Some new papers

 

Actions speak louder than words in The Alice Sequence: a series of exhibitions By Wilma Cruise

This is the catalogue essay for Wilma Cruise’s solo exhibition entitled 'The Alice Diaries' for the July 2012 staging at Circa on Jellicoe Gallery in Johannesburg, South Africa. This exhibition is the most recent in a series of exhibitions by this artist dealing with the topic of 'Alice and the animals'. Repurposing the 'nonsense' register of Lewis Carroll, Cruise interrogates logo-centric human heirarchy and asks the very pertinent question: how do we speak to the animals?

http://johannesburg.academia.edu/AnnMarieTully/Papers/1757996/Actions_speak_louder_than_words_in_The_Alice_Sequence_a_series_of_exhibitions_By_Wilma_Cruise

The haunted stitch: Pointure practices in ‘material’ contemporary art.

This is a catalogue essay for the Pointure catalogue I have edited and produced alongside the Pointure exhibition I have curated at the University of Johannesburg Gallery in August 2012. The paper considers the 'prophetic' and 'ghostly' resonance of 'stitching practices' in contemporary art. 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 papers from Bracha Ettinger, Jane Taylor and Meredith Jones. The ISBN number for the catalogue is: 978-0-620-53776-6 Pointure

http://johannesburg.academia.edu/AnnMarieTully/Papers/manage

Review for Art South Africa of Strijdom van der Merwe's exhibition at Circa on Jellicoe, Everard Read Gallery

See my review for Art South Africa - Strijdom van der Merwe's exhibition at Circa on Jellicoe, Everard Read Gallery Johannesburg:

http://johannesburg.academia.edu/AnnMarieTully/Papers/1668793/Review_of_Strijdom_van_der_Merwe_at_Circa_on_Jellicoe

Let Sleeping Dogs Lie...

Ann-Marie Tully, Let sleeping dogs lie - Maximilion, 2012.

Gesso and oil on 100% Cotton Fabriano. 

Ann-Marie Tully, Let sleeping dogs lie - Flying Poppit, 

2013. Gesso and oil on 100% Cotton Fabriano. 

Ann-Marie Tully, Let sleeping dogs lie - Flying Poppit, 

2013 (detail). Gesso and oil on 100% Cotton Fabriano. 

Let sleeping dogs lie (series)

The idea for the Let sleeping dogs lie series stems from a current body of work that investigates the temporality of animal life in relation to human/animal relationships and loss. The agency of animal beings is asserted in these works that concentrate on the particularity of individual creatures, and human perspectives. The titles of these works ironically reference well known colloquial expressions that involve the metaphoric and metonymic subsumption of animal characteristics in communicating human experience and emotion. Although these anthropocentric colloquialisms often prove to be apt communications, such expressions tend to reduce the particularity of animal beings in a colonising humanist gesture.

Excerpt from my opening address at the Fibreworks VII Contexturise Exhibition

 

A Passage from my opening address at the Fibreworks exhibition, Contexturise at the Faculty of Art and Design Gallery - 16 May 2012:

Let me speak here only of impressions, trend, mark and meaning.

Submerged kimonos and an Ukeo-E geisha embroidery.

A kimono become designer labels −

A work that seamlessly joins in terms unresolved,

The implacable relationship of the material East to the West.

Postages, love letters, and some travel implied.

Harbingers of the indexical time of making. As if

A shared past belonging to both maker and viewer;

But invariably unique.

Engorged and engorging textured fabrics,

Knitted, crocheted, embroidered, quilted, felted – felt.

A textile carnival and lent – flesh and bone,

Guts and entrails. Cones and squares,

Small, smaller, smallest, the chirosophy of hand and machine.

These cyborg hatchlings.

The ‘carte de tendre’ revisited here –

Rivers of thread and cartographic appliqué, still reliquary forms Hanging mantles of metaphor, mark and meaning.

Further, deconstructed dress. Cut apart

And patterned on the present – yellow numbers seem important

Somehow.

Silken thread, cocoons and insect life

Seen and ripped from the invisible

Economy of farming and production.

Animal presence in medium and made of medium,

Cloaking the human, wearing the body

Removed.

See the full speech at:

http://johannesburg.academia.edu/AnnMarieTully/Papers/1631209/Fibreworks_VII_Contexturize_Exhibition_An_Opening_Address

The Bangwelu Swamp Book - a life drawing exercise.

Ann-Marie Tully, Bangwelu Swamp Book (2012).
Found colonial map, indian ink and cotton thread.



Variations on Cats and Dogs - Recent Paintings

Ann-Marie Tully, Curl Up and Die - Tabatha, 2012.
Oil on paper, A3.

Ann-Marie Tully, Let Sleeping Dogs Lie - George, 2012.
Oil on paper, A3.



Ann-Marie Tully, Let sleeping Dogs Lie - Jessica, 2012.
Oil on paper, A3.



Ann-Marie Tully, Let sleeping Dogs Lie - Frieda, 2012.
Oil on paper, A3.

Ann-Marie Tully, Let sleeping Dogs Lie - Tessa, 2012.
Oil on paper, A3.

Ann-Marie Tully, Curl Up and Die - Peter, 2012.
Oil on paper, A3.

Ann-Marie Tully, Curl Up and Die - Joe, 2012.
Oil on paper, A3.

Ann-Marie Tully, Curl Up and Die - Smilla, 2012.
Oil on paper, A3.

Ann-Marie Tully, Let Sleeping Dogs Lie - George, 2012.
Oil on paper, A3. Detail.

Ann-Marie Tully, Let Sleeping Dogs Lie - Jessica, 2012.
Oil on paper, A3. Detail.



Ann-Marie Tully, Curl Up and Die - Tabatha, 2012.
Oil on paper, A3. Detail.



Ann-Marie Tully, Curl Up and Die - Smilla, 2012.
Oil on paper, A3. Detail.



New Article published in Image and Text 2012

Check out my article, 'Becoming Animal: Liminal Rhetorical Strategies in Contemporary South African Art' in a special edition of Image and Text (University of Pretoria in collaboration with the Visual Identities in Art and Design Research Centre at UJ's Faculty of Art Design and Architecture). The edition is entitled: Space Ritual Absence: the Liminal in Contemporary South African Art.

 

http://dl.dropbox.com/u/13493482/I%26T%2017_final.pdf