The Call for Papers is open from June 3 to July 29. 

If you would like to speak at the 2022 AAANZ Conference, you can now apply to join one of the panels detailed at

To apply, read the instructions, and then submit your Paper Proposal Form to the relevant Panel Convenor.

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At this years AAANZ conference I am convening the panel ’Brunelleschi’s Demonstration of Space’. In hope you’ll propose a paper as part of the panel, the panel’s description is as follows:

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In Florence in the early fifteenth century, Filippo Brunelleschi demonstrated single-point perspective with a picture panel and mirror while he stood in the central portal of Santa Maria del Fiore. Painters adopted the demonstration’s technical ramifications, and the Church celebrated their more life-like paintings. Yet the demonstration’s philosophical and scientific ramifications promulgated by Nicholas of Cusa led Giordano Bruno to be burned at the stake. It presented questions on the nature of space that contradicted an Aristotelian Universe with anisotropic matter-filled places, not isotropic space. Much, nevertheless, remains contested. Not only Brunelleschi’s method but also perspective’s replacement of a theocentric viewpoint with a subjective or anthropocentric point of view in today’s ‘posthuman’ world. 

The panel welcomes 20-minute papers that explore the history of perspective and the ensuing nature of space in contemporary art. 

This includes, for instance, its first art historical treatment by Erwin Panofsky in his essay ’Perspective as Symbolic Form’. Here, perspective’s ‘reality’ accords with a Kantian dichotomy in which space is an empty ‘form’ of thought separate from any content of the world outside. Yet, in 1960s New York, artists contested ’a priori space’ with the art of the real. Were they unrealistic to do so?

My Instagram account was hacked on 19 January 2022. Followers I had messaged were sent a message by the hackers asking (as me) for assistance. By assisting, the followers were then hacked. DO NOT FOLLOW or oblige the hackers now masqueradeing as Gail Hastings’ Studio on Instagram. They are conducting illegal activity. They have illegally taken over my studio account.

I have set up a new account at:

This is the account that has been hacked:

8 Easey Pieces

8 Easey Pieces is the inaugurating group exhibition at FUTURES, a new contemporary art gallery about to set sail in Collingwood with co-directors Steven Stewart and Zara Sigglekow at the helm. The work of mine in the exhibition, and pictured in the Art Guide ad above, is Shared Background: Family Portrait in Naples (Yellow), 2020.… Continue reading 8 Easey Pieces

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Space Practising Tools

Thank you Margaret Roberts for purchasing Space Practising Tools. Margaret Roberts is a wonderful artist. Just a note: The two bookends in the book, itself, are the image of Donald Judd’s in acknowledgements at the front, and Space Practising Tools Number 5. This parenthesis holds the remaining Space Practising Tools.

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Space Practising Tools Book Launch

Space Practising Tools by Gail Hastingswith an Introduction by Jon Roffe will be launched 12:30 pm, Sat 27 March 2021Craft Victoria Book a free seat here As part of the NGV Art Book Fair ABOUT BOOK

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The Power of Inclusion in Donald Judd’s Art

Art Journal, College Art Association, New York, Vol. 77, no. 3 Fall 2018 The Power of Inclusion in Donald Judd’s Art: Observations by an Artist, Gail Hastings, pp. 48-62. Artist’s Project: Space Practising Tools, Gail Hastings, pp. 63-75. Gail Hastings notes that sometimes artworks seem to be reticent teachers, “muttering a lesson,” which we have… Continue reading The Power of Inclusion in Donald Judd’s Art

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Categorised as News, Note
Art Journal’s Fall Issue out soon

Art Journal Vol. 77, no. 3 Fall 2018
Sarah Hamill Surface Matters: Erin Shirreff ’s Videos and the Photography of Sculpture
Mara Pogolvsky Ezcurra Beyond Evil: Politics, Ethics, and Religion in León Ferrari’s Illustrated Nunca más

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Winner of this years Redlands Konica Minolta Art Prize

Gail Hastings and Adrian McDonald awarded 2018 Redlands Konica Minolta Art Prize The judges for this year’s Redlands Konica Minolta Art Prize – Natasha Bullock (MCA Senior Curator), Judith Blackall (NAS Gallery Curator), Mark Harpley (Visual Arts Coordinator, Redlands School) and Fabian Byrne (Visual Arts Teacher, Redlands School) – announced the award at the opening… Continue reading Winner of this years Redlands Konica Minolta Art Prize

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2018 Redlands Konica Minolta Art Prize at the National Art School Gallery

The prize exhibition will be held at the National Art School Gallery in Sydney from 15 March until 12 May 2018. Nike Savvas writes, ‘I have selected artists whose practices evidence discriminating, uncompromising and highly individualist approaches to art making. In a cultural climate beset by hype, hits, corporatisation and swinging social agency, the next iteration… Continue reading 2018 Redlands Konica Minolta Art Prize at the National Art School Gallery

Best Artist Book – AAANZ Prize 2017

Judges of the Best Artist Book for the AAANZ Prize, 2017 — Martyn Jolly and Christopher LG Hill — write that this ‘publication pushes the format of Artist book the most, and is engaged with its format. As one of the few projects not heavily engaged with research as a format, it is important. It… Continue reading Best Artist Book – AAANZ Prize 2017

Architecture Bulletin – The room issue

Gail Hastings‘ page 28 from ‘Encyclopaedia of Time in Art: pp. 28–30’ graces the cover of the upcoming Architecture Bulletin – The room issue, Autumn 2017, available in mid-March. Download the issue, here.

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Review of The Missing Space Project in De Witte Raaf

Wouter Davidts reviews The Missing Space Project: Six Interviews in De Witte Raaf (volume 30, issue 178 (November–December 2015), p.25). Read review. De Witte Raaf is a journal of critical essays and reviews on visual art published in the Netherlands. Wouter Davidts is a Belgian academic based in Antwerp, who teaches in the Department of Architecture & Urban Planning and the… Continue reading Review of The Missing Space Project in De Witte Raaf

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The Missing Space Project: Six Interviews was released today on iBooks.

Most regard phenomenological space made popular in the 1960s as the only type of space introduced by Minimal art. Few are aware of an alternate self-determined space made by the art, itself, that is a concrete, material space. An account of this space is missing.

The six interviews of The Missing Space Project debate the cause of this oversight.

To describe what one sees is fundamental to being aware of what one sees. Without a vocabulary with which to describe material space one, effectively, cannot see it.

The Missing Space Project explores the potential development of a vocabulary with which to describe the differentiated space of art since its emergence in the early 1960s.

Interviews are with: Marianne Stockebrand, Egidio Marzona, Daniel Marzona, Gregor Stemmrich, Richard Shiff and Renate Wiehager.

The Missing Space Project: Six Interviews is available today through iBooks at $4.99 (AUD).


Replica of an original space: yellow green and Replica of an original space: blue light are two wall sculptuations in the group exhibition ‘A Few Pieces’ at Taubert Contemporary in Berlin. Work by artists in the exhibition include: Lars Arrhenius, Geissler & Sann, Gail Hastings, Markus Linnenbrink, Mutter & Genth, Jan van der Ploeg, Markus Weggenmann, Beat Zoderer. The exhibition dates are 17/01/2015 to 07/03/2015. Taubert Contemporary is located at Lindenstraße 35, D – 10969 Berlin.

To make a work of timeless art, 1996, is in the MCA collection exhibition ‘Taking It All Away‘ curated by Natasha Bullock. ‘Diverse in form and character, the works in Taking it all away set the dynamics of space and time against the complexities of modern existence. Together, these works speak to the importance of art history and to the vigorous, evolving nature of contemporary art. The Museum of Contemporary Art Australia dedicates this exhibition to the memory of artists Gordon Bennett and Robert Hunter, who sadly passed away during its development.‘ The exhibition dates are 18/12/2014 to 22/02/2015.

The Daimler Art Collection has recently upgraded its website and is now a more user friendly database of the collection with selected works. Sculptuations by Gail Hastings in the collection include: Missing walls: bureaucracy at work (2007) and Difficult art decisions: wall six (1998). Both sculptuations were exhibited in Minimalism and Applied II, as well as other collection exhibitions.

Image: Gail Hastings, Exhibition: To Do, 2014, acrylic on plywood, plywood, watercolour and lead pencil on paper, 185.4 x 225 x 225cm (photo: Sofia Freeman)

Exhibition: To Do

Closing Launch: Saturday 3 May, 4-6pm

with the work’s spatial score performed by clarinetist

Megan Clune

starting 4:45pm

open Wednesday-Saturday, 11am-6pm
148 Abercrombie Street, Redfern, NSW, Australia, +61 2 8096 3292

Gail Hastings’ Exhibition: To Do is a ‘to-do list’ for making art not yet done, a task-at-hand still at-hand, except for the construction of storage shelves that await the art, aligned in the gallery along the Earth’s cardinal axes.

The height, width and depth of each of the four storage shelves that comprise Exhibition: To Do have been determined by the thickness of the plywood used (18mm) and the repeatable pattern of spaces this thickness makes.  ‘The ubiquitous need to create space for a desired event through a ‘to-do’ list in which a disarray of tasks can be put into productive order’ forms, here, a composition of solid and non-solid intervals that implicate a spatial weft and warp of patience and breath.

Clarinetist Megan Clune will perform Exhibition: To Do‘s score of spatial intervals.

My thanks to Mick

We were squabbling over how best to cut the piece of wood when, with jigsaw in hand, I decided to ignore Mick and get on with the job as I always do — uncomfortable with and annoyed by his audience. Then Mick made a last ditched effort and said, ‘leave the line standing’. Standing? Line? …

Leave the line standing, 2010

A review of Gail Hastings’ ebook Missing by Isobel Parker Philip entitled The pure potential of a page is published, today, on The Art Life.

Hastings uses the term ‘sculptuation’ to define her practice. This is a term that marries ‘sculpture’ with ‘situation’ so as to shift focus away from the individuated sculptural object and towards the spatial scheme it delineates. […] We dip in and out of the space of the work; interpreting it from afar as distanced observers while simultaneously occupying territory contained within its circumference. Whether consciously or not, we are implicated in the work. We inhabit its topography. Can an e-book be enlisted to perform the same function as these object-based works? Can its screened images — floating inaccessible in the data cloud — coerce the viewer into the same tidal pull as their physical counterparts? […] Why should a virtual book ape the form of a physical book? Surely it can possess its own architecture and pioneer its own pathways. Hastings’ work not only recognizes the possibility of such an architecture, it lays the foundations.

Isobel Parker Philip, The pure potential of a page, 25 April 2014

Missing: four sculptuations by Gail Hastings with a foreword by the art historian Richard Shiff will be released tomorrow on iBooks, Saturday, 26 April 2014.


A review of Exhibition: To Do by Chloé Wolifson can be found on the Arts Hub, Saturday 19 April 2014.

Delicately rendered in watercolour with ruled pencil lines emerging from the edges of the translucent wash, these pieces depict the To Do list in question. One such reminder, the instruction: ‘Build racks in which to store the art after the exhibition’, speaks volumes about the established systems of the art world, and the particular approach artists must take when they create work which sits outside the conventionally commercial.

Cholé Wolifson, 19 April 2014.

Corner caretakers, 2014, one of the four sculptuations in the ebook Missing purchased through iBooks, is also mentioned.

Corner caretakers, 2014, and Space of a five page plot, 2014, are two of four sculptuations that comprise the ebook Missing: four sculptuations by Gail Hastings, 2014 available at iBooks. Both are now on view at The Commercial Gallery, Redfern, along with the sculptuation Exhibition: To Do, 2014.

The Commercial

Images 1-4 Gail Hastings, Exhibition: To Do, 2014, acrylic on plywood, plywood, watercolour and lead pencil on paper, 185.5 x 225 x 225cm; image 5 exhibition installation view; images 6-7 Gail Hastings,Corner caretakers, 2014, watercolour and lead pencil on paper in plywood frames, 12 components, each 55 x 46.5 x 1.8cm (Corner caretakers is a sculptuation from Gail Hastings’ eBook, Missing, 2014)

The four walls that make up Gail Hastings’ Exhibition: To Do are oriented within the gallery along the Earth’s axis — coordinates and a rudimentary geometry shared by all. Each wall bears geometric patterns of shelves — small units of space — made of intervals and intersections described and located along xy and z axes. The pattern of spatial intervals has been determined by the material thickness of the wood used — 18mm; wherein solidity and space play interchanging parts (e.g. solid, space, space, solid, space, space, solid, space, space, solid …) along the height and length of each object. In these ways, Hastings has eliminated extraneous moments of decision-making, lending a sense of givenness to the exhibition but also its need to be made. […]

Gail Hastings’ forthcoming exhibition is entitled Exhibition: To Do and will open at The Commercial on Friday, 11 April 2014, 6-8pm.

An excerpt from the exhibition record reads:

Space is generally thought of in its ideal form — as empty. Notions, such as needing space to breath, space to move, space to be free and outer space (uninhabited) point this way. In being empty, space is thought of as missing something, something that can fill it. It is why space is spoken of with such potential.

The conundrum, then, is how does one retain this potential when one makes art that creates space — an aesthetic space that is not missing something but is, instead, a something: a concrete thing?

Some time ago I was in a cafe in Melbourne, in St Kilda, enjoying a cup of coffee when I could not help but overhear two conversations on art taking place on either side of me. . .

Corner (2013), a sculptuation that spatially embodies a room’s corner, has been acquired by the National Gallery of Australia (NGA). Comprising ten components, the two watercolour components that bracket the sculptuation’s space are from the ENCYCLOPAEDIA OF ART ON PEDESTALS. Within the watercolour floor plans someone struggles to move a pedestal around the corner from storage  (first watercolour—opening bracket) to the exhibition room (second watercolour—closing bracket) along a blue striped path. At the corner the work of art falls out from this everyday art world trajectory (of moving pedestals from storage to exhibition rooms and back again) to take place in our space, the breathing space of the actual room, without a pedestal. More of Corner (please login).

Corner joins four sculptuations by Gail Hastings already in the NGS’s collection, from the 1996 limited edition 36 pages about time first exhibited at Art 1996 Chicago art fair on Navy Pier. Detailed images can be found of Encyclopaedia of Time in Art: pp. 28-30 and Encyclopaedia of Time in Art: pp. 31-33 on the NGA’s website.



Saturday 08 March is the last day to see sides: red versus blue, 2009, at The Commercial, Redfern, Sydney. Sides comprises five components: three non-objective paintings, a framed watercolour page from an encyclopaedia and an aesthetic space situated by the sculptuation. The watercolour page is from the ‘Encyclopaedia of being on the wrong side of art’.

The sculptuation was first exhibited in 2009 in the group exhibition curated by artist Alex Lawler entitled ‘Faith and Lust: Various Approaches to Formalist Abstraction’ at the Flinders Street Gallery, 61 Flinders Street, Surry Hills, Sydney (10/04/2009 to 02/05/2009). Not until September 2013 was it exhibited again, this time by The Commercial Gallery at the Sydney Contemporary 13 art fair in a solo exhibition by Gail Hastings (19 to 22/09/2013). Its inclusion in the group exhibition ‘OUI we’ at The Commercial is the sculptuation’s third exhibition (24/01/2014 to 08/03/2014). For more information on the exhibition OUI we please visit the exhibition’s record or visit The Commercial.

20/200 is  group exhibition at Sarah Cottier Gallery that marks 20 years and over 200 exhibitions for the gallery. Gail Hastings is delighted to contribute a sculptuation to the exhibition for having participated in the 1996 exhibition ‘Road to Love’ (20.03.1996–30.03.1996) curated by Mikala Dwyer. The gallery, then, was located at 36 Lennox Street, Newtown, Sydney. The two sculptuations by Gail Hastings included in the 1996 exhibition were untitled 1995 (four pages from the Encyclopaedia of Words), 1995 (private collection, Brisbane) and To make a work of forgetful art, 1996 (private collection, Brisbane). More on 20/200 can be found in the 20/200 exhibition record and the Sarah Cottier Gallery website. (photo: habit’s pattern: orange and black, 2010)


Art Month Presents Collector’s Disgrace—Art frame: red removed

The title above is harsh, but so was the insult to the collectors of Art frame: red and to the sculptuation, itself, discovered last night at the opening of Art Month’s Collector’s Space. Art frame: red is a sculptuation. As a sculptuation, it activates the physical space within which one stands to look at its… Continue reading Art Month Presents Collector’s Disgrace—Art frame: red removed

Missing: Four sculptuations by Gail Hastings has just been pre-released on iBooks.

With a foreword by art historian Richard Shiff—widely known for his writing on certain Impressionists while lesser known, yet just as profound, for his writing on the art of Donald Judd—Missing‘s 52 pages include watercolour moments from the Encyclopaedia of Taking Care in Art, Encyclopaedia of Doubt in Art and Encyclopaedia of Looking for the Plot in Art

Find Missing in iBooks here: Missing – Gail Hastings & Richard Shiff.

‘Art frame: red’, 2011, by Gail Hastings will be on view in James Roland and Becky Spark’s contribution to Art Month’s Collectors’ Space..

Art Month Presents Collector’s Space

A hidden urban space filled with museum quality artworks never seen together in public before… or ever again.

Curated by Natalia Bradshaw, the Collector’s Space is a unique pop up exhibition which explores personal collecting journeys. Experience highlights from significant and diverse private art collections, free and open to everyone in March. …

The 2014 Collectors:

James Roland and Becky Sparks are a dynamic young couple with a unique collecting vision – they are committed to collecting the art of their contemporaries. Becky and James started actively collecting and supporting contemporary art in 2006. Since that time, they have amassed a significant collection of works, mostly Australian, with a deliberate focus on artists of their generation and younger emerging artists.


At 4pm, 07/02/014 I will be at The Commercial gallery to speak with people as they look at sides: red versus blue, 2009, currently on view in the group exhibition OUI we at The Commercial. GH

From the press release:

Gail Hastings will speak about her exhibited work, the sculptuation ‘sides: red versus blue’ and the creation of space. Hastings’ work is both subject and object. It expounds itself. At the same time as being itself, it explains itself. Within this spatial circuit a viewer finds themselves where, perhaps, they least expect to be.