p></o:p></span></i></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;">Sister: <i>The Cutter, </i><i><span style="font-style: normal;">LA film Collaborative</span></i><o:p></o:p></span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: Helvetica;">Meghan Weinstein: <i>Keepin' it Real With Keisha, </i><i><span style="font-style: normal;">LA artist</span></i><o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Helvetica;">The judges, Tulsa Kinney (editor of Artillery), Steve Cioffi (videographer), and Paige Wery (publisher of Artillery) selected this outstanding video footage to be screened at the event, after which the audience will vote on the winners. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Helvetica;">April 5, 2011<o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: Helvetica;">The Purple Lounge<o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: Helvetica;">Standard, Hollywood, located at: <o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: Helvetica;">8300 Sunset Blvd. <o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: Helvetica;">West Hollywood, CA 90069<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Helvetica;">The evening will begin with a wine reception at 7pm, followed by the screening at 8pm and is free of charge. The Standard offers $8 valet parking with validation for screening attendees.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Helvetica;">Contact: Paige Wery, Publisher<o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: Helvetica;">Phone: (323) 243-0658 <o:p></o:p></span></div><div class="MsoNormal"><span style="font-family: Helvetica;">Email: publisher@artillerymag.com<o:p></o:p></span></div><div class="MsoNormal">Link: <a href="http://www.artillerymag.com/events/open-call-video-award.php" style="color: orange;">Video Screening</a></div>Anne Sherwood Pundykhttp://www.blogger.com/profile/11568436058957146831noreply@blogger.com0