Joanne Tatham & Tom O’Sullivan
Born 1971/1967, West Yorkshire/Norfolk; Lives in London/Newcastle.
Education
| 2004 | (Joanne Tatham) PhD, University of Leeds |
| 1995 | (Joanne Tatham) MFA, Glasgow School of Art |
| 1994 | (Tom O'Sullivan) MFA, Glasgow School of Art |
| 1993 | (Joanne Tatham) BA Fine Art, Duncan of Jordanstone College of Art |
| 1991 | (Tom O'Sullivan) BA Fine Art, Leeds University |
Solo Exhibitions
| 2018 | ‘DOES THE ITERATIVE FIT’, Turner Contemporary, Margate |
| ‘A Glasgow Spectacular (or the experience being an experience like the experience you just had)’, Commissioned for Festival 2018, the cultural programme for Glasgow 2018 European Championships,, George Square, Glasgow | |
| ‘A Successful Proposition for the Great North Exhibition’, Baltic Centre for Contemporary Art, Gateshead | |
| ‘The abstraction of doing into labour’, Summer Windows Project, Hermès Maison Shanghai (8 June - 8 September 2018) | |
| ‘A Proposal To Ask Where Does A Threshold Begin & End’, Middlesbrough Institute of Modern Art, Middlesbrough | |
| 2017 | ‘DOES THE ITERATIVE FIT’, Granary Square, London (Commissioned by The King's Cross Project 2017) |
| ‘A Proposal To Ask Where Does A Threshold Begin & End’, Middlesbrough Institute of Modern Art, Middlesbrough | |
| 2016 | ‘A petition for an enquiry into a condition of anxiety’, The Modern Institute, 14–20 Osborne Street, Glasgow |
| 2014 | ‘Are you LOCATIONALIZED’, North Uist and Isle of Skye, Commissioned by ATLAS Arts (Part of GENERATION 2014. ) |
| ‘Is your tesserae really necessary’, Tramway, Glasgow (Part of GENERATION 2014) | |
| ‘DOES THE IT STICK’, Bloomberg Space, London (Offsite commission with Studio Voltaire and Bloomberg) | |
| 2013 | ‘DOES THE IT FIT’, CIRCA Projects, Newcastle upon Tyne (With event series co-curated by Joanne Tatham & Tom O'Sullivan) |
| 2012 | ‘A tool for the making of signs’, Chapter, Cardiff |
| ‘The story of how we came to be here, what we did before we got here, how you have forgotten why you asked us here and why we cannot remember why we came, or: Is this what brings things into focus?’, Studio Voltaire, London | |
| 2011 | ‘The indirect exchange of uncertain value’, A Collective off-site project at Fettes College, Edinburgh |
| 2010 | ‘The story of how we came to be here, what we did before we got here, how you have forgotten why you asked us here and why we cannot remember why we came, or: is this what brings things into focus’, Tramway, Glasgow |
| Upstairs at The Modern Institute Osborne Street, Glasgow | |
| ‘Direct serious action is therefore necessary’, CCA, Glasgow | |
| 2009 | ‘Does your contemplation of the situation fuck with the flow of circulation’, Eastside Projects, Birmingham |
| ‘You can take it as a thing or you can take it as a thing’, La Salle de Bains, Lyon | |
| 2008 | ‘Are you feeling our meaning?’, Galerie Francesca Pia, Zurich |
| ‘Time has gone on and thinking has gone on about the thoughts we think we had about things that already happened before’, Sutton Lane, Paris | |
| 2007 | ‘A fee to avoid our expenses’, The Modern Institute/Toby Webster Ltd, Glasgow |
| ‘Lead Rhetoric & Other Category Errors’, Galerie Rüdiger Schöttle, Munich | |
| ‘The This & The That of a Category Error’, Smart Project Space, Amsterdam | |
| 2006 | ‘Rhetoric Works & Vanity Works & Other Works’, National Collecting Scheme for Scotland with the Contemporary Arts Society, Newhailes |
| ‘Three Lean Meanings’, Pittenweem Arts Festival, Pittenweem | |
| ‘The Pyramid’, The Watchie, Catterline (with Studio Voltaire) | |
| 2005 | ‘It is, it is, the way, that is’, Art Statements (with Sutton Lane, London |
| ‘Is this what brings things into focus?’, Galerie Francesca Pia, Bern | |
| ‘Oh We Will, We Will, Will We’, Studio Voltaire, London | |
| 2004 | ‘That is the way, it is, it is, that is’, Sutton Lane, London |
| 2003 | ‘Think Thingamajig and other Things’, Kunsthaus Glarus, Glarus |
| ‘This has reached the limit conditions of its own rhetoric’, The Modern Institute/Toby Webster Ltd, Glasgow | |
| 2002 | ‘The Blacks and the Slapstick Mystics with Sticks’, Cubitt, London |
| 2001 | ‘The Glamour’, The Modern Institute at ARCO, Madrid |
| ‘HK’, Tramway, Glasgow | |
| 2000 | ‘The Glamour’, Transmission, Glasgow (Touring to ARCO, Madrid with The Modern Institute) |
| 1999 | ‘Regardez-vous’, 24hrs Window, Glasgow |
| ‘Deadzone’, The Modern Institute/Toby Webster Ltd, Glasgow | |
| 1998 | ‘Blow Your Mind’, The Collective Gallery, Edinburgh |
| 1997 | ‘Futura Skulpta’, 3 month Gallery, Liverpool |
| ‘Magus’, Accident, London |
Group Exhibitions
| 2022 | ‘Workshop’, Edinburgh Printmakers, Edinburgh |
| 2019 | ‘Chairs Beyond Right and Wrong’, R & Company , New York |
| ‘Rostockgata Sculpture Park’, Kunsthall Oslo, Oslo | |
| ‘Object & Thing’, 99 Scott, Brooklyn | |
| 2018 | ‘Crossing Lines’, Highlanes Gallery , Drogheda |
| ‘Lebens-Ansichten des Katers Murr’, Rob Tufnell, Cologne (Full title: Lebens-Ansichten des Katers Murr nebst fragmentarischer Biographie des Kapellmeisters Johannes Kreisler in zufälligen Makulaturblättern (or The Life and Opinions of the Tomcat Murr together with a fragmentary Biography of Kapellmeister Johannes Kreisler on Random Sheets of Waste Paper)) | |
| ‘Chop Leisure’, IMT Gallery, London | |
| 2017 | ‘extra-cultural surprise’, Shane Campbell Gallery, Lincoln Park, Chicago |
| Coachella Valley Music & Arts Festival, California | |
| 2016 | ‘The Last Word in Art’, The Wilson, Cheltenham Art Gallery and Museum, Cheltenham |
| 2015 | ‘Localism’, mima, Middlesbrough |
| ‘Alternative 23’, Gallery North, Newcastle | |
| 2014 | ‘Nothing Twice’, Cricoteka, Krakow |
| ‘Reclaimed - The Second Life of Sculpture’, The Briggait, Glasgow (Glasgow International) | |
| 2013 | ‘XMAS Party at Galerie Francesca Pia’, Galerie Francesca Pia, Zurich |
| ‘The Narrators: works from the Arts Council Collection’, Walker Art Gallery, Liverpool | |
| ‘Costume: Written Clothing’, Tramway, Glasgow | |
| ‘Northern Art Prize’, Leeds Art Gallery, Leeds | |
| 2012 | ‘CARPETS OF DISTINCTION’, Dovecot Studios, Edinburgh (Produced by Panel) |
| ‘Art Across The City’, Swansea Museum, Swansea | |
| ‘The Medium is the Message: Words in printmaking since the 1960s’, Glasgow Print Studio, Glasgow (curated by Ben Harman) | |
| ‘There is not and never has been anything to understand’, ASC, London | |
| ‘Object Theatre’, RADAR, Loughborough University Arts, Loughborough | |
| Gallery North, Newcastle | |
| 2011 | ‘The Writing On Your Wall’, Edinburgh Printmakers (Curated by Rob Tufnell) |
| ‘You, Me, Something Else’, Gallery of Modern Art, Glasgow | |
| 2010 | ‘Rubble Stir’, The Glue Factory, Glasgow |
| ‘Le Drapeau Noir’, Glasgow International Visual Art Festival, Glasgow | |
| ‘LOVE’, Sorcha Dallas, Glasgow (With Rita Donagh & Richard Hamilton, Gilbert & George) | |
| ‘House of Voltaire’, Studio Voltaire, London | |
| ‘From Dusk Till Dawn’, Van Abbemuseum, Eindhoven | |
| 2009 | ‘TONITE’, The Modern Institute/Toby Webster Ltd, Glasgow |
| ‘Blinding the Ears’, Artissima, Turin | |
| ‘Back of the Head: Alternative Approaches to Portraiture’, Cooper Gallery, Dundee | |
| ‘Running Time: Artists Films in Scotland 1960 to Now’, Dean Gallery, Edinburgh | |
| ‘Depression’, Marres Centre for Contemporary Art, Maastricht | |
| ‘N'importe Quoi - Everything’, Musée d'art Contemporain, Lyon | |
| 2008 | ‘ARTfutures’, Contemporary Art Society, Bloomberg Space |
| ‘The Great Transformation; Art and Tactical Magic’, Frankfurter Kunstverein, Frankfurt (touring to Museo de Arte Contemporánea de Vigo, Vigo) | |
| ‘A show of many parts, each part more spectacular and elaborate than the last’ | |
| 2007 | Art|38|Basel (with The Modern Institute/Toby Webster Ltd), Glasgow |
| ‘Through The Looking Glass’, CAPC, Bordeaux | |
| ‘Sutton Lane in Paris’, Ghislain Hussennot, Paris | |
| ‘Enlightenment’, Hunterian Art Gallery, Glasgow | |
| ‘Half Square, Half Crazy’, Villa Arson, Nice | |
| 2006 | ‘I am the Fly’, Frac Paca, Marseille |
| ‘A reverie interrupted by the police’, Galleria S.A.L.E.S., Rome | |
| ‘FALANSTERIO’, Supportico Lopez, Naples | |
| ‘Art Now Live’, Tate Britain, London | |
| ‘Art Now Live Work: Rory Macbeth, Joanne Tatham and Tom O’Sullivan, and Sue Tompkins’, Tate Britain, London (Sue Tompkins Live Performance 'Grease') | |
| ‘If it didn’t exist you’d have to invent it: a partial Showroom history’, The Showroom, London | |
| ‘Try Again. Fail Again. Fail Better.’, Momentum 2006, 4th Nordic Festival of Contemporary Art, Moss | |
| 2005 | ‘Echo, echo’, Collective Gallery, Edinburgh |
| ‘(My private) Heroes’, MARTA Museum of Art & Design, Herford | |
| ‘Art Sheffield 05: Spectator T’, Sheffield Contemporary Art Forum, Sheffield, UK | |
| ‘Art from Glasgow’, Temple Bar Gallery, Dublin | |
| ‘Selective Memory’, Scotland + Venice, 51st Venice Biennale, Venice | |
| ‘Sutton Lane in Paris’, Galerie Ghislaine Hussenot, Paris | |
| ‘Selective Memory: Scotland & Venice Biennale’, Scottish National Gallery of Modern Art, Edinburgh | |
| Art Basel Statement with Sutton Lane Gallery | |
| 2004 | ‘Gertcha’, Alexandra Parade, Glasgow |
| ‘The Birthday Party’, Collective Gallery, Edinburgh | |
| ‘Genesis Sculpture’, Domaine Pommery, Reims | |
| ‘The Slapstick Mystics with Sticks’, Invited project, Frieze Art Fair | |
| ‘Brainchild’, Magnifitat, Edinburgh | |
| ‘Frozen tears II’, publication co-ordinated by John Russell, London | |
| ‘Ain't no love in the heart of the city’, temporary sited works, Cardiff | |
| ‘The Principle of Hope’, Three Colts Gallery, London | |
| ‘Kunsthaus Glarus at LISTE’, Basel | |
| ‘Publish and be Damned’, Cubitt, London | |
| ‘Hit and Run’, curated by SMART project space (Amsterdam) at platform Garanti, Istanbul | |
| 2003 | Catterline Art Festival, Aberdeenshire |
| ‘Natural Decadence’, Mini Gallery, Stockholm | |
| Prague Biennale, Museum of Modern and Contemporary Art | |
| ‘Turpentine’, Studio Voltaire, London | |
| ‘ZENOMAP - New Works from Scotland for the Venice Biennale’, 50th Venice Biennale, Venice | |
| 2002 | ‘The Best Book About Pessimism I Ever Read’, Braunschweig Kunstverein, Germany |
| ‘Very Important Pictures’, Kunsthalle Palazzo, Liestal | |
| ‘Jahresgaben’, Kunstverein Braunschweig, Braunschweig | |
| ‘All You Need to Know’, Laing Art Gallery, Newcastle | |
| ‘Village Hall Roadshow’, organised by All Horizons Club, Glasgow/Liverpool (Touring to Port Sunlight, Merseyside; Kingsley, Cheshire; Parbold, Greater Manchester; Brampton Bierlow, South Yorkshire; Aughton, Lancashire) | |
| ‘My Head is on Fire but my Heart is Full of Love’, Charlottenborg Museum, Copenhagen | |
| 2001 | Berlin Biennale 2, Kunstwerke |
| ‘The Nostalgia of Dum’, Edinburgh College of Art, Edinburgh | |
| ‘Here and Now’, McManus Galleries, Dundee | |
| ‘October’, St. Columba Gaelic Church, St.Vincent Street | |
| ‘Here and Now: Scottish Art 1990-2001’, Dundee Contemporary Arts, Dundee; Aberdeen Art Gallery, Aberdeen | |
| 2000 | ‘Snowballing’, Arthur R Rose, London and Henry Moore Institute |
| ‘Then there is no mountain then there is’, Generator, Dundee | |
| ‘The Evil Eye’, Glasgow Project Room, Glasgow | |
| ‘Tonight’, The Modern Institute/Toby Webster Ltd, Glasgow | |
| ‘Avalon’, The Changing Room, Stirling | |
| 1999 | ‘The Mirror and the Masque, in Education in Reverse’, at Linlithgow Palace, West Lothian (co-ordinated by Sarah Tripp) |
| ‘Museum-a-go-go’, Glasgow Project Room, Glasgow | |
| ‘Sordide Sentimentale’, Holden Gallery, Manchester | |
| ‘Bent Aura’, publication by Stopstop, Glasgow | |
| ‘Dot’, Teesdale Yard, London | |
| ‘Evolution isn't over yet’, The Fruitmarket Gallery, Edinburgh | |
| ‘Radio Tuesday’, Transmission, Glasgow | |
| 1998 | ‘This Island Earth’, An Tuireann Art Centre, Skye |
| ‘Unbelievable’, Ikon Gallery touring, Birmingham | |
| ‘Add Night To Night’, The Showroom, London (Curated by Sarah Tripp) | |
| ‘Host’, Tramway, Glasgow (with Elizabeth Go) | |
| ‘Various Artists’, East Kilbride Arts Centre, Glasgow | |
| ‘WallpaperVideo’, High Street Project, Christchurch | |
| 1997 | ‘Diorama’, 200 Gertrude Street, Melbourne |
| ‘Tutor with an Idea’, 3 month Gallery, Liverpool | |
| ‘Made in Glasgow’, de Markten Arts Centre, Brussels | |
| ‘Young Parents’, The Annual Programme, Manchester | |
| ‘60,70,80:90’, The Showroom, London | |
| ‘Nerve: Glasgow projects’, ArtSpace, Sydney | |
| ‘European Couples and Others’, Transmission, Glasgow | |
| 1996 | ‘Chicken Farm’, touring video programme, screened at Articule |
| ‘Be-Er Monsta’, touring video programme screened in London, Dublin and Belfast | |
| ‘World of Ponce’, Southpark, Glasgow (Curated by Toby Webster) | |
| ‘City Limits’, Staffordshire University, Stoke on Trent | |
| ‘Art for People’, Transmission, Glasgow | |
| 1995 | ‘Volcano’, The Fruitmarket Gallery, Edinburgh |
| ‘Making out’, Transmission, Glasgow |
Commissions
| 2021 | ‘The Institute For The Magical Effect Of Actually Giving A Shit (a note to our future self)’, Studio Voltaire, London |
| ‘The indirect exchange of uncertain value’, Taikoo Li Qiantan, Shanghai (Commissioned by Swire Properties) | |
| 2020 | ‘Swatch x Joanne Tatham & Tom O'Sullivan’ (Commissioned by Swatch) |
Bibliography
Press
| 2021 | Alice Fisher: ‘September design news: arty toilets, London Craft Week, ‘metal giraffes’’, The Guardian, 28/09/2021 |
| 2018 | Karchun: Joanne Tatham & Tom O‘Sullivan. A Different Kind of "Playfulness", Modern Weekly, 04/08/2018 |
| ‘Scotland: week in pictures’, The Times, 04/08/2018 | |
| Brooks, Libby: ‘Glasgow gears up for inaugural European Championships’, The Guardian, 01/08/2018 | |
| "Two to Tango": Joanne Tatham and Tom O’Sullivan‘s World of Humor, Kinfolk China, 04/07/2018 | |
| 2014 | Jeffrey, Moira: ‘Generation shows off Scots modern art’s diversity’, The Scotsman, 21/06/2014 |
| Walker, Zoe: ‘Talkin’ ‘bout our GENERATION‘, The List, 20/03/2014 | |
| 2013 | Cotter, Holland: ‘A Light Hand at The Independent Art Fair’, New York Times, 07/03/2013 |
| 2012 | Usherwood, Paul: ‘All you need to know‘, Art Monthly, 12/2012 |
| 2010 | Bayer, Devrim: ‘Art Lovers - When artists couples work together‘, Code 2.0, 01/2010 |
| Chateigné Tytleman, Yann: ‘Letter on the deaf and mute‘, Kaleidoscope, Issue 7 01/2010 | |
| Kotze, Talitha: ‘LOVE‘, The List, Issue 648 01/2010 | |
| 2009 | Chateigné Tytleman, Yann: ‘Joanne Tatham & Tom O‘Sullivan‘, Kaleidoscope, 11/2009 |
| Allan, Radcliffe: ‘Affair of the Art‘, The List, Issue 647 01/2009 | |
| Casey, Mona: Mona Casey interviews Joanne Tatham & Tom O‘Sullivan, Map, Issue 19 2009 | |
| 2008 | Smolik, Noemi, Diana Reese, (trans.): ‘Joanne Tatham & Tom O‘Sullivan‘, Artforum, 02/2008 |
| Rathgeber, Prikko, Michael Robinson, (trans.): ‘Joanne Tatham & Tom O‘Sullivan‘, Flash Art, 01/2008 | |
| Rijn, Ilse van: ‘Joanne Tatham & Tom O‘Sullivan; The this & The That of a Category Error‘, Metropolis M, 01/2008 | |
| 2007 | O'Reilly, Sally: ‘Things Fall Apart‘, Frieze, 10/2007 |
| Mulholland, Neil: ‘Heroin Kills, Rhetoric Works’, Texte zur Kunst, 03/2007 | |
| McLaren, Duncan: ‘HOUSE OF ENLIGHTENMENT‘, Map, Issue 9 2007 | |
| 2006 | Martin, Vincent: ‘Joanne Tatham & Tom O‘Sullivan, Art Monthly, 11/2006 |
| Gale, Iain: ‘Making history the modern way‘, Scotland on Sunday, 22/10/2006 | |
| Reynaud Dewar, Lili, L.S. Torgoff, (trans.): ‘Cynical Monuments; Anti-social Sculpture‘, Art Press, 2006 | |
| Gronlund, Melissa: ‘Momentum 2006‘, Frieze, Issue 103 2006 | |
| 2005 | Reynaud Dewar, Lili: ‘Joanne Tatham et Tom O‘Sullivan‘, O2, 2005 |
| Garnett, Robert: ‘Tom O‘Sullivan & Joanne Tatham‘, Untitled, Issue 34 2005 | |
| Mulholland, Neil: ‘Use Your Illusions‘, Tate etc., Issue 4 2005 | |
| 2004 | Morton, Tom: ‘Mirror, Mirror‘, Frieze, Issue 87 11/2004 |
| Firth, Hannah: ‘Cardiff: Ain‘t no Love in the Heart of the City‘, Circa, Issue 109 10/2004 | |
| 2003 | Staple, Polly: ‘50th Venice Biennale‘, Frieze, Issue 77 09/2003 |
| Mulholland, Neil: ‘This has reached the limit conditions of its own rhetoric‘, The Scotsman, 18/03/2003 | |
| Mulholland, Neil: ‘All you need to know‘, Frieze, Issue 73 03/2003 | |
| Mottram, Jack: ‘Joanne Tatham and Tom O‘Sullivan‘, The List, 03/2003 | |
| Hirsch, Helen: ‘Magische Konstrukte und Rätselhafte Dimensionen‘, Kunstbulletin, 2003 | |
| 2002 | Usherwood, Paul: ‘All you need to know’, Art Monthly, Issue 262 12/2002 |
| O'Reilly, Sally: Joanne Tatham and Tom O‘Sullivan, Art Monthly, 10/2002 | |
| Herbert, Martin: ‘Joanne Tatham and Tom O‘Sullivan‘, Time Out, 25/09/2002 | |
| Mulholland, Neil: ‘Joanne Tatham and Tom O‘Sullivan‘, Flash Art, 03/2002 | |
| Mulholland, Neil: ‘Here + Now: Scottish Art 1990-2001‘, Frieze, Issue 63 01/2002 | |
| Mulholland, Neil: ‘The Luxury Gap‘, Flash Art, 01/2002 | |
| Tufnell, Rob: ‘Joanne Tatham and Tom O‘Sullivan‘, Untitled, 2002 | |
| Mulholland, Neil: ‘Learning from Glasvegas: Scottish Art after the 90‘s, Journal of the Scottish Society for Art History, 2002 | |
| 2001 | Mahoney, Elisabeth: ‘HK‘, The Guardian, 22/12/2001 |
| Sutherland, Graham: ‘A question of heroin chic‘, Sunday Herald, 16/12/2001 | |
| Cameron, Neil: ‘Beyond the obvious‘, The Scotsman, 27/11/2001 | |
| Jeffrey, Moira: ‘Staggering message writ large‘, The Herald, 23/11/2001 | |
| Eichler, Dominic: ‘Berlin Biennale 2‘, Frieze, Issue 61 09/2001 | |
| Bang Larsen, Lars: ‘Berlin Biennale‘, Artforum, 09/2001 | |
| Beagles, John: ‘Then there is no mountain then there is‘, The List, Issue 404 01/2001 | |
| Lowndes, Sarah: ‘HK: Joanne Tatham and Tom O‘Sullivan‘, The List, Issue 431 2001 | |
| 2000 | Crowe, Jenny: ‘Avalon‘, a-n Magazine, 05/2000 |
| Tufnell, Rob: ‘Avalon‘, Make, Issue 88 01/2000 | |
| Tufnell, Rob: ‘Joanne Tatham and Tom O‘Sullivan‘, Frieze, Issue 55 01/2000 | |
| 1999 | Burrows, David: ‘Evolution isn‘t over yet‘, Art Monthly, 06/1999 |
| Tripp, Sarah: ‘Reviews: Scotland‘, Circa, Issue 88 01/1999 | |
| 1998 | Welsh, Paul: ‘Blow Your Mind‘, The List, 01/1998 |
Exhibition Reviews
| 2016 | Cumming, Laura: ‘Glasgow International review – irrepressible vitality everywhere’, The Guardian, 10/04/2016 |
| 2014 | Falconer, Lisa : ‘Portree landmark ‘desecrated’ by pink art installation’, West Highland Free Press, 08/08/2014 |
| 2013 | Mulvihill, Michael: ‘Joanne Tatham & Tom O’Sullivan - DOES THE IT FIT, CIRCA Projects, Newcastle‘, Corridor 8 [Online], 12/2013 |
| Pinnington, Mike: ‘The Narrators’, Aesthetica, Issue 56 12/2013 | |
| Sumner, Emma: ‘The Narrators @ Walker Art Gallery/The Royal Standard, Liverpool‘, The Skinny, 10/2013 | |
| Clarke, Leela: ‘A tool for the making of signs‘, Aesthetica Magazine Blog, 02/2013 | |
| 2012 | Taylor, Rhona: ‘Reviews’, The List, 13/12/2012 |
| 2011 | Thatcher, Jennifer: ‘Reviews’, Art Review, 10/2011 |
| Dale, Paul: ‘School‘s Out’, The List, 04/08/2011 | |
| 2010 | Clegg, James: ‘Direct serious action is therefore necessary‘, Art Review, Issue 46 12/2010 |
| 2009 | Pernet, Hugo: ‘The Thing‘, Zéroquatre, 01/2009 |
| 2001 | Lowndes, Sarah: ‘Here + Now: Scottish Art 1990-2001‘, The List, 04/10/2001 |
| 2000 | Tufnell, Rob: ‘Avalon‘, Make, Issue 88 06/2000 |
| Crowe, Jenny: ‘Avalon’, an, 05/2000 | |
| 1999 | Tripp, Sarah: ‘Reviews: Scotland‘, Circa, Issue 88 1999 |
Publications
| 2019 | The Bitter Cup, Book Works, London |
| 2016 | An Anthology. (I’m sorry, I’m sorry, I’m so, so, so sorry), The Modern Institute, Andrew Hamilton/Toby Webster Ltd, Glasgow |
| 2015 | Nothing Twice, Cricoteka, Krakow |
| 2013 | Amongst other things an unsuccessful proposal for the 2012 Cultural Olympiad, Centre for Contemporary Arts (CCA) and Eastside Projects, Glasgow and Birmingham |
| La Salle de bains - depuis 1999, Les presses du réel | |
| 2009 | Art and Text, Black Dog Publishing, London |
| Does your contemplation of the situation fuck with the flow of circulation, Eastside Projects, Birmingham | |
| N'importe Quoi, Musée d’art contemporain de Lyon / Les presses du réel / Collection la Salle de bains, Lyon | |
| 2008 | Scotland & Venice 2003 2005 2007, Scottish Arts Council/British Council/National Galleries of Scotland/The Scottish Government, Edinburgh |
| The Great Transformation; Art and Tactical Magic, Frankfurter Kunstverein, Frankfurt am Main | |
| 2007 | A Charming Meaning, A Solid Meaning, A Struggling Meaning, The Modern Institute/Toby Webster Ltd and DuMont Literatur und Kunst Verlag, Glasgow and Cologne (monograph) |
| Half Square, Half Crazy, Villa Arson, Nice | |
| Joanne Tatham and Tom O'Sullivan, SMART, Amsterdam | |
| Keep On Onnin'; Contemporary Art at Tate Britain, Tate Publishing, London | |
| Smart papers: Joanne Tatham and Tom O'Sullivan, SMART, Amsterdam | |
| 2006 | Alan Michael, Stuart Shave/Modern Art, London (extract: Dum-diddle-dum-dum, dum-dum) |
| Frieze Projects: Artists Commisions and Talks (2003-2005), Frieze London, London | |
| Ha Ha!, in Magnetic Promenade (and other sculpture parks), Studio Voltaire, London | |
| Rhetoric Works & Vanity Works & Other Works, Huntarian Museum and Art Gallery, Glasgow | |
| Try Again. Fail Again. Fail Better, Momentum, Moss | |
| 2005 | Scotland & Venice: Selective Memory, Scottish Arts Council/British Council/National Galleries of Scotland/The Scottish Government, Edinburgh |
| 2004 | Genesis Sculpture, Beaux Arts, Paris |
| Hit & Run, SMART Project Space, Amsterdam | |
| The Slapstick Mystics with Sticks present "Thou Art That!" A Play, in Frozen Tears, ARTicle Press, Birmingham | |
| 2003 | Heroin Kills, Tramway and The Modern Institute, Glasgow |
| HK - JOANNE TATHAM & TOM O'SULLIVAN, Tramway, Glasgow | |
| Prague Biennale, Giancarlo Politi Editore, Milan | |
| 2002 | My Head is on Fire but my Heart is Full of Love, Charlottenborg Exhibition Hall, Copenhagen |
| October, Red Group, Glasgow | |
| The best book about pessimism I ever read, Walter Koenig, Cologne | |
| The Slapstick Mystics with Sticks present "Thou Art That!" A Play, Cubitt Gallery, London | |
| 2001 | Berlin Biennale 2, Berlin Biennale, Berlin |
| Here and Now: Scottish art 1990 - 2001, Dundee Contemporary Arts, Dundee | |
| The Glamour, Transmission Gallery, Glasgow | |
| 2000 | Avalon, The Changing Room, Stirling |
| 1999 | Bent Aura Volume 2, STOPSTOP, Glasgow |
| Evolution Isn't Over Yet, Fruitmarket Gallery, Edinburgh | |
| 1998 | Add Night to Night, The Showroom, London |
| Blow Your Mind, The Collective Gallery, Edinburgh | |
| 1997 | Diorama, 200 Gertrude Street, Melbourne |
| Futura Skulpta, 3 Month Gallery, Liverpool | |
| Nerve: Glasgow Projects, Artspace, Sydney |