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Friday, August 31, 2012

Images and Videos of Rapunzel in the Library Exhibitions and Performance

Rapunzel in the Library, in perpetuum/forever II 
Installation and Performance Images and Video
April 4, 2012



 Kara L. Rooney

 Anna Gelderd and Will Corwin

Gus Yero and Anne Sherwood Pundyk

 Shervone Neckles

Carin Riley, Anne Sherwood Pundyk, Viola Kolarov Timm, 
Cynthia Sweeney, Tara Mathison

 Jodi Jett

 Molly Seitz and Mary Hanlon


____________________________________________________________

Rapunzel in the Library, in perpetuum/forever II 
Retrospective Installation Images and Video
February 22, 2012


 All works by Anne Sherwood Pundyk






Thursday, March 29, 2012

April 4 Reception and Performance, 6 - 9 pm


How do artists learn if not by learning directly from other artists? Artists, writers, musicians, and curator respond to the research of artist Anne Sherwood Pundyk. Join us on April 4 from 6-9 PM for the reception which features work from 20 artists, writers and performers, with a performance from 8-9 PM.
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RAPUNZELin the library
April 4 - 25, 2012 | Queens College Art Center

April 4 from 6-9 PM | Reception + 8 PM Performance 

featuring work from Jonas Angelet, Jami Attenberg, Sara Benincasa, Apollonia Colacicco, Will Corwin, G Lucas Crane, Sean Cunningham, Holly Faurot + Sarah H. Paulson, Mary Hanlon, Tamara Jackson, Jodi Jett, Viola Kolarov, Tara Mathison, Tommy Mintz, Kyle Morrison, Shervone Neckles, Anne Sherwood Pundyk, Carin Riley, Kara L. Rooney, Molly Seitz, Cynthia Sweeney, and Gus Yero

Queens College
Art Center

presents

April 4 - 25, 2012

RAPUNZEL

April 4 | 6 - 9 PM Reception + Performance
Performance at 8 PM
 

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Copyright ©2012, All rights reserved.
ABOUT | In Perpetuum | forever_ is a multi-exhibition structured around the idea that artists continually influence each other. This collective consciousness is central to the evolution of art. As ideas filter through layers of human consciousness, transformations occur. Art is the realization of this collective action, although transformation is rarely immediate or stark. IP | forever II offers a vantage into micro-populations where groups of artists converge around an initial concept, and the emergent collective conscience propels action. Similar to a winemaking solera, IP | forever II nurtures the larger theme of forever by encompassing each solera/lead artist’s research with responses from the participating artist faction. Forever gaining momentum through its recombining context, IP | forever II will continue to amass groups of artists and ideas, uniquely reshaping its overall scope and consciousness through each exhibition.

Queens College Art Center
Rosenthal, Level Six | CUNY
65-30 Kissena Blvd.
Flushing, NY 11367-1597
artcenter@qc.cuny.edu
718.330.0963
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Tuesday, February 7, 2012

PRESS RELEASE: Anne Sherwood Pundyk's "Rapunzel in the Library" Installation


ANNE SHERWOOD PUNDYK'S "RAPUNZEL IN THE LIBRARY" INSTALLATION
at QUEENS COLLEGE ART CENTER

Hair as symbol of self-assertion

FLUSHING, NY, February 7, 2012 -- Queens College Art Center presents, “Rapunzel in the Library,” a site-specific, retrospective installation by New York painter, Anne Sherwood Pundyk.

The show includes a selective, interconnected placement of her paintings, My Atlas artist’s books and painting-based video artworks from 1983 to 2012. Core to Pundyk’s work is an explicit revelation of process. “Untangling the connections between my materials and sources suggests a model for escape from one’s own received ideas,” Pundyk says.

Pundyk has recently shown her work at Fordham University; Susan Eley Fine Art; The Philoctetes Center; Sideshow Gallery, Ruth Bachofner Gallery, Santa Monica, CA; Art Miami; University of Virginia, Charlottesville, VA; Washington and Lee University, Lexington, VA; and she writes regularly for The Brooklyn Rail. In April 2011, her painting-based video, “My Atlas: Lindsay/A Report to An Academy,” was given the Bronze Award at Artillery Magazine’s National Open Call Screening at The Standard Hotel, Hollywood, CA.


This solo installation will introduce a collaborative group residency, also on the theme of Rapunzel, with its own exhibition and performance on April 4th.  “Rapunzel’s hair is her means of self assertion and becomes a vehicle for deeper understanding,” Pundyk says.  A preview of the group show can be seen here



Anne Sherwood Pundyk "Rapunzel in the Library" Installation Exhibition Dates:
Closing reception: February 22, 2012, 6 – 9 pm
Exhibition dates, February 17 to March 1, 2012


(part of the Selma and Max Kupferberg Center for the Arts)
Benjamin S. Rosenthal Library, Level Six Queens College,
                                    65-30 Kissena Blvd., Flushing, NY
                                    (718) 997-3770
Gallery Hours:          
Monday to Thursday, 9am–8 pm; Friday, 9 am–5 pm; closed weekends and holidays. Free and open to the public.
  
Contact: Anne Sherwood Pundyk
Phone: (917) 612-1863
Email: annepundyk@yahoo.com




Rapunzel in the Library, Retrospective Installation Images, February 27, 2012


Anne Sherwood Pundyk, selected paintings 1983 – 2012


Anne Sherwood Pundyk, 2012 “My Atlas,” repurposed nautical atlas

Saturday, January 21, 2012

Rapunzel Kick-Off Meeting Videos

Several participants in the Rapunzel/ in perpetuum/forever collaborative residency at Queens College Art Center gathered on January 20, 2012 to discuss the significance of the story of Rapunzel (click here for video Part I)) and some ideas about process and logistics (click here for video Part II) related to the project. We started the meeting by reading one version of the story of Rapunzel out loud:


"When she was twelve years old, the enchantress shut her into a tower, which lay in a forest, and had neither stairs nor door, but quite at the top was a little window.  When the enchantress wanted to go in, she placed herself beneath it and cried: 


“Rapunzel, Rapunzel, 
let down your hair to me.”


Rapunzel had magnificent long hair, fine as spun gold, and when she heard the voice of the enchantress she unfastened  her braided  tresses, wound them round one of the hooks of the window above, and then the hair fell twenty ells down, and the enchantress climbed up by it. 

After a year or two, it came to pass that the king's son rode through the forest and passed by the tower. Then he heard a song, which was so charming that he stood still and listened.  This was Rapunzel, who in her solitude passed her time in letting her sweet voice resound.  The king's son wanted to climb up to her, and looked for the door of the tower, but none was to be found. He rode home, but the singing had so deeply touched his heart, that every day he went out into the forest and listened to it.  Once when he was thus standing behind a tree, he saw that an enchantress came there, and he heard how she cried: 

“Rapunzel, Rapunzel,
let down your hair.”


Then Rapunzel let down the braids of her hair, and the enchantress climbed up to her.  If that is the ladder by which one mounts, I too will try my fortune, said he, and the next day when it began to grow dark, he went to the tower and cried: 

“Rapunzel, Rapunzel,
let down your hair”. 

Immediately the hair fell down and the king's son climbed up. At first Rapunzel was terribly frightened when a man, such as her eyes had never yet beheld, came to her.  But the king's son began to talk to her quite like a friend, and told her that his heart had been so stirred that it had let him have no rest, and he had been forced to see her.  Then Rapunzel lost her fear, and when he asked her if she would take him for her husband, and she saw that he was young and handsome, she thought, he will love me more than old dame gothel does.  And she said yes, and laid her hand in his. She said, I will willingly go away with you, but I do not know how to get down.  Bring with you a skein of silk every time that you come, and I will weave a ladder with it, and when that is ready I will descend, and you will take me on your horse.  

They agreed that until that time he should come to her every evening, for the old woman came by day.  The enchantress remarked nothing of this, until once Rapunzel said to her, tell me, dame gothel, how it happens that you are so much heavier for me to draw up than the young king's son - he is with me in a moment.  Ah. You wicked child, cried the enchantress.  What do I hear you say.  I thought I had separated you from all the world, and yet you have deceived me.  In her anger she clutched Rapunzel's beautiful tresses, wrapped them twice round her left hand, seized a pair of scissors with the right, and snip, snap, they were cut off, and the lovely braids lay on the ground. And she was so pitiless that she took poor Rapunzel into a desert where she had to live in great grief and misery. 

On the same day that she cast out Rapunzel, however, the enchantress fastened the braids of hair, which she had cut off, to the hook of the window, and when the king's son came and cried: “Rapunzel, Rapunzel, let down your hair”, she let the hair down. The king's son ascended, but instead of finding his dearest Rapunzel, he found the enchantress, who gazed at him with wicked and venomous looks. Aha, she cried mockingly, you would fetch your dearest, but the beautiful bird sits no longer singing in the nest.  The cat has got it, and will scratch out your eyes as well.  Rapunzel is lost to you.  You will never see her again.  

The king's son was beside himself with pain, and in his despair he leapt down from the tower.  He escaped with his life, but the thorns into which he fell pierced his eyes.  Then he wandered quite blind about the forest, ate nothing but roots and berries, and did naught but lament and weep over the loss of his dearest wife. Thus he roamed about in misery for some years, and at length came to the desert where Rapunzel, with the twins to which she had given birth, a boy and a girl, lived in wretchedness. He heard a voice, and it seemed so familiar to him that he went towards it, and when he approached, Rapunzel knew him and fell on his neck and wept. Two of her tears wetted his eyes and they grew clear again, and he could see with them as before. He led her to his kingdom where he was joyfully received, and they lived for a long time afterwards, happy and contented."



This lead to a discussion of the story including these questions: Is the Enchantress an evil manipulator or just protecting her beautiful, innocent treasure? Does Rapunzel's mother really not want her child or to be a mother at all? Is Rapunzel a wise-ass? What does our hair style say about us? Why should you let your baby's hair grow for as long as possible? Why is hair on your head beautiful, but once it is cut or falls out almost repulsive? Why are these children's stories really so violent and frightening?

Finally, we talked over questions about the project itself: Does anyone know what they are going to do for the "Rapunzel in the Library" project? How do you get to Queens College Art Center? (you can't exactly practice, practice, practice....) Are you following "Rapunzelsays" on Twitter? Have you signed up for Googledocs, "forever"? Does anyone know any actors? Where can I rent a pink stretch Hummer?

Sunday, October 30, 2011

Participants in Rapunzel/in perpetuum/forever at Queens College Art Center – Spring 2012



Rapunzel's hair is the conduit for her communications with the world outside her tower prison. Through it she learns she has been tricked by the enchantress and traded by her parents.  She also learns her hair is a means of asserting herself and ultimately becomes  a vehicle for finding her way to power and depth of understanding. 





A full grown man hanging from one's hair, possibly a knight in shining armor.  Technically the hair should be strong enough to support the weight, and the shear number of strands would probably mean that that most of the hair would stay embedded in the scalp, so the whole enterprise would be possible, but excruciatingly painful. Also the idea that the guy would then be up in the tower with Rapunzel, would he be that much more effective than her in getting her out of the tower, I suppose if he had a lock cracking kit or a saws-all. I suppose it's similar to the library-most of the information is useless and costly and painful to arrive at, and most of it will get lost anyway no matter how carefully we protect it or how high the tower in which it's secured.





I am interested in exploring the concepts of Jealousy. Shame. Denial. Craving. Hero. Hidden. Proposal. Procreation. Escape. Demise.as it applies to the tale of Rapunzel. 

QUESTIONS I HAVE ALWAYS HAD:

I often wondered how a lonely, unbathed child, trapped in a tower is perceived as "beautiful". 

How did the queen plant her so far in the woods that someone heard her singing and how did she know what singing was?

Why would she agree to "marry" a stranger upon meeting the first time and how does she know what that means?

How did people climbing up her hair not rip out her scalp or pull her directly out of the tower?

Why would her parents actually follow through on the surrender of their child to stave off punishment for stealing vegetables, years later?





A pretty young woman with a piece of lace tied in a bow above her long, wavy hair said she took care of the bookcase, sometimes.






Rapunzel was a precious being locked away in a tower, jealously guarded by a witch. Books are precious creatures locked away (though accessible during public hours!) in libraries, carefully guarded by a librarian -- or, rather, media information specialist. There is magic in the Rapunzel story and there is magic aplenty in libraries.



The goal of an artist, no matter the medium being used, is to evoke a feeling--any feeling--from their audience. Any work is filled with a hidden meaning that the artist hopes can be discovered. This mystery can result in many interpretations, those more literal or more metaphorical. Therefore, the goal of an artist and a writer are one in the same. In the story of Rapunzel, the prince is enchanted by her beautiful song, just as a viewer is enchanted by the piece of art.



C Lucas Crane:


At WFMU’s My Castle of Quiet I threw down a sci-fi cosmic horror set, mixing threads of movies, moaning, and people hyperventilating.



Rapunzel caught us before we caught her. Now we’ve been caught by her locks.
What is tied to hair is more hair.  Hair recorded in history: via video, via photographs, via the gesture of threading and caressing, via words passed down and collected.

Hair maintenance:  With each brush there is more hair—removal of hair, and coupling of hair-on-hair (brush hair and human head hair).

Hair severance:  With each chop, the hair has multiplied—like a worm cut in two, triumphantly living as two thriving separate parts (one connected and one independent).

The strands continue down as much as they travel up.  When the bottom reaches the top, exchange takes place.  The library of lined up spines—thick threads that once were something individual, that join with another in collaboration, and enter the future as a collective multi-spined operation that is no longer “you” or “I” or “we”…but “they.”

On November 12, 2011 we performed the following 3-hour piece at English Kills
Art Gallery:
Before you ____. Now you ____.
Before we ____. Now we ____.
Before they ____. Now they ____.

Rapunzel reminds us now that:
Before the hair was short.  Now the hair is long.
Before the hair was long.  Now the hair is short.
Before the hair was brushed.  Now the hair is chopped.

Rapunzel is a tale of Jealousy versus Longing.  In Longing, there is connection and the recognition of what is, was, or could be.  In Jealousy there is no relation.  It is the ultimate impossibility: A wall dividing two distinct worlds that will never meet.  The lock of hair is severed, yet the blade is never removed.  This is impossible:  The blade must always disappear.  Two ends always carry the possibility of finding one another.

The recognition of Before and Now is the recognition of what is possible.  The potential of the strands:  braided, unbraided, crossed, caressed, or severed.  Everything is always continued.

[Photo: Emily Poole]



Ben Gottlieb:

While I am attracted to the use of process, I am more interested in aesthetics; I find the carrier more compelling than the idea.



Rapunzel is captive in her own landscape: a murky, gnarled forest where earth mothers once resided freely. She is sterilized, objectified, and separated from life by cold stone. Her hair, a symbol of sexuality, acts as passageway for the prince, who longs for her because of her powerlessness. Her true nature is so terrifying she must be contained so as not to disrupt civilized society.






Tamara Jackson:

“Rapunzel Rapunzel, let down your hair.” Oh, she’ll let down her hair, all right. In fact, Rapunzel will do just about anything to get out of that cursed tower. For years, she’s only imagined what’s out there beyond that single depressing room and a life forever devoid forever of happiness, humor, companionship, love. If singing her throat raw or letting some bozo who doesn't have the presence of mind to bring a rope (hello?!) walk up her hair, then so be it. 



The tale of Rapunzel represents for me a common theme that many women experience in that, as youth, we are told what to believe and directed how to live. Once we see step out of the microcosms in which we grew up, our lives are forever changed, as if it is only then when we begin to live. 

Go to the top of this blog post to hear Jodi Jett performing her two songs, "Bedford Avenue" and "No Place Like Home"



A common(wealth) sight: female artists reaching for the razor and parting willingly with the precious locks as a last resort and attempt to stave off a nervous breakdown triggered by the pressures of psychoticization that prey on a particular developmental phase of female sexuality. Disruption, unlike finitude, is a temporal figure that allows for the conceptualization of displacement (sublation) as the coverup -- and refusal -- of loss. The radical disruption Britney staged with the shaving scene she broadcast for the ages on February 17, 2007 doubles as a gesture of self-reflexivity showcasing the artist's mode of production.




Andree Ljutica

Hair acts as a shield. In my illustrations I seek to render that shield in different fashions not only as it pertains to pure observation, but also as it relates more viscerally to the individual. It can be an emotional blockade, isolating the individual from external observation. Conversely, hair is a mode of communication to the outside world- a way to speak without voice. Long hair can be an obvious exclamation of need and a wanted entrance to conversation. 

Solidarity. Anxiety. And Release are themes I often play with, using age as a vehicle for illustrative expression. In Rapunzel, waiting and anticipation are underlying messages which draw parallel to age. Understanding what the release is (relative to the person) and the space that exists between any of the three topics are what the pieces explore.




Tara Mathison:
It diminishes to a tiny level, but in theory traces of the very first product placed in the solera may be present even after 100 cycles.


Tommy Mintz:
Decontextualize and collide Rapunzel and her tower, creating tense, tenuous, disorienting images of modern society.




Kyle Morrison:

Rapunzel’s tale of beauty imprisoned, and her eventual freedom through partnership and motherhood (domesticity), recalled immediately a theme that plays out over and over again in the films of history’s greatest director, Alfred Hitchcock. In most notably The Birds, Melanie Daniels, the very picture of femininity at the films outset, is stripped of her sexuality over the course of the picture as she repeatedly fends off massive bird attacks, a phenomenon that goes unexplained unless you see them as an extension of the contempt felt for her by the films mother figure, Lydia Brenner. In the final sequence Lydia, the only character that has escaped the birds unscathed, holds a broken Melanie whose hair for the first time has fallen from its perfect bun, and we understand that now seemingly impotent Melanie is allowed her son Mitch Brenner. I think it’s most notable that the Rapunzel story, which focuses on her contentment by the prince’s side bat the tale’s end, never mentions the return of her beautiful braid.




Shervone Nickles:
The Tales of Red Rag Rosie and Little Miss Pinky blends surface with depth, past with the present, real with the imaginary and serious with the playful. Through the use of craft techniques; doll making, quilt making and crocheting the work attempts to identify how the events we allow to happen, the stories we choose to tell, versus those we choose to deny create layers of our present moment and the future as well.

Image Details:
Red Rag Rosie & Little Miss Pinky Rug, 2004
Crocheted Yarn with Rug backing
4.5 ft x 5ft x 1.5in



Carin Riley:
The end of captivity, no guardian or keeper.
The release from the tower with no door or stairs.

When the enchantress cuts off Rapunzel's braid she is
free. Cast out and banished with no protection, but free.






The story of Rapunzel, a towered and kept feminine symbol, entombed by 300 years of literary history, is an interesting departure for something my work has dealt with for quite some time: the visual embodiment of language's inherent blindspots. In its written form, text and narrative--those very essences that formulate identity (or hide it)--are subject to extreme forms of slippage, both emotional and cognitive. Disruption, pause, and an ironic mode of questioning are therefore necessary if we are to achieve any sort of consensus, any collective approach to meaning. In this instance, artistic collaboration, the act of looking, of responding to analog materials such as those housed by the Queens College of Art's library, becomes paramount to uncovering a new path or trajectory, to unearthing new modes of potential communicative exchange.





Molly Seitz:
             
The idea of the Fairytale interests me because they seem so black and white and yet there can be nuance.  Rapunzel being locked away is akin to being locked away with your thoughts, dreams, regrets.  This brings me to my subject which is Nostalgia.  Nostalgia is a very powerful emotion and it is alive and well in many of us.   During the First World War Russian soldiers were shot if they came down with "melancholia" which was considered contagious and made the troops weak.  The trick is to take that feeling, which can verge on sadness and heartbreak or longing and use that to recognize that there was something in our lives worth remembering and there is something we are building in our lives right now that we will miss later and therefore allow ourselves to look to the future with a connection to the past.  This is wrapped up in our notions of time and home. 




I went to bed thinking of Rapunzel and disruption and woke up in the middle of the night thinking of this segment from (as you know) one of my favorite -- and most distorted -- fairy tales; the only one I can think of where the girl saves the prince (although she suffers for it). Maybe we can take it back from Disney. 
She saw her sisters rising out of the flood: they were as pale as herself; but their long beautiful hair waved no more in the wind, and had been cut off.
“We have given our hair to the witch,” said they, “to obtain help for you, that you may not die to-night. She has given us a knife: here it is, see it is very sharp. Before the sun rises you must plunge it into the heart of the prince; when the warm blood falls upon your feet they will grow together again, and form into a fish’s tail, and you will be once more a mermaid, and return to us to live out your three hundred years before you die and change into the salt sea foam. 
The Little Mermaid
Hans Christian Andersen




     

In the story of Rapunzel, the Enchantress makes a futile attempt, to protect Rapunzel’s innocence and youth, much the way a mother tries to keep her daughter from growing up and being tarnished by the world.

In the end, the Enchantress’ control over Rapunzel is impossible as Rapunzel experiences companionship and love, evolving from being dependent to embracing her own independence.
This also becomes a metaphor for the artist – a creative work that is nurtured and protected by the artist, once fully realized has a life force of it’s own, independent of the artist who created it.
Released into the world, a work of art stands on it’s own to create connections with the viewers outside of the protection of the artist.