But is it art?

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 of the whole. In the meantime we interview eyewitnesses, flick through art catalogues, and try to second-guess the spooks. It’s an environment of suspicion, and we have to read between the lines. It’s a bit like our current political situation, a culture of duplicity … . Along the way Hastings calls our attention to art. To the status of the art object as material and on our own processes of production and reception.

Date: 07/Nov/2003 to 29/Nov/2003
At: The Cross Art Projects, Sydney
List of Works: by Gail Hastings
But is it art? blue, green, light green
But is it art? magenta, violet, red
But is it art? orange, magenta, dark blue
But is it art? red, blue, violet
But is it art? violet, titanium, orange
Encyclopaedia of Time in Art: pp. 1-3
primed canvas (charcoal grey)
primed canvas (may green)
The Big Coverup: white with blue stripe
to enter, to leave (no. 2)
Bibliography: George Alexander, ‘Primed Suspects: Gail Hastings’ Sculptural Situations’, But is it Art?: Sculptural Situations by Gail Hastings, exhibition catalogue, The Cross Art Projects, Sydney 2003. Lisa Kelly, ‘If Anything.’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, pp.7.1–7.2 http://naturalselection.org.nz/archive/1/1.7_Lisa_Ruark.pdf. Ruark Lewis, ‘An emailed note concerning an art talk by Gail Hastings’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, p.7.3, http://naturalselection.org.nz/archive/1/1.7_Lisa_Ruark.pdf.
The Cross Art Projects

Dir: Jo Holder

33 Roslyn Street
Kings Cross NSW 2011

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