Curriculum Vitae – Gail Hastings’ studio

Biography


1965	Born in Perth, Western Australia
2017–	Lives and works in Melbourne (1999–2017 Sydney; 1995–8 Brisbane; 1985–95 Melbourne)

Education
2005–9	The University of Sydney, Sydney (PhD by thesis), University Postgraduate Award
1986–8	Victorian College of the Arts, Melbourne (Bachelor of Arts in Fine Arts)
1984	Curtin University, Perth (Bachelor of Arts, Fine Art, incomplete)
1983	Curtin University, Perth (Bachelor of Arts, Craft (Textiles), transferred to Fine Art)

Peer Review – Studio
2017	Project Grant, Individuals and groups, Australia Council for the Arts
2014	Project Grant, Skills and Arts Development General, Australia Council for the Arts
2013	Project Grant, New Work (Established), Australia Council for the Arts
2002	Project Grant, New Work (Established), Australia Council for the Arts
1998	Catalogue Grant, Arts Queensland
1997	Studio Residency, Künstlerhaus Bethanien, Berlin, Australia Council for the Arts (12 months 1998-99)
1994	Studio Residency, Los Angeles, Australia Council for the Arts (4 months in 1996)
1993	Studio Residency, University of Sydney Power Studio, Cité Internationale des Arts, Paris (6 months in 1995)

Peer Review – Writing
2017	The Power of Inclusion in Donald Judd’s Art, ed. Rebecca M. Brown, Art Journal, College Art Association, New York, 2017, pp. 48–62.

Awards, Residencies and Prizes
2018	Redlands Konica Minolta Art Prize (cur. Nike Savvas; judges Natasha Bullock & Mark Harpley), National Art School Gallery, Sydney
2017	AAANZ Best Artist Book Prize (judges Martyn Jolly & Christopher LG Hill), Art Association of Australia and New Zealand
2008	James Kentley Memorial Scholarship, The University of Sydney
2005–9	University Postgraduate Award (and extension), The University of Sydney
1990	Studio Residency Gertrude Contemporary, Melbourne (2 years)
1987	Victorian College of the Arts prize, Eckersley’s award
1986	Victorian College of the Arts prize, National Gallery Women’s Association

Solo Exhibitions

11/04/2014

Exhibition: To Do, The Commercial, Sydney

19/09/2013

Sydney Contemporary 13, The Commercial (cur. Amanda Rowell), Sydney

20/09/2012

[space holder], Gail Hastings Exhibition Studio, Sydney

22/10/2011

Space you can’t sit on: The space in Today, Gail Hastings Exhibition Studio, Sydney

03/06/2011

Encounter: Stephen Sinn, Gail Hastings Exhibition Studio, Sydney

23/02/2010

Leave the line standing, St Canice's Annex, Sydney

07/02/2008

Sculptural Situations: Gail Hastings, Perth Institute of Contemporary Art (cur. Melissa Keys), Perth

19/03/2007

Overheard Conversation: Sculptural Situations by Gail Hastings, Art Gallery of New South Wales (cur. Natasha Bullock, Wayne Tunnicliffe, Tony Bond), Sydney

07/11/2003

But is it art?, The Cross Art Projects, Sydney

25/01/2003

sculptural situation: plans, Heidi Museum of Modern Art (cur. Zara Stanhope), Melbourne

25/03/2001

Gail Hastings: multiples, books, prints, editions, etc., Pestorius Sweeney House, Brisbane

16/03/2001

mission: untitled (blue), Australian Centre for Contemporary Art (cur. Stuart Koop), Melbourne

07/07/2000

Gail Hastings: Sculptural Situation 1989–2000, Goddard de Fiddes (cur. David Pistorius), Perth

11/09/1999

Sorry, we are closed, UQ Art Museum, Brisbane

12/06/1999

I views, Canberra Contemporary Art Space, Canberra

30/04/1999

apparently not, David Pestorius Gallery, Berlin

05/03/1999

art idea no. 8,582,048, Künstlerhaus Bethanien, Berlin

06/12/1998

art idea no. 8,582,048, Bahnwärterhaus (cur. Renate Wiehager), Esslingen

12/03/1998

art opinion no. 636, David Pestorius Gallery, Brisbane

06/03/1998

Untitled discussions, Anthony Meier Fine Arts, San Francisco

24/09/1997

To complete a work of contemporary art, Ausstellungsraum Thomas Taubert, Düsseldorf

02/08/1997

forgotten encyclopaedias, 24 Church Street, Fortitude Valley, Brisbane

11/06/1997

Statements Art 28‘97 Basel, David Pestorius Gallery, Basel

07/06/1997

two and three stares, Galerie Mark Müller, Zurich

23/05/1997

two corners and a cube, Galerie Köstring/Maier, München

24/04/1997

Duality: a series of weekly exhibitions during April 1997, David Pestorius Gallery, Brisbane

04/04/1997

four coincidences, Anna Schwartz Gallery, Melbourne

30/11/1996

To make a work of timeless art, David Pestorius Gallery, Brisbane

03/10/1996

To make a work of timeless art, Experimental Art Foundation, Adelaide

09/05/1996

Art 1996 Chicago, David Pestorius Gallery, Chicago

20/04/1996

out of time: part two, David Pestorius Gallery, Brisbane

07/03/1996

To make a work of timeless art, Artspace, Sydney

14/10/1995

To make a work of thoughtful art, Ausstellungsraum Thomas Taubert, Düsseldorf

10/02/1995

rule c: Remember, the aesthetic outcome of this exercise is purely due to chance and circumstance. It bears no reflection on you, personally., David Pestorius Gallery, Brisbane

01/09/1994

Drawn Lines, Institute of Modern Art, Brisbane

27/08/1994

Room 32, Room 32 (cur. Matthew Johnson), Sydney

04/05/1994

well actually, Anna Schwartz Gallery, Melbourne

05/08/1993

Belles-lettres, Australian Centre for Contemporary Art (cur. Jenepher Duncan), Melbourne

01/07/1993

spatial probabilities 1993: Watercolours by Gail Hastings, Anna Schwartz Gallery, Melbourne

11/12/1991

Gail Hastings & Elizabeth Newman, Roslyn Oxley9 Gallery (cur. Elizabeth Newman), Sydney

27/04/1991

No, just an empty square, Store 5, Melbourne

06/04/1991

Some examples of different ways, Store 5, Melbourne

14/11/1990

Floor Plan: Empty, except, Gertrude Contemporary, Melbourne

20/09/1990

4th Australian Sculpture Triennial Forum, Melbourne Lower Town Hall (cur. Brenda Ludeman and Kevin Murray), Melbourne

21/04/1990

Room for Love, Store 5 (cur. Gary Wilson), Melbourne

30/11/1989

This Performance — A Passing Thought, Gertrude Contemporary, Melbourne

14/07/1989

Gail Hastings Installation 1989 / Fergus Armstrong Photograph 1989, Store 5, Melbourne

Group Exhibitions

15/03/2018

Redlands Konica Minolta Art Prize, National Art School Gallery (cur. Nike Savvas), Sydney

16/06/2017

9 X 5 NOW Exhibition: ART150, Margaret Lawrence Gallery (cur. Elizabeth Gower), Melbourne

17/01/2015

A Few Pieces, Taubert Contemporary, Berlin

18/12/2014

Taking it all away: MCA collection, Museum of Contemporary Art (cur. Natasha Bullock), Sydney

13/08/2014

Melbourne Art Fair, The Commercial (cur. Amanda Rowell), Melbourne

13/03/2014

20/20, Sarah Cottier Gallery, Sydney

24/01/2014

OUI we, The Commercial (cur. Amanda Rowell), Sydney

26/07/2013

JANIS II, The Commercial (cur. Kelly Doley and Amanda Rowell), Sydney

26/04/2013

Direct Democracy, Monash University Museum of Art (cur. Geraldine Barlow), Melbourne

11/10/2012

Notes towards contemporary post-minimalism [withdrawal], Heidi Museum of Modern Art,

03/08/2012

Less is More: Minimal and Post-Minimal Art in Australia [withdrawal], Heidi Museum of Modern Art (cur. Sue Cramer), Melbourne

29/10/2010

Minimalism And Applied II: Dialogues of contemporary art with aspects of 20th century design and architecture, Daimler Contemporary (cur. Renate Wiehager), Berlin

16/06/2010

Taint, FirstDraft Gallery (cur. Clare Lewis), Sydney

15/05/2009

Art from a Hundred Years 1909–2009: Highlights of the Daimler Art Collection, Museum und Galerie im Prediger (cur. Renate Wiehager), Schwäbisch Gmünd

10/04/2009

Faith and Lust: Various Approaches to Formalist Abstraction, Flinders Street Gallery (cur. Alex Lawler), Sydney

12/11/2008

To make a work of timeless art: MCA Primavera Acquisitions, Museum of Contemporary Art (cur. Isabel Hesketh and Clare Lewis), Sydney

22/05/2005

Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor, Monash University Museum of Art (cur. Max Delany), Melbourne

19/03/2005

Store 5 is … ?, Anna Schwartz Gallery (cur. Deborah Hennessy), Melbourne

03/09/2003

Private/Corporate II, Daimler Contemporary (cur. Renate Wiehager), Berlin

06/06/2003

Hothouse: The flower in contemporary art, Monash University Museum of Art (cur. Zara Stanhope), Melbourne

14/05/2003

The Daimler Art Collection at the Museum für Neue Kunst | ZKM Karlsruhe, Museum für Neue Kunst | ZKM Karlsruhe (cur. Renate Wiehager), Karlsruhe

04/04/2003

In Conversation, UQ Art Museum (cur. David Pestorius), Brisbane

18/08/2002

Kunst Nach Kunst / Art After Art, Neues Museum Weserburg Bremen (cur. Peter Friese), Bremen

27/10/2001

October 2001 / Geometrical Affairs, Daimler Contemporary (cur. Renate Wiehager), Berlin

07/12/2000

Monochromes, UQ Art Museum (cur. David Pestorius), Brisbane

19/08/2000

Close Quarters: Contemporary Art from Australia and New Zealand, Dunedin Public Art Gallery (cur. C. Barton, Z. Stanhope, C. Williamson), Dunedin

08/02/2000

Passing Time: Moët & Chandon Exhibition 2000, Art Gallery of New South Wales (cur. Victoria Lynn), Sydney

18/12/1999

Close Quarters: Contemporary Art from Australia and New Zealand, Auckland Art Gallery Toi o Tāmaki (cur. C. Barton, Z. Stanhope, C. Williamson), Aukland

16/09/1999

Close Quarters: Contemporary Art from Australia and New Zealand, Govett-Brewster Art Gallery (cur. C. Barton, Z. Stanhope, C. Williamson), New Plymouth

10/09/1999

Open House, Pestorius Sweeney House (cur. Ben Curnow), Brisbane

08/09/1999

Space Affects: the art and architecture of James Birrell and Gail Hastings, Metro Arts (cur. David Pestorius), Brisbane

15/08/1999

The Space Here Is Everywhere: Art with Architecture, Villa Merkel/Bahwärterhaus (cur. Renate Wiehager), Esslingen

02/07/1999

Close Quarters: Contemporary Art from Australia and New Zealand, ANU School of Art Gallery (cur. C. Barton, Z. Stanhope, C. Williamson), Canberra

21/04/1999

projections, David Pestorius Gallery, Berlin

04/03/1999

Close Quarters: Contemporary Art from Australia and New Zealand, Institute of Modern Art (cur. C. Barton, Z. Stanhope, C. Williamson), Brisbane

08/10/1998

Close Quarters: Contemporary Art from Australia and New Zealand, Australian Centre for Contemporary Art (cur. Christina Barton, Zara Stanhope, Clare Williamson), Melbourne

03/10/1998

Strolling – the art of arcades, boulevards, barricades, publicity, Heidi Museum of Modern Art (cur. Max Delany), Melbourne

02/10/1998

Ladies & Gentlemen, Someone else's studio (cur. David Pestorius), Brisbane

29/09/1998

The Infinite Space: Women, Minimalism and the Sculptural Object, The Ian Potter Museum of Art (cur. Rachel Kent), Melbourne

23/09/1998

Moët & Chandon Australian Art Foundation Touring Exhibition 1998, Queensland Art Gallery (cur. Frances Lindsay and Brian McKay), Brisbane

29/07/1998

Moët & Chandon Australian Art Foundation Touring Exhibition 1998, Art Gallery of New South Wales (cur. Frances Lindsay and Brian McKay), Sydney

30/04/1998

Moët & Chandon Australian Art Foundation Touring Exhibition 1998, National Gallery of Victoria (cur. Frances Lindsay and Brian McKay), Melbourne

17/03/1998

Moët & Chandon Australian Art Foundation Touring Exhibition 1998, National Gallery of Australia (cur. Frances Lindsay and Brian McKay), Canberra

05/03/1998

All This And Heaven Too: 1998 Adelaide Biennial of Australian Art, Art Gallery of South Australia (cur. Juliana Engberg & Ewen McDonald), Adelaide

01/09/1997

Art Forum Berlin 1997, David Pestorius Gallery, Berlin

30/05/1997

On Dialogue, Haus am Waldsee (cur. Anne Marie Freybourg), Berlin

08/05/1997

Art 1997 Chicago, David Pestorius Gallery, Chicago

07/03/1997

Wall as Medium?, David Pestorius Gallery, Brisbane

22/09/1996

The Pool, Centenary Pools (cur. David Pestorius), Brisbane

18/09/1996

Moët & Chandon Australian Art Foundation Touring Exhibition 1996, Art Gallery of New South Wales (cur. Terry Smith, Pat Hoffie & John McPhee), Sydney

24/08/1996

Reservoir, Lake Macquarie City Art Gallery (cur. Ewen McDonald), Lake Macquarie

24/05/1996

Moët & Chandon Australian Art Foundation Touring Exhibition 1996, Art Gallery of South Australia (cur. Terry Smith, Pat Hoffie & John McPhee), Adelaide

17/04/1996

Moët & Chandon Australian Art Foundation Touring Exhibition 1996, National Gallery of Victoria (cur. Terry Smith, Pat Hoffie & John McPhee), Brisbane

20/03/1996

Road to Love, Sarah Cottier Gallery (cur. Mikala Dwyer), Sydney

14/02/1996

Moët & Chandon Australian Art Foundation Touring Exhibition 1996, National Gallery of Victoria (cur. Terry Smith, Pat Hoffie & John McPhee), Melbourne

05/12/1995

Lovers, Heidi Museum of Modern Art (cur. Juliana Engberg), Melbourne

12/05/1995

please nota bene the other rules on the following page, David Pestorius Gallery (cur. Gail Hastings), Brisbane

16/02/1995

In the Company of Women: 100 Years of Australian Women’s Art from the Cruthers Collection, Perth Institute of Contemporary Art (cur. John Cruthers), Perth

25/03/1993

Temporal, Anna Schwartz Gallery (cur. Shelley Lasica), Melbourne

05/12/1992

Above the Lake – Below the Sky, Benalla Art Gallery (cur. Victor Meertons), Benalla

15/10/1992

The Angelic Space: A Celebration of Piero Della Francesca, Monash University Museum of Art (cur. Harriet Edquist and Juliana Engberg), Melbourne

15/10/1992

Octopus, University of South Australia (cur. Gary Wilson), Adelaide

02/09/1992

Primavera: The Belinda Jackson Exhibition of Young Artists, Museum of Contemporary Art (cur. Linda Michael), Sydney

30/07/1992

work by Gail Hastings, Mathew Jones, Anne McDonald, Scott Redford, Black (cur. Mikala Dwyer), Sydney

10/06/1992

Chairs, Store 5 (cur. Melinda Harper and Gary Wilson), Melbourne

07/08/1991

Australian Perspecta 1991, Art Gallery of New South Wales (cur. Victoria Lynn), Sydney

01/08/1991

Production, Institute of Modern Art (cur. Bronwyn Clark-Coolee), Brisbane

27/03/1991

Melinda Harper, Gail Hastings, Gary Wilson, Constanze Zikos, FirstDraft Gallery (cur. Melinda Harper), Sydney

29/11/1990

Loaded, 13 Verity Street (cur. Ashley Crawford and Max Delany), Melbourne

13/10/1990

Drawings, Store 5 (cur. Melinda Harper), Melbourne

09/10/1990

Dis-location, RMIT Gallery (cur. Robert Owen), Melbourne

01/03/1990

Exsultate, Jubilate, Store 5 (cur. Angela Brennan and Elizabeth Newman on invitation by Gail Hastings), Melbourne

16/12/1989

Other Photography #2, Store 5 (cur. Gary Wilson), Melbourne

01/12/1989

S.W.I.M. Fund Raiser, Linden Centre for Contemporary Arts (cur. Kathy Temin), Melbourne

11/11/1989

A3 20, Store 5 (cur. Gary Wilson), Melbourne

12/08/1989

Suzannah Barta, Sandra Bridie, Lyndell Brown, Gail Hastings, Store 5 (cur. Gail Hastings), Melbourne

Bibliography

On Gail Hastings’ artwork

Rebecca M. Brown, ‘Muttering and Listening’, in Rebecca M. Brown (ed.), Art Journal, College Art Association, New York , vol.77 no.3, Fall 2018, p.5.
David Raskin, ‘Introduction’, The Missing Space Project: Six interviews, Pigment Publisher, Sydney 2015, pp.8–12.
Judith Blackall, ‘Gail Hastings: Sculptuations’, in Michael Fitzgerald (ed.), Art Monthly Australia, issue 272, 2014, pp.40–3.
Richard Shiff, ‘Foreword’, Missing: Four Sculptuations by Gail Hasting, Pigment Publisher, Sydney 2014, pp.v-vi.
Amanda Rowell, ‘Afterword’, Missing: Four Sculptuations by Gail Hasting, Pigment Publisher, Sydney 2014, pp.xiv-xivi.
Annabel Crabb, Missing: Four Sculptuations by Gail Hastings, 2014, online link, accessed 23 October 2016.
Isobel Parker Philip, ‘The pure potential of a page’, The Art Life, 2014, online link.
Chloé Wolifson, ‘Gail Hastings – Exhibition: To Do’, in Deborah Stone (ed.), Visual Arts Hub: Reviews, 2014, online link, accessed 23 September 2016.
Geraldine Barlow, Direct Democracy, in Geraldine Barlow (ed.), exhibition catalogue, Monash University Museum of Art, Melbourne 2013, pp.50–3, 98–9, 101, 106.
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.
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.
Renate Wiehager, ‘Contemporary Art in dialogue with 20th century architecture and design: Gail Hastings — Charlotte Perriand’, in Renate Wiehager (ed.), Minimalism and Applied II, exhibition catalogue, Daimler Contemporary, Berlin 2010, pp.2–7.
Renate Wiehager, ‘Gail Hastings’, in Renate Wiehager (ed.), Blitzen Benz Bang: Daimler Art Collection, exhibition catalogue, Hatje Cantz, Berlin 2009, pp.418–423.
Alex Lawler, Faith and Lust: Various Approaches to Formalist Abstraction, exhibition catalogue, Flinders Street Gallery, Sydney 2009.
John McDonald, ‘Trash or treasure’, The Sydney Morning Herald, 17 January 2009, online link, accessed 30 October 2016.
Isabel Finch, Clare Lewis, ‘Gail Hastings’, To make a work of timeless art: MCA Primavera Acquisitions, exhibition catalogue, Museum of Contemporary Art, Sydney 2008.
Andrew McNamara, ‘Making space for the invisible architecture of the social’, Sculptural Situations: Gail Hastings, exhibition catalogue, Perth Institute of Contemporary Art, Perth 2008.
Melissa Keys, ‘Gail Hastings: Sculptural Situations’, Sculptural Situations: Gail Hastings, exhibition catalogue, Perth Institute of Contemporary Art, Perth 2008.
George Alexander, ‘Peter Hill and Gail Hastings: The Big Picture’, in Elaine Ng (ed.), ArtAsiaPacific, ArtAsiaPacific, Hong Kong issue 54, JUL/AUG 2007.
Robyn McKenzie, ‘The Local Group: Store 5 1989–1993’, Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor, exhibition catalogue, Monash University Museum of Art, Melbourne 2005, pp.38–47.
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, online link.
Lisa Kelly, ‘If Anything.’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, pp.7.1–7.2 online link.
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.
Zara Stanhope, Hothouse: The flower in contemporary art, exhibition catalogue, Monash University Museum of Art, Melbourne 2003, p.6.
Andrew McNamara, ‘Hall of mirrors: where to the artwork?’, in David Pestorius (ed.), In Conversation, exhibition catalogue, University Art Museum, Brisbane 2003, pp.40–3.
Anna Clabburn, ‘Space is the text best thing’, The Weekend Australian: Arts, 22–23 February 2003, p.R13.
Uwe Goldenstein, ‘Gail Hastings’, in Peter Friese (ed.), Kunst Nach Kunst, exhibition catalogue, Neues Museum Weserburg Bremen, Bremen 2002, pp.120–3.
Renate Wiehager, ‘Gail Hastings’, in Renate Wiehager (ed.), Minimalism and After, exhibition catalogue, Daimler Contemporary, Berlin 2002, pp.30–1.
Stuart Koop, ‘Gail Hastings’, red: Text / Images / Sounds, exhibition catalogue, Australian Centre of Contemporary Art, Melbourne 2001, p.61.
Stuart Koop, mission: untitled (blue), exhibition catalogue, Australian Centre of Contemporary Art, Melbourne 2001.
Andrew McNamara, ‘Monochromes: The beautiful sublime?’, Monochromes, exhibition catalogue, University Art Museum, Brisbane 2001, pp.53, 60.
Renate Wiehager, ‘Sculptural Situation with Varvara S’, in Christoph Tannert (ed.), Be Magazine, Künstlerhaus Bethanien, Berlin no.6, 2000, pp.83–5.
Sebastian Smee, ‘Moet runs out of fizz’, Sydney Morning Herald: Art Spectrum, Saturday 19 Feb 2000, p.14s.
Victoria Lynn, ‘Gail Hastings’, in Victoria Lynn (ed.), Passing Time - Moët & Chandon exhibition 2000, exhibition catalogue, Art Gallery of New South Wales, Sydney 2000.
Bruce James, ‘Passing Time: The Moet & Chandon Exhibition 2000’, Radio National: arts today, 2000, online link, accessed 23 September 2016.
James Birrell, ‘Abstract Distractions’, in David Pestorius (ed.), Space Affects: The art and architecture of James Birrell and Gail Hastings, exhibition catalogue, Metro Arts, Brisbane 1999, pp.23–5.
Renate Wiehager, The Space Here Is Everywhere: Art with Architecture, exhibition catalogue, Galerien der Stadt Esslingen am Neckar, Esslingen 1999, pp.68–9.
Anna Clabburn, ‘When less is much’, The Age, Wednesday 9 Dec 1998, p.17.
Anna Clabburn, ‘Three strolling artists lead the way at MOMA’, The Age, Wednesday 11 Nov 1998, p.19.
Robert Rooney, ‘Pursuing a minimal existence’, The Australian, Friday, 23 October 1998, p.19.
Christina Barton, Zara Stanhope, Clare Williamson, ‘Speaking of Strange Bedfellows’, Close Quarters: Contemporary Art from Australia and New Zealand, exhibition catalogue, Monash University Museum of Art and Australian Centre for Contemporary Art, Melbourne 1998, pp.8, 24.
Max Delany, Strolling - the art of arcades, boulevards, barricades, publicity, in Max Delany (ed.), exhibition catalogue, Heidi Museum of Modern Art, Melbourne 1998, p.27.
Rachel Kent, ‘Minimalism: past and present’, in Rachel Kent (ed.), The Infinite Space: Women, Minimalism and the Sculptural Object, exhibition catalogue, The Ian Potter Museum of Art, Melbourne 1998.
Kevin Murray, ‘All this and Heaven too’, Asialink, issue 18, no.2, June 1998, online link.
Anna Clabburn, ‘Toast of the under-35s’, The Age, Wednesday 6 May 1998, p.20.
Renate Wiehager, ‘‘Close your eyes, let your hand fall and select an object’: About some of Gail Hastings’ more recent Sculptural Situations’, in Renate Wiehager (ed.), Gail Hastings, exhibition catalogue, 1998.
Michael Wardell, ‘Art in the Age of Lost Innocence’, 1998 Moët & Chandon Touring Exhibition, exhibition catalogue, Moët & Chandon Australian Art Foundation, Melbourne 1998, p.7.
Anne Marie Freybourg, On Dialogue, exhibition catalogue, Haus am Waldsee / Jovis, Berlin 1997.
Robyn McKenzie, ‘The conceit of coincidence’, The Age, Wednesday 9 Apr 1997, p.37.
Ben Curnow, ‘objects + ideas: revisiting minimalism’, MCA Collection: 1997 Selection, exhibition catalogue, Museum of Contemporary Art, Sydney 1997.
Andrew McNamara, ‘Making space for the invisible architecture of the social’, Sculptural Situations: Gail Hastings, exhibition catalogue, Art Gallery of New South Wales, Sydney no.2.07, 1997.
Ewen McDonald, Reservoir, exhibition catalogue, Lake Macquarie City Art Gallery, Lake Macquarie 1996.
Alan G. Artner, ‘More Than Meets The Eye: Increase In Dealers At Navy Pier Gives `Art 1996 Chicago’ A Distinct European Shift’, Chicago Tribune, May 12 1996.
Linda Michael, ‘No time like the present’, Gail Hastings: To make a work of timeless art, exhibition catalogue, Artspace, Sydney 1996, pp.3–9.
Virginia Trioli, ‘A 64-page photocopy wins art award’, The Age, Wednesday 14 Feb 1996, p.3.
Anna Clabburn, ‘Who is art for?’, in Maudie Palmer (ed.), Moët & Chandon Touring Exhibition, exhibition catalogue, Moët & Chandon Australian Art Foundation, Melbourne 1996, pp.7, 13, 18, 21.
Juliana Engberg, ‘Love Tokens’, Lovers, exhibition catalogue, Heidi Museum of Modern Art, Melbourne 1995.
David Pestorius, Gail Hastings: Five Sculptures 1989–1995, exhibition catalogue, David Pestorius Gallery, Brisbane 1995.
John Cruthers, ‘Undone by Art’, In the Company of Women: 100 Years of Australian Women's Art from the Cruthers Collection, exhibition catalogue, Perth Institute of Contemporary Art, Perth 1995, p.21.
Sue Cramer, MCA Collection: 1994 Selection, exhibition catalogue, Museum of Contemporary Art, Sydney 1994.
Edward Colless, ‘The Secret History’, in Ashley Crawford (ed.), World Art, Ashley Crawford, Melbourne issue Inaugural, November 1993, p.38.
Zara Stanhope, ‘Collective Space’, Works from the Collection, exhibition catalogue, Monash University Museum of Art, Melbourne 1993.
Carolyn Barnes, ‘The Identity of Art’, in Gary Wilson (ed.), Octopus, exhibition catalogue, University of South Australia, Adelaide 1992.
Juliana Engberg, ‘The Angelic Space: Working in the way of Metaphors and Enigmas’, in Harriet Edquist and Juliana Engberg (ed.), The Angelic Space: A Celebration of Piero Della Francesca, exhibition catalogue, Monash University Museum of Art, Melbourne 1992, p.50.
Linda Michael, ‘Gail Hastings’, Primavera: The Belinda Jackson Exhibition of Young Artists, exhibition catalogue, Museum of Contemporary Art, Sydney 1992, p.7.
Rosalind Reines, ‘Nouveau Art’, SMH Metro, Friday 28 Aug 1992, p.44.
Stuart Koop, ‘Gail Hastings’, in Victoria Lynn (ed.), Australian Perspecta 1991, exhibition catalogue, Art Gallery of New South Wales, Sydney 1991, pp.50–51.
Victoria Lynn, ‘Introduction’, in Victoria Lynn (ed.), Australian Perspecta 1991, exhibition catalogue, Art Gallery of New South Wales, Sydney 1991, p.11.
Bronwyn Clark-Coolee, ‘Drawings: Harper, Hastings, Wilson, Zikos’, in Juliana Engberg (ed.), Agenda Contemporary Art Magazine, May 1991, p.8.
Ashley Crawford, Max Delany, Loaded, exhibition catalogue, 13 Verity Street, Melbourne 1990.
Carolyn Barnes, ‘Dis-location’, in Robert Owen (ed.), Dis-location, exhibition catalogue, Royal Melbourne Institute of Technology, Melbourne 1990, p.6.
Stuart Koop, ‘Gail Hastings: The performance — a passing thought’, in Sarah Follent (ed.), Eyeline, no.11, 1990, p.32.
Juliana Engberg, ‘Shelf Life / New York’, in Juliana Engberg (ed.), Agenda Contemporary Art Magazine, issue 9, 1989, p.32.

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By Gail Hastings

Gail Hastings, ‘The Power of Inclusion in Donald Judd’s Art: Observations by an Artist’, in Rebecca M. Brown (ed.), Art Journal, College Art Association, New York , vol.77 no.3, Fall 2018, pp.48–62.
Gail Hastings, ‘Exclusion I: Exclusion’s Dark Void’, The process of specific space: Minimal art generally, Donald Judd's art particularly, The University of Sydney, Sydney 2009, pp.1–35.
Gail Hastings, ‘Store 5 is …, Store 5 was … or, rather, Store 5 was not … easy – let’s face it’, Store 5 is ..., exhibition catalogue, Anna Schwartz Gallery, Melbourne 2005.
Gail Hastings, Gail Hastings: a page torn from a secret, in Jenepher Duncan (ed.), exhibition catalogue, Australian Centre of Contemporary Art, Melbourne
Gail Hastings, This Performance — A Passing Thought, exhibition catalogue, Gertrude Contemporary, Melbourne 1989.

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Artist pages

Gail Hastings, in Rebecca M. Brown (ed.), College Art Association, New York , vol.77 no.3, Fall 2018, pp.63-75.
Gail Hastings, ‘Encyclopaedia of Time in Art: p.28 [cover image]’, in Ricardo Felipe (ed.), Architecture Bulletin – The Room, Australian Institute of Architects NSW Chapter, Sydney Autumn 2017, p.[cover].
Gail Hastings, Gail Hastings: a page torn from a secret, in Jenepher Duncan (ed.), exhibition catalogue, Australian Centre of Contemporary Art, Melbourne

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Curatorial

Victoria Hynes, ‘Spring Loaded’, The Sydney Morning Herald, 14–20 Sept 2001, p.26.
Anne Loxley, ‘Blind spots that make the mind work’, The Sydney Morning Herald, Wednesday 12 September 2001, p.15.
Sharon Verghis, ‘Modern art you can understand, even if that bloke is off his trolley’, The Sydney Morning Herald, Monday 3 Sep 2001, p.5.
Peter Anderson, Maryanne Lynch, ‘Two times two is …’, RealtTime, issue 25, June–July 1998, p.44.
Virginia Trioli, ‘Student Council closes George Paton Gallery’, The Age, Saturday 3 Nov 1990, p.13.

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Other

Keith Gallasch, Virginia Baxter, ‘In the loop July 24: quick picks’, Realtime, issue 115, June-July 2013, online link, accessed 30 October 2016.
David Pestorius, ‘The Lost Album – Is It for Me?’, The Go-Betweens Message Board, 2006, online link, accessed 23 September 2016.
Fiona Macdonald, ‘Over It A User’s Guide to Abstraction at the End of the Millennium’, GLOBE E, issue 4, 1996.
Anna Johnson, ‘Art Beat’, The Sydney Morning Herald: Arts, Friday 22 Mar 1996, p.18.
Anna Johnson, ‘Art Beat’, The Sydney Morning Herald: Arts, Friday 9 Feb 1996, p.18.
Carmel Dwyer, ‘Putting on the Ritz’, The Sydney Morning Herald, Thursday 7 July 1994, p.22.
Michael Hutak, ‘Young at art: the New Painters’, Sydney Morning Herald Spectrum, 1 January 1994, p.42.