The judges write that this ‘publication pushes the format of Artist book the most, and is engaged with it’s format. As one of the few projects not heavily engaged with research as a format, it is important. It is good that art can step outside of a retrospective mode, and this does that  engaging with media of it’s time but not for the sake of it’.

Missing includes a brief foreword by art historian Richard Shiff, who ruminates on how a ‘“copy” exists in two different modes, two different kinds of spaces, two different realms of experience’.

Missing is a digital book of limitless copies. The original, however, from which these copies are drawn does not occur outside the copies. It occurs inside each sculptuation comprising it. This is the particular peculiarity of a sculptuation. Each of the four that comprise Missing endeavours as actual art, not the documentation of art. Missing also includes a brief afterword by Amanda Rowell.

Hastings thanks the judges for awarding the prize, AAANZ for hosting the prize and Monash Art Design and Architecture for putting up the prize. Hastings congratulates Ana Paula Estrada, also, who shares in winning the first prize for Best Artist Book.

A review by Annabel Crabb of Missing can be read here.

Missing: Four Sculptuations by Gail Hastings is published by Pigment Publisher and can be purchased through iBooks.