Amelia Winata

  • Marian Tubbs, i will do all the work i will just do it all wrong, 2022, digital print on luster, 58.5 x 41 3/4"
    picks June 15, 2022

    Marian Tubbs

    In the early 2010s, Marian Tubbs was an up-and-coming Sydney artist associated with the wave of post-internet art, which, at the time, offered an aesthetic skewed toward the digital. As with any cutting-edge cultural projections, these works now feel slightly dated.

    Over the past decade, Tubbs has grown increasingly interested in the physical world, turning to sculpture and print while continuing to mine the logic of a daily life contoured by the internet. Her latest exhibition, “resort work,” suggests a more mature way of thinking about the virtual elements intruding on our corporeal environment.

  • Rose Nolan, Big Words (Not Mine) – Transcend the poverty of partial vision (floor version), 2021, 100% New Zealand wool rug, aluminum composite mirrored panels, wooden stools, carpet 16 1/2 x 32 3/4'; mirrored panels 40 x 4'. Photo: Christian Capurro. 
    picks November 29, 2021

    Rose Nolan

    In her 1977 book Passages of Modern Sculpture, Rosalind Krauss discusses Umberto Boccioni’s Development of a Bottle in Space, 1913, a sculpture that reveals itself to represent a bottle, dish, and glass only after the viewer has moved around it, observing the work from several vantage points. Big Words (Not Mine)–Transcend the poverty of partial vision (floor version), 2021—the title of the large installation anchoring Rose Nolan’s exhibition “Parlour Games”—openly quotes from Krauss’s text. In doing so, the Australian artist plays into the tension between the partial and complete image, as

  • Paul Yore, The Evacuation of Mallacoota, 2021, mixed media textile, 5 1/2 x 9 1/3".
    picks June 25, 2021

    Paul Yore

    In titling his current exhibition “LET THEM EAT CAKE”—the infamous phrase dubiously attributed to Marie Antoinette—artist Paul Yore turns our attention to the slippery nature of truth and its relationship to institutions of power.

    The object of Yore’s scrutiny is the concept—or myth—of “Australianness.” The large tapestry The Evacuation of Mallacoota, 2021, refers to the devastating bushfires of 2019 and the government’s gross mishandling of the crisis. Typical of Yore’s practice, Mallacoota is an oversaturated, frenetic collage of mismatched items. The visual overload is reminiscent of the