The Missing Space Project: Six Interviews

Name-drop the word ‘space’ in a conversation with an artist, and you’ll be in their good books. That, though, is about as far as a conversation on space can go. Just the one word — space — and nothing more. It has been that way for more than fifty years, since Minimal art’s introduction of ‘actual space’ in the 1960s. […]

OUI we

Exhibiting artists: Mitch Cairns, Gunter Christmann, Agatha Gothe-Snape, Gail Hastings, Andrew Liversidge, Clare Milledge, Archie Moore, Robert Pulie, Stephen Ralph, Mary Teague

Sydney Contemporary 13

It is with great pleasure that The Commercial Gallery announces it now represents Gail Hastings and will present a solo exhibition of her work at the inaugural Sydney Contemporary art fair between 19 and 22 September at Carriageworks, Sydney (Booth PC102). It is exciting to be showing new work by this important mid-career Australian artist […]


The blowtorch, a back turned rather than a front offered, independence of mind, an absorption in one’s work, a disdain for conformity, taking one’s time and our gaze directed in a non-objectifying way spell male artist, not female. If this is now, no wonder Lee Bontecou’s art was treated as threatening in New York’s decidedly […]

Gallery Central studio residency

Never before have I realised the importance of having a dedicated space within which to make art until my brief residency at Gallery Central’s 149 Beaufort Street, Perth. The residency is on site at the Central Institute of Technology, wherein thrives a wonderfully supportive art school for those preparing to study at tertiary level. Central […]

Direct Democracy

Direct Democracy explores the changing nature of our engagement with the democratic tradition and looks to the emergence of new democratic models. The exhibition reflects contemporary social movements, unrest and the desire for change; modelling key social dynamics and possible futures. In Direct Democracy destruction and resistance are connected with the need to collaborate and rebuild. Recent political […]

[space holder]

space-holder by Gail Hastings

Sometimes in, say, a supermarket queue we realise we have forgotten something we need to fetch and turn to the person behind to ask if they wouldn’t mind holding our space in line. In this simple act a social contract is made between oneself and a stranger who vows to hold one’s claim. The held space is a whole space complete […]

Less is More: Minimal and Post-Minimal Art in Australia [withdrawal]

ABC art: red cube (2008) Gail Hastings Exhibition Studio

Focusing on the Australian context, this exhibition will explore the late modernist movement of Minimal Art, the debates it provoked in the 1960s and 1970s, its broader intersection with the Post-Minimal tendencies of Conceptual, Process, and Anti-form art, and the re-working of Minimalism by contemporary artists today. A wide range of works by Australian artists […]

Notes towards contemporary post-minimalism [withdrawal]

Several ideas stemming from Minimalism, though controversial in the 1960s, are now widely accepted as part of the landscape of contemporary art: for example, the artwork can be fabricated by someone other than the artist; it can comprise modules or units used singularly or repeated, and its governing concept is more important than any craft […]

Space you can’t sit on: The space in Today

Half exhibition, half archival room – this exhibition presents a number of sculptuations that focus on the creation of space. The exhibition’s title refers, in part, to an included work in which the spatially isolated letters of the word ‘today’ invoke a daily fragmentation that nevertheless come together as one in the end  – as ‘Today’. Called […]

Encounter: Stephen Sinn

Encounter: Stephen Sinn (2011) by Gail Hastings

In this exhibition there is one work, ‘encounter: Stephen Sinn’, made for the 2011 Archibald Prize. The word ‘encounter’ surfaced during discussion after Father Steve spent some very long moments silently looking at the work for the first time. For him, the term tended to encapsulate not only the movement happening in the work, but […]


Exhibition 'Taint' at Firstdraft Gallery, 2010

Taint observed the continued currency of minimalism through the work of six contemporary Australian artists. Formal and conceptual links can be made between their work and the Minimal project of the 1960s; their art is spare with an emphasis on geometric form, their works articulate space and in doing so acknowledge the audience and their role in […]

Leave the line standing

Leave the line standing

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

Art from a Hundred Years 1909–2009: Highlights of the Daimler Art Collection

The third presentation of the Daimler Art Collection in South Germany (following the extensive survey at ZKM Karlsruhe 2003 and at the Galerie der Stadt Sindelfingen 2004) at Museum Prediger Schwäbisch Gmünd concentrates on Highlights from the Collection with around 100 works spanning nearly 10 decades – from Adolf Hölzel, the main teacher in the […]

Faith and Lust: Various Approaches to Formalist Abstraction

Faith and Lust: Various Approaches to Formalist Abstraction takes as a departure point Bruce Nauman’s Vices and Virtues of 1988, which features ‘Faith and Lust’ in neon light, wrapped around a major building at the University of California in San Diego. The exhibition will explore the psychological implications of various modes of production in formalist art. […]

To make a work of timeless art: MCA Primavera Acquisitions

Exhibition 'To make a work of timeless art: MCA Primavera Acquisitions' 2008

The decision to acquire the work of Primavera artists began in 1993, the first purchase being a suite of works by Gail Hastings, an artist included in the inaugural Primavera exhibition. … Everyone wants to be close to ‘the wheel of history’, to be remembered, to occupy a place within the wider schema of recent art history; […]

Sculptural Situations: Gail Hastings

Exhibition 'Sculptural Situations' (2008) PICA - Gail Hastings

Perth born Hastings is a singular artist distinguished by the extraordinary focus of her practice. … Consistently describing her work as ‘a space made for others’ Hastings creates what she calls ‘invisible architectures’ that invite the viewer to enter a dialogue with what they observe. … As ‘the artist’ Hastings eschews a central position in her […]

Overheard Conversation: Sculptural Situations by Gail Hastings

Exhibition 'Overheard conversation' AGNSW 2007 - Gail Hastings

Hastings regards her works as ‘sculptural situations’ rather than as paintings or installations, or even sculptures. Rather than adhering to a pre-existing location, Hastings seeks to craft space—in particular, she seeks to craft an inter-subjective space, a social space of conversation and communication. This is at once a remarkably fraught, ambitious and fascinating enterprise. It […]

Store 5 is … ?

Other artist initiatives before Store 5 ostensibly grew from radical 1970s and early 1980s activism, where artists collaborated to stand for their rights (e.g. artists’ fees) and, thereby, contemporary art. Pre-ordained definitions of art were questioned as well as the politics of inclusion and exclusion in public programs (e.g. the exclusion of women artists). By […]

But is it art?

But is it art? 2003, Gail Hastings

As in a detective story, or the scene of a crime, everything is primed or poised for meaning. That corridor to the library and that picture on the wall: everything in the mystery seems chosen, asking us why it is there.  Everyone becomes a suspect. We bring our private eyes along and take partial views […]

In Conversation

This is the quandary bequeathed by minimalism, and Hastings presents this legacy precisely as a quandary. Again, the issue revolves around a hypothetical circuit of knowledge: who knows? Hastings candidly notes her own trepidation: “That this work of art I am looking at is not meant form me but for someone else more equipped … […]


being literal. The primed board was before me, waiting, I hesitated. To my left my oldest brother hovered over a large, paint encrusted canvas that absorbed all his attention. For days I had made it my errand to sit and watch this brother barely exist while thoughtfully lost, engulfed, painting. He was an engineer student […]

Kunst Nach Kunst / Art After Art

Simple geometric patterns with a coloration [of] clearly defined contours characterize Gail Hastings’ work. The proximity to Minimal Art is unmistakable [as] a conceptual interface of her works. … The title, “To complete a work of contemporary art” (1997), already indicates a direct reference to an apparently ‘unfinished’ contemporary art. This reference must be formally seen […]

October 2001 / Geometrical Affairs

The Daimler Art Collection focuses on geometrical and abstract concepts in 20th century art, and shows how these ideas are developing on the contemporary art scene world-wide. The Geometrical Affairs exhibition includes selected works spanning six decades, starting with classical pictures by artists like Josef Albers or Adolf Fleischmann and ending up with “Sculptural Situations” by the […]