Curriculum Vitae
Solo Exhibitions
| 26/04/2014 | Missing: four sculptuations by Gail Hastings, iBooks, 51 Countries |
| 11/04/2014 | Exhibition: To Do, The Commercial, Sydney |
| 19/09/2013 | Sydney Contemporary 13, The Commercial, 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 | 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, Melbourne |
| 13/03/2014 | 20/200, Sarah Cottier Gallery, Sydney |
| 24/01/2014 | OUI we, The Commercial, 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 | Exultate Jubilate, Store 5 (cur. Angela Brennan and Elizabeth Newman upon invitation from 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 |
On the artist
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.
Suzanne Fraser, ‘Direct Democracy at MUMA’, The Melbourne Review, 2013, online link.
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 the artist
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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Mentions
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.
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) |
| Awards, Residencies and Prizes | |
| 2018 | Redlands Konica Minolta Art Prize, National Art School Gallery, Sydney |
| 2017 | AAANZ Best Artist Book Prize, Art Association of Australia and New Zealand |
| 2017 | Arts projects for individuals and groups grant, Australia Council for the Arts |
| 2014 | Project Grant, Skills and Arts Development General grant, Australia Council for the Arts |
| 2013 | Project Grant, New Work grant (Established), Australia Council for the Arts |
| 2008 | James Kentley Memorial Scholarship, The University of Sydney |
| 2005–9 | University Postgraduate Award (and extension), The University of Sydney |
| 2002 | Project Grant, New Work grant (Established), Australia Council for the Arts |
| 1998 | The Arts OfficeQueensland Government, catalogue grant |
| 1997 | Künstlerhaus Bethanien Studio Residency, Berlin, Australia Council for the Arts (12 months 1998-99) |
| 1994 | Los Angeles Studio Residency, Australia Council for the Arts (4 months in 1996) |
| 1993 | University of Sydney Power Studio Residency, Cité Internationale des Arts, Paris (6 months in 1995) |
| 1990 | Studio Residency Gertrude Contemporary, Melbourne (2 years) |
| 1987 | Victorian College of the Arts prize, 3rd Eckersleys sales award, No. 2 |
| 1986 | Victorian College of the Arts prize, 1st National Gallery Women’s Association, No. 3 |
