Monday, 15 August 2011

Thimble Narratives Exhibition Johannesburg Art Gallery 2003

Ann-Marie Tully Thimble Narrative Installation View, 2003. Johannesburg Art Gallery. This exhibition served as the practical component for my MAFA (Wits) - the written thesis is entitled, 'The Photograph as a Fetishised Substitution for Loss in Artistic Production’.
Ann-Marie Tully Thimble Narrative Installation detail (Stitching Desire video still), 2003. Johannesburg Art Gallery.

Ann-Marie Tully Thimble Narrative I (series), 2003. Embroidered photographs. Johannesburg Art Gallery.

Ann-Marie Tully Thimble Narrative II (series), 2003. Embroidered photographs. Johannesburg Art Gallery.

Ann-Marie Tully Thimble Narrative II (series), 2003. Embroidered photographs. Johannesburg Art Gallery.

Ann-Marie Tully Thimble Narrative II (series), 2003. Embroidered photographs. Johannesburg Art Gallery.

Ann-Marie Tully Thimble Narrative III (series), 2003. Embroidered photographs. Johannesburg Art Gallery.

Ann-Marie Tully Thimble Narrative III (series), 2003. Embroidered photographs. Johannesburg Art Gallery.

Ann-Marie Tully Stitching Desire - Mavis (tryptich), 2003/4. Embroidered photographic print on cotton fabric set in embroidery ring. This work followed the Thimble Narratives exhibition; and traveled as part of the Innovative Threads group shows (a collective focusing on 'fabric art'). I include it here as these works all belong to a certain period and thought process.

Ann-Marie Tully Thimble Narrative III (series), 2003. Embroidered photographs. Johannesburg Art Gallery.

Tuesday, 9 August 2011

Exerpts from my review of Gordon froud's More is More (FADA Gallery 2011)

The full review was published in the September/October 2011 edition of Art South Africa:

More is More: 30 Years of Collecting , FADA Gallery Johannesburg

Gordon Froud, 2011, More is More, installation view. Photo: Sally Rumball, courtesy the collector/curator.

The overwhelming volume of this exhibition reminds me of another hoarder in fairytale lore: Ali Baba and the Forty Thieves (“Open Sesame”). But what does this art collector have in common with these infamous thieves or the less vilified appropriator of their treasure, Ali Baba? Certainly Froud is no thief, having undoubtedly paid in ‘blood’ for every piece on display. Where likeness can be found is in the variable economy of the fairytale hoard and this real (and at times dusty) collection of art. During their travels the forty thieves garnered a wide range of articles from their victims. This was achieved opportunistically and through great contrivance, and resulted in an eclectic hoard ranging from the smallest personal objects, to larger items ripped from hallowed halls. In the same way (but with less dangerous intent), Froud has put together a collection that demonstrates great scope. It includes painting, sculptural assemblage, printmaking and video. But what is most remarkable about this collection is the sense of a blithe economy that attends it. Many great collections exhibit a defining signature platitude, a certain type and model of work that ‘makes the grade’. Froud’s collection has no such symmetry. It is an asymmetrical exercise in the economy of the moment: what is there and how it feels, what is on the price tag, and even what is in the bank at the time. That is not to say that this collection is dictated by financial constraints, as it certainly includes works of significant monetary value. The word economy here speaks more to a mastery of whim and impression in amongst the dictates of time and tide.

Other Reviews published recently:
In 2010/2011 I produced a review styled paper for publication in de arte 83 entitled, ‘Imagining nature (in our own image): animals and landscapes in Daniel Naudé's exhibition, African Scenery & Animals.’

In 2011 I was commissioned to write a review on Deborah Bell's Presence exhibition at Everard Read Gallery for publication in Art South Africa 09(04).

Articles Published Recently
In 2010 Ann-Marie published a peer reviewed paper entitled, ‘The rhetorical animal: Considering the Urban Animal exhibition and the anthropocentric reception of animal and amalgamated animal/human representations’ in de arte 82.  

See articles on:

Altered Pieces: Songs of Leonard Cohen - An exhibtion curated by Gordon Froud

This work is an alterpiece painting I completed for Gordon Froud's curated, travelling exhibition, Altered Pieces: Songs of Leonard Cohen (also featuring works by Diane Victor, Chris Diedericks, Anthony Paton and others). This piece entiteled Stories of the Street (after the song of the same name) is based on the Ghent alterpiece and the Arnolfini Wedding (Iv'e always secretly been chomping at the bit to do something'Flemish' and here was my chance):

Ann-Marie Tully, The stories of the street (2012).Oil on Board

 Stories Of The Street (lyrics)
The stories of the street are mine, the Spanish voices laugh.
The Cadillacs go creeping now through the night and the poison gas,
and I lean from my window sill in this old hotel I chose,
yes one hand on my suicide, one hand on the rose.
I know you've heard it's over now and war must surely come,
the cities they are broke in half and the middle men are gone.
But let me ask you one more time, O children of the dusk,
All these hunters who are shrieking now oh do they speak for us?
And where do all these highways go, now that we are free?
Why are the armies marching still that were coming home to me?
O lady with your legs so fine O stranger at your wheel,
You are locked into your suffering and your pleasures are the seal.
The age of lust is giving birth, and both the parents ask
the nurse to tell them fairy tales on both sides of the glass.
And now the infant with his cord is hauled in like a kite,
and one eye filled with blueprints, one eye filled with night.
O come with me my little one, we will find that farm
and grow us grass and apples there and keep all the animals warm.
And if by chance I wake at night and I ask you who I am,
O take me to the slaughterhouse, I will wait there with the lamb.
With one hand on the hexagram and one hand on the girl
I balance on a wishing well that all men call the world.
We are so small between the stars, so large against the sky,
and lost among the subway crowds I try to catch your eye.
-Originally from the album Songs Of Leonard Cohen (1967).
Alternate version by Beck’s Record Club: Songs of Leonard Cohen (2010).

Some work in progress for my upcoming solo exhibition, 'Wolf in Sheep's Clothing' (maybe to become 'Let Sleeping Dogs Lie')...

Ann-Marie Tully, Dogma: Lupine Madonna I and II (2011).
Cotton embroidery on found fabric in embroidery hoop, 170mm (circular).

 Ann-Marie Tully, Wolf in Sheep’s Clothing (series) (detail) (2010).
Pen and thread on toile paper, 250mm (W) x 180mm (H).

 Ann-Marie Tully, Pas de Loup (series) (2010).
Indian ink and acrylic on paper, 210mm (W) x 140mm (H).

Ann-Marie Tully, Dog–Eat–Dog (series) (2010).
Oil on paper, (L) 300mm x 200mm  and (R) 300mm x 150mm.

Ann-Marie Tully, Botched Plague (series) (2010).
Slip cast and modeled ceramic on found object table, 400mm (H) x 300mm (W).

Check out my article: Becoming art, becoming design, becoming wolf.


This paper emerged from my attendence at the 2009 Cumulus Genk conference in Belgium with the thematic focus of 'boarder crossing'.

Pointure - A curated exhibition by Ann-Marie Tully and Jennifer Kopping - August 2012

Curated by Ann-Marie Tully and Jennifer Kopping
University of Johannesburg Gallery (Auckland Park Campus)

8 – 29 August 2012
Opening 18h00pm on the evening of the 8th August.
Opening address by Professor Gavin Younge (Michaelis School of Fine Art, University of Cape Town).

In his 1978 article, ‘Restitutions of the truth in pointing [pointure]’ Jacques Derrida explores his prevailing discursive theme of the inside and the outside of a text in relation to Heidegger’s Origin of the Work of Art, a philosophical exploration of etymological themes of presence in application to Vincent Van Gogh’s painting, Oude Schòenen (Old Shoes) (Payne 1993:220-221). ‘Restitutions’ operates through a set of metaphors: Pointure is a key metaphor relating to printing in terms of the “small iron blade with a point, used to fix the page to be printed on to the tympan”, as well as the “the hole which it makes in the paper” (Payne 1993:228). Derrida (cited in Payne 1993:228) also links the practice of shoemaking with the term Pointure, referring to the stitching-together of the shoe. In his characteristic way of remarkable connections, Derrida ties this term to the act of reading paintings and in-so-doing mobilises a trinity of sub-metaphors: the word lace is the first of these, referring to the lacing of a shoe − Michael Payne (citing Derrida 1993:229) notes that language punctures the canvas, less like a knife and more in the manner of lacing a shoe. Derrida’s ‘Restitutions’ does not miss a further understanding in the word lace. The French word for lace is le lacet, which can also mean trap or snare (Payne 1993: 229). In this sense Van Gogh’s empty shoes with open laces represent an empty trap, a vacuum of presence to delve into – where only ghosts can be found. Ghost is then the last metaphor in ‘Restitutions’. Notions of dispossession, melancholia, unrequited desire, loss, longing and absence spring from this textual ectoplasm.

This exhibition draw together established and emerging contemporary South African artists, whose artworks express thematically and in their inherent material and creation, notions relating to pointure (lace, trap and ghost). The curators undertake to create visibility for an expansive and under explored area of art practice in South Africa including but not limited to media involved with stitching, suturing, puncturing, printing and weaving; and to do so in a manner that situates this work within the discourse of contemporary art and cultural theory.

Prominent and emerging artists featured on the show include:
Paul Boulitreau; Celia De Villiers; Christiaan Diedericks; Suzanne Erasmus (du Preez); Stephan Erasmus; Leora Farber; Gordon Froud; Jeanette Gilks; Sue Pam-Grant; Diek Grobler; Kim Gurney; Mike Hyam; the Keiskamma Project; Jennifer Kopping; Michelle Legg; Kim Lieberman; Kai Lossgott; Amita Makan; Gerhard Marx; Tamar Mason; Rosemarie Marriott; Jurgen Meekel; Musha Neluheni; Gina Niederhummer; Walter Oltmann; Sarel Petrus; Richard Penn; Landi Raubenheimer; Andrea Rolfes; Claire Rousell; Sally Rumball; Saran Sunder; John Shirley; Ann-Marie Tully; Yda Walt; Gavin Younge.

The Pointure exhibition is also accompanied by a colloquium in August 2012 of the same name (hosted by the Visual Identities in Art and Design Research Centre at the University of Johannesburg) with keynote presentations from Bracha Ettinger, Jane Taylor and Meredith Jones.

Payne, M. 1993. Reading paintings. Reading Theory: An introduction to Lacan, Derrida and Kristeva. Oxford: Blackwell, pp. 212-233.

Some Installation Views:

Crating and artwork by Claire Rousell

Pointure installation view - artworks visible L-R: Ida Walt, Andrea Rolfes, Amita Makan, Ann-Marie Tully, Sue Pam Grant, Chris Diedericks, Sarel Petrus 

Pointure installation view

Pointure installation view - artworks L-R: Andrea Rolfes, Ann-Marie Tully

Pointure installation view - artworks visible L-R: Sue Pam Grant, Chris Diedericks, Sarel Petrus, Diek Grobler & Marinda Du Toit, Jennifer Kopping
Pointure installation view: Jennifer Kopping

Pointure installation view - artworks visible L-R: Nicole Diffenthal, Diek Grobler & Marinda Du Toit, Amita Makan, Mike Hyam, Kim Lieberman, Jeanette Gilks

Pointure installation view - artworks visible L-R: Diek Grobler & Marinda Du Toit, Amita Makan, Mike Hyam

Pointure installation view - artworks visible L-R: Nicole Diffenthal, Sarel PetrusKim Lieberman, Jeanette Gilks, Gavin Younge, Kai Lossgott, Celia de Villiers, Landi Raubenheimer, Stephan Erasmus, Gavin Younge, Moira Macmurray 

Pointure installation view - artworks visible L-R:  Kim Lieberman, Gina Niederhumer, Paul Boulitreau, Kim Gurney, Tamar Mason, Jurgen Meekel, Walter Oltmann, Kai Lossgott, Gavin Younge, Celia de Villiers, Landi Raubenheimer, Stephan Erasmus, Gavin Younge, Moira Macmurray, Anitra Nettleton, Musha Neluheni
Pointure installation view: Tamar Mason
Pointure installation view: Kim Gurney

Pointure installation view - artworks visible L-R: Paul Boulitreau, Kim Guerny, Tamar Mason, Jurgen Meekel, Walter Oltmann; Gavin Younge (both floor pieces)

Pointure installation view - artworks visible L-R: Gavin Younge (foreground), Stephan Erasmus, Anitra Nettleton, Celia de Villiers (floor installation)

Pointure installation view - artworks visible L-R: Moira Macmurray (sampler collection), Anitra Nettleton, Mike Hyam
Pointure installation view - Mike Hyam, Celia de Villiers, Leora Farber, Keiskamma project
Pointure installation view: Landi Raubenheimer
Pointure installation view: Celia de Villiers
Pointure installation view: Mike Hyam
Pointure installation view - artworks visible L-R: Musha Neluheni, Richard Penn, Gerhard Marx, Rosemarie Marriott, Gavin Younge (floor)
Pointure installation view: Rosemarie Marriott
Pointure installation view - artworks visible L-R: Suzanne Erasmus (nee Dupreez), Gordon Froud, Rosemarie Marriott
Pointure installation view: Gordon Froud

Pointure installation view: Suzanne Erasmus (nee Dupreez)
Pointure installation view - artworks visible L-R: Kim Gurney, Jeanette Gilks, Jonna Slappendel, Nicole Diffenthal, Claire Rousell, Chris Diedericks
Pointure installation view: Chris Diedericks
Pointure installation view: Nicole Diffenthal
Pointure installation view: John Shirley (above), Sally Rumball (below)

Pointure detail: John Shirley

Pointure installation view: Chris Diedericks and Michelle Legg
Contact Ann-Marie for more detailed views - also see the digital catalogue at: 


Publicity images:

  Celia de Villiers. Bridal Fetish. Wood,
  perspex, hand and machine embroidered
  textiles. W 570mm x H 950 mm x D 570 mm.
  Reproduction courtesy of the artist.

Christiaan Diedericks, Dead Man Walking, 2011.
Coloured pencil, watercolour, metal leaf and stitching
on 350gsm Canson paper. Image size: 200 mm x
600 mm; framed: 480 mm x 860 mm. Reproduction
courtesy of the artist.

Gavin Younge, Zebra Skin, 2012. 464 white shoe
brushes (bristles partially removed and replaced
with the bristles of 300 black shoe brushes).
Height of each brush: 45 mm x 2 200 mm x
1 800 mm. Reproduced courtesy of the

Gordon Froud, Jozi boy (After Murillo),
2012. Found tapestry, wool and
perspex box. 250 mm x 400 mm
x 50mm. Reproduction courtesy of
the artist.

Jeanette Gilks, Keeping in Touch, 2010. Mixed media.
 300 mm x 200 mm variable. Photographed by
Harry Lock. Reproduction courtesy of the artist.

                   Kai Lossgott, charming plus perfect (american vogue
                   october 2010), 2012. Layered laser-cut magazine
                   covers, photograph, production still from 'piquant',
                   video for shopping mall intervention. Size variable. 
                   Reproduction courtesy of the artist

      Kim Lieberman, The Incredible Chain of Events,
      2007-2008 5767-5768. Handmade lace, bronze figures.
     1 090 mm x 1 000 mm x 1 000 mm. Reproduction
     courtesy of the artist.

Rosemarie Marriott, Boetekleed [‘haircloth’],
2012. Animal hair and Impala skin.
680 mm x 560 mm x 170 mm.
Reproduction courtesy of the artist.