01/09/2012 withdrawal of ABC art: red cube from the exhibition upon receiving the exhibition’s catalogue and reading the curatorial premise for the work’s inclusion, where I gave reasons for the withdrawal that include:
[The curatorial essay mentions] my art (with reference to Floor plan: Empty, except) within the context of Robert Morris’ essay. Not only is this misrepresentative of the place from which my art stems, but I hadn’t even read his notes on Sculpture at that time! Not until some years later.
The text in my art is not narrative. It does not tell a story about Jack and Jill running over a hill that exists externally to the sculptuation it is in. If it were narrative, it would not read the way it does, often stilted, chopped, awkward, blocky, non eventful, monotonous, etc. […] The text is not a bad nor a good story — it’s not a story at all. It functions as a spatial aspect of the sculptuation, that’s all. So people walk away disappointed with my art, with the conclusion I’m a bad writer. But the text has nothing to do with being a writer.
Gail Hastings, excerpts from email to the curator, 31 August 2012
Exhibition | |
Date: | 03/Aug/2012 to 04/Nov/2012 |
Curated by: | Sue Cramer |
At: | Heidi Museum of Modern Art, Melbourne |
Artists: |
Carl Andre, Lynda Benglis, Peter Booth, Janet Burchill & Jennifer McCamley, Ian Burn, Peter Cripps, John Davis, A.D.S. Donaldson, Richard Dunn, Mikala Dwyer, Dan Flavin, Elizabeth Gower, Gail Hastings, Dale Hickey, Robert Hunter, Robert Jacks, Tim Johnson, Donald Judd, Peter Kennedy, Geoff Kleem, Nigel Lendon, Sol LeWitt, Robert Macpherson, Anne-Marie May, Robert Morris, Bruce, Nauman, John Nixon, Wendy Paramor, Mike Parr, Paul Partos, John Peart, Kerrie Poliness, Mel Ramadan,Giles Ryder, Simone Slee, Tony Smith, Guy Stuart, Kathy Temin, Peter Tyndall, Trevor Vickers, Daniel Von Sturmer, Michael Young |
List of Works: |
by Gail Hastings ABC art: red cube |
Withdrawal: |
Catalogue received 22 August. |
Bibliography: | Sue Cramer, ‘Notes on Contemporary Post-Minimalism (part III): The Viewer’, in Sue Cramer (ed.), Less is More: Minimal and Post-Minimal Art in Australia, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 2012, pp.67–9. Andrew McNamara, ‘Gail Hastings’, in Sue Cramer (ed.), Less is More: Minimal and Post-Minimal Art in Australia, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 2012, pp.90–1. |
Heidi Museum of Modern Art Dir: Jason Smith 7 Templestowe Road |
14 July 1989 Gail Hastings Installation 1989 / Fergus Armstrong Photograph 1989, Store 5, Melbourne
12 August 1989 Suzannah Barta, Sandra Bridie, Lyndell Brown, Gail Hastings, Store 5, Melbourne
11 November 1989 A3 20, Store 5, Melbourne
30 November 1989 This Performance — A Passing Thought, Gertrude Contemporary, Melbourne
1 December 1989 S.W.I.M. Fund Raiser, Linden Centre for Contemporary Arts, Melbourne
1 March 1991 Exsultate, Jubilate, Store 5, Melbourne
21 April 1990 Room for Love, Store 5, Melbourne
18 August 1990 Uses of Chaos, Gertrude Contemporary, Melbourne
20 September 1990 4th Australian Sculpture Triennial Forum, Melbourne Lower Town Hall, Melbourne
9 October 1990 Dis-location, RMIT Gallery, Melbourne
13 October 1990 Drawings, Store 5, Melbourne
14 November 1990 Floor Plan: Empty, except, Gertrude Contemporary, Melbourne
6 April 1991 Some examples of different ways, Store 5, Melbourne
27 April 1991 No, just an empty square, Store 5, Melbourne
1 August 1991 Production, Institute of Modern Art, Brisbane
7 August 1991 Australian Perspecta 1991, Art Gallery of New South Wales, Sydney
11 December 1991 Gail Hastings & Elizabeth Newman, Roslyn Oxley9 Gallery, Sydney
5 December 1995 Lovers, Heidi Museum of Modern Art, Melbourne
7 March 1996 To make a work of timeless art, Artspace, Sydney
20 March 1996 Road to Love, Sarah Cottier Gallery, Sydney
20 April 1996 out of time: part two, David Pestorius Gallery, Brisbane
9 May 1996 Art 1996 Chicago, David Pestorius Gallery, Chicago
24 August 1996 Reservoir, Lake Macquarie City Art Gallery, Lake Macquarie
22 September 1996 The Pool, Centenary Pools, Brisbane
3 October 1996 To make a work of timeless art, Experimental Art Foundation, Adelaide
30 November 1996 To make a work of timeless art, David Pestorius Gallery, Brisbane
7 March 1997 Wall as Medium?, David Pestorius Gallery, Brisbane
4 April 1997 four coincidences, Anna Schwartz Gallery, Melbourne
8 May 1997 Art 1997 Chicago, David Pestorius Gallery, Chicago
23 May 1997 two corners and a cube, Galerie Köstring/Maier, München
30 May 1997 On Dialogue, Haus am Waldsee, Berlin
7 June 1997 two and three stares, Galerie Mark Müller, Zurich
11 June 1997 Statements Art 28‘97 Basel, David Pestorius Gallery, Basel
2 August 1997 forgotten encyclopaedias, 24 Church Street, Fortitude Valley, Brisbane
1 September 1997 Art Forum Berlin 1997, David Pestorius Gallery, Berlin
6 December 1998 art idea no. 8,582,048, Bahnwärterhaus, Esslingen
5 March 1999 art idea no. 8,582,048, Künstlerhaus Bethanien, Berlin
21 April 1999 projections, David Pestorius Gallery, Berlin
30 April 1999 apparently not, David Pestorius Gallery, Berlin
12 June 1999 I views, Canberra Contemporary Art Space, Canberra
10 September 1999 Open House, Pestorius Sweeney House, Brisbane
11 September 1999 Sorry, we are closed, UQ Art Museum, Brisbane
25 January 2003 sculptural situation: plans, Heidi Museum of Modern Art, Melbourne
4 April 2003 In Conversation, UQ Art Museum, Brisbane
6 June 2003 Hothouse: The flower in contemporary art, Monash University Museum of Art, Melbourne
3 September 2003 Private/Corporate II, Daimler Contemporary, Berlin
7 November 2003 But is it art?, The Cross Art Projects, Sydney