The exhibition opens Aprill 18 and run through May 17, 2020. The gallery is following socially safe guidelines. My work will be visible from the gallery's front picture window from April 18 - 25th. The exhibition is available to see on line through VSOP Projects website and Instagram @vsopprojects. On Saturday, May 16th at 2:00 pm please join me on @vsopprojects for a live studio performance.

This exhibition of paintings and photographs is inspired by the creative writing process. Originally scheduled to open May 4 through June 29, 2020, the exhibition is now postponed until the library can open safely. The reception and artist talk originally scheduled for Friday, June 12th at 5:30 pm is now postponed.

The exhibition originally scheduled to open May 16th and run through August 22nd, 2020 is now postponed.

Zombie Sisters is a book of short stories paired with stitched paintings on paper. I wrote the stories and made the paintings over the last three years in the aftermath of a sibling’s traumatic injury. Art critic Seph Rodney describes the work as “spare, haunting and poetic.” A launch event for Hoosac Institute Journal 3 and 4 will be held at 1 Rivington, New York, NY. Originally scheduled for, March 24th,2020, 6:30 - 8:30 pm, this event is now postponed.

Filmmaker, Molly Mary O'Brien interviewed me in my North Fork painting studio. In her words, "In this video, Anne shares her process for painting and writing, breaking down and rebuilding the narratives of her life, and occupying space as a woman, a daughter, a mother, and an artist."
Friday, October 11, 2019 at 12:00 noon I will be talking about my painting at Molly Barnes Brown Bag Lunch Series at the Roger Smith Hotel, 501 Lexington Avenue, New York, NY.
In this essay published February, 2019, I explore agency and its connections to my painting process and consider the links between performance art and painting. Also included is a portfolio of my most recent body of work.
"Triquetra" is the visual centerpiece of the library's adult summer reading program, "A Universe of Stories."
Art Spiel’s Interview with artist and writer Anne Sherwood Pundyk has evolved into a cohesive and richly layered personal essay that is published in three sections in December 2018
In her second solo exhibition at P.P.O.W., “Will She Ever Shut Up?”, Betty Tompkins, ever the bold tinkerer and experimenter, finds ingenious new ways to speak her mind. The formal link between three rooms of stylistically diverse, modestly scaled artworks is Tompkins’ strategy of placing socially charged phrases – handwritten, stencil-lettered or directly painted – on top of a separate visual field. These pointed juxtapositions poke us to puzzle out the connections, to think through the implications. The review was published December 2018
I was pleased to be part of this discussion hosted by Jenn Dierdorf on July 16, 2018. Art practice and artist identity are inseparable ideas, as artists pull from life experiences to influence their work. An art practice creates a space to confront and work through difficult or unresolved aspects of identity. While some artists focus specifically on body/identity politics, others create work indirectly related to identity such as connections, structure, place, process, and/or medium.
My performance of TALES was presented at the opening of EMINENT DOMAIN, a flash exhibition of feminist art on July 12th, 6 - 8 pm at 524 West 26th Street. The exhibition including work by over 90 women artists from around the world is curated by Katie Cercone and presented by Art511 Magazine and Alexandra Arts.
My review of Overstreet's exhibition at The Eric Firestone Gallery begins, "Joe Overstreet’s spectacular flock of paintings from the early ‘70s presented at Eric Firestone Gallery masterfully deploy modern painting principles as flight instruction laden with social meaning. The physical feat of flying starts with moving forward..."
In the May 10th issue of The Suffolk Times, reporter Rachel Siford interviews painter, Anne Sherwood Pundyk in her studio for her regular feature, "Work We Do." The feature includes a video of the artist at work in her studio.
My grandmother Mary Sherwood Wright Jones (1892 to 1985) was an artist and illustrator who created original, sequential illustrations for the children’s classroom newspaper My Weekly Reader from 1928 to 1960. Her weekly contributions supported the publication’s pioneering reading readiness program and reached millions of readers...
Adams has been producing beautiful, deeply engaging and keenly relevant work for nearly 70 years. A wealth of literature by renown critics such as Dore Ashton, Barbara Rose, Max Kozloff and Jed Perl has been written about the twenty-five solo shows of her work here in New York City since the mid-1950s and others throughout the country along with innumerable group exhibitions. Proof of Adam’s significance is in abundance in this show.
On Sunday, December 17, 2018, a reading by Anne Sherwood Pundyk and Poppy Johnson took place as part of VSOP Projects' current Winter Salon exhibition. Pundyk, a painter and writer who lives and works in New York City and Mattituck, read a collection of short fables that she has written and paired with her abstract paintings, a selection of which are on view in the show. Johnson, a performance artist and the Assistant Director/Reference Librarian at Greenport's Floyd Memorial Library, read from her collaborative work called, “26 Typewriters or Talk ‘Til Your’re Blue in the Face: An Abecedarium.”
Drawing on personal and family experience, painter ANNE SHERWOOD PUNDYK dives into the neuroscience of figuration and abstraction. Books considered in this essay: My Stroke of Insight by Jill Bolte Taylor (2006) and Reductionism in Art and Brain Science: Bridging the Two Cultures by Eric R. Kandel (2016)
Winner: Art Space in a Residence Andrew Berman Architect Mattituck, New York North Fork Painting Studio, 2015 Architect Andrew Berman transformed a windowless 800-square-foot garage into a "day-lit and generously scaled painting studio." As the firm noted in its submission, "color is provided by the landscape, the shifting character of the light through the days and seasons, and by the artwork itself.”

I am pleased to announce my partnership with Twyla, an innovative Austin-based company that produces and sells limited edition artworks. My print features a pair of notebook pages presented—as if zooming out—using a progression of digital and photographic steps. They transpose the high-keyed color palette from my paintings to toner droplets, woven threads, cast shadows and refracted light.

In November 2016, my work was given the top award in Hamptons Art Hub's "From the Earth" competition judged by Christine Berry, co-director of Berry Campbell gallery in Chelsea.

Seph Rodney writes, "But ultimately the painter has to build a world that makes sense to her and hope our sensibilities follow. I do. I stand in that room and feel the sensuous meeting of surface, substrate, theory, hand, and conviction."

David Cohen writes, "Six powerful, lyrical, at once absorbing and theatrical canvases, patched together from separate panels and each seven feet tall by a little more than that in width, hang unstretched like baronial tapestries in a raw white cube in Bushwick."

"In the new series, Pundyk seeks to create a role for painting as an integral part of performance or as catalyst for engagement and debate that goes beyond a discussion of the art works," observes Pat Rogers.

Mark Jenkins begins his review: “Painting will always tremble, but very precisely” is one line from Anne Sherwood Pundyk’s manifesto in verse, “The Revolution Will Be Painted.” The poem’s title also designates the artist’s show at Adah Rose Gallery, which translates her words into color and line.

Catalogue of work for "The Revolution Will Be Painted" by Anne Sherwood Pundyk. In 2016 work from "The Revolution Will Be Painted" is presented in two solo shows: at Christopher Stout Gallery, New York in April and at Adah Rose Gallery, Kensington, MD in March.

New York City culture curator, Savona Bailey-McClain interviews Anne Sherwood Pundyk on her new body of work, "The Revolution Will Be Painted," Brooke Kamin Rapaport of Madison Square Park on the Martin Puryear installation and Cecilia Alemani of the High Line.

During the last year, New York artist Anne Sherwood Pundyk has created an expansive body of work called, “The Revolution Will Be Painted" in her studio on the east end of Long Island. Inspired by the cycle of the seasons, her large wall-sized canvas pieces activate the space around them employing combinations of unruly color. The artist’s smaller works on paper reveal the development of her formal vocabulary exploring contrasting organic and geometric forms. Working within the tradition of abstract painting, Pundyk channels the wild, natural forces of the rural landscape into works to be read with an open, changeable mindset.

Opening performance at solo exhibition by Anne Sherwood Pundyk at Christopher Stout Gallery, New York. April 1, 2016. Performers included Jessica Kilpatrick, dancer and choreographer; Anne Sherwood Pundyk, painter/dancer; and singers Tala Gingberg, Carolyn Mortell, Jill Shackner, Julia Romano and Robin Krosinsky.

Last year, as part of ART21 Magazine’s “Revolution” issue, feminist new genre painter Anne Sherwood Pundyk rewrote the lyrics to Gil Scott-Heron’s “The Revolution Will Not Be Televised” to create “The Revolution Will Be Painted.” Named after one of her large scale, latex and acrylic works, the collection of phrases from artists, writers, art historians and critics advocated for the crucial role that the visual arts—especially painting—play in propelling social change. This year, she’s looking back on the months that followed the creation of her anthem and eponymous painting, investigating the ways in which expressive abstract color creates a revolution of its own.

Dillon begins: "I’ve been visiting — with artists, writers, curators, dealers, and others in the art world — to look at one artwork of my guest’s choice. We have a one-on-one conversation about the artwork, what they find interesting in it and why it’s important to them. In this edition, painter Anne Sherwood Pundyk and I went to her studio in Mattituck, New York, to look at her ongoing painting project, The Revolution Will Be Painted..."

"Stadia" presents paintings by Anne Sherwood Pundyk and her dialogues with poet and critic Barry Schwabsky and artist and writer Kara L. Rooney. The works and conversations reveal Pundyk's traversal between her studio practice and collaborative exchanges. Color and gesture translate the artist's essential stories. Through her connections with other artists and her audience she looks to identify how these stories overlap with older tales, myths and fable. These works were shown at Susan Eley Fine Art, New York, NY in the winter of 2013.