Dog-Eat-Dog continued ...

nn-Marie Tully, Dog—Eat—Dog: A portrait of Lewis Payne, 2014. 

Oil on canvas. 380mm x 260mm. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Bonnie & Clyde (embrace), 2014. 

Oil on canvas. 320mm x 250mm. Sold.

Ann-Marie Tully, Dog-eat-dog: crouching Gerda, hidden Capa. 2014. Oil on canvas. 

150mm diameter. Sold.

Ann-Marie Tully, Dog-eat-dog: when the sleeper wakes (Gerda Taro) - after Velázquez',
 2014. Oil on canvas. 150mm diameter. Sold.

Ann-Marie Tully. Dog—Eat—Dog: Fleeing fauns (Bilbao) - After Velasquez, 2013.

 Oil on canvas. 200mm diameter. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Gas mask nurse (Nel's Rust) II, 

2014. Oil on canvas. 320mm x 250mm. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Gas mask nurse (Nel's Rust) I, 

2014. Oil on canvas. 320mm x 250mm.

Ann-Marie Tully, Dog—Eat—Dog: Black sheep (watch) I, 2014. 

Oil on canvas. 150mm x 120mm.

Ann-Marie Tully, Dog—Eat—Dog: Black sheep (watch) II, 2014. 
Oil on canvas. 150mm x 120mm. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Black sheep (watch) III, 2014. 

Oil on canvas. 150mm x 120mm.

Ann-Marie Tully, Dog—Eat—Dog: Bonnie & Clyde (coy), 2014. 

Oil on canvas. 485mm x 380mm.

Ann-Marie Tully, Dog—Eat—Dog: Civil war bride, 2014. Oil on canvas. 

390mm x 300mm.

Ann-Marie Tully, Dog—Eat—Dog: Nabis gas mask II, 2014. Oil on canvas. 300mm x 
300mm.

Ann-Marie Tully, Dog—Eat—Dog: Nabis gas mask III, 2014. Oil on

 canvas. 320mm x 250mm. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Bleek House - Lucy Lloyd (Before 

there was you), 2014. Oil and pencil on canvas. 320mm x 250mm.

Ann-Marie Tully, Dog—Eat—Dog: Duiker mugshot, 2014. Oil on canvas. 
400mm x 300mm.

Dog–eat–dog

The Dog—eat—dog (2010-2013) series draws on narratives and idioms that parallel human culture with lupine and other animal attributes relating to predatory and maternal instinct, ferocity and stealth, and the marginalisation (animalisation) of otherness. Shakespeare’s Marcus Antonius invokes canine ferocity in preparation to strike against Julius Caesar’s assassins, linking notions of aggressive animality to the human practice of war. This visceral rhetoric also conveniently absolves the ‘civilised’ qualities of human beings from complicity in the atrocities of war:

And Caesar’s spirit, raging for revenge ...

Shall in these confines with a monarch’s voice

Cry “Havoc!” and let slip the dogs of war

That this foul deed shall smell above the earth

With carrion men, groaning for burial.

- William Shakespear’s Julius Caesar, Act 3, scene 1.

Dog—eat—dog: the Bleek house (2013) series

The Dog—eat—dog: Bleek house (2013) series is a title I employ ambiguously to play on the marginalisation of !Xam speakers, and the financial hardships of the Bleek family who hosted a group of !Xam speakers incarcerated at the Breakwater prison. The Bleek family conducted research into the IXam and Korana language compiling detailed records of San folklore and cosmological beliefs. I include the Bleek house in the Dog—eat—dog series, as this consequential research and human interaction took place despite overwhelming colonial indifference to San culture, based on the ideological animalisation of difference. 

Some interesting links about the life of Gerda Taro:
http://www.bbc.com/news/magazine-25108104
http://www.theguardian.com/artanddesign/2012/may/13/robert-capa-gerda-taro-relationship