Redlands Konica Minolta Art Prize

The judges for this year’s Redlands Konica Minolta Art Prize – Natasha Bullock (MCA Senior Curator), Judith Blackall (NAS Gallery Curator), Mark Harpley (Visual Arts Coordinator, Redlands School) and Fabian Byrne (Visual Arts Teacher, Redlands School) – announced the award at the opening of the exhibition of finalist works presented at the National Art School […]

9 X 5 NOW Exhibition: ART150

9 X 5 NOW, at the Margaret Lawrence Gallery, Melbourne, 16–25 June, showcases generations of practicing artists who have studied or taught at the National Gallery School or VCA Art. The most experienced artist represented attended the National Gallery School in the 1940s, and the youngest completed studies at the Victorian College of the Arts […]

Taking it all away: MCA collection

Exhibition curatorial Natasha Bullock Taking it all away [is] an exhibition of works drawn from the collection of the Museum of Contemporary Art Australia. Diverse in form and character, the works in Taking it all away set the dynamics of space and time against the complexities of modern existence. Together, these works speak to the importance of art […]

Exhibition: To Do

A review by Chloé Wolifson Gail Hastings’ major new work Exhibition: To Do is anchored around a large square plywood structure that sits on the earth’s axis – the walls respectively facing north, south, east and west. The visitor is invited to enter the structure, also entitled Exhibition: To Do, via an opening in its eastern wall. This has […]

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 […]

JANIS II

Janis encompasses a range of activities initiated by Kelly Doley (a member of Brown Council) focusing on female artists, writers and thinkers allowing them “to be heard a little louder, to take up more space and more time in the world” (website). She has teamed up with Amanda Rowell to curate the second Janis exhibition […]

Direct Democracy

Exhibition curatorial by Geraldine Barlow As Individuals we are capable, but so much more so when we act together. The collective body is a complex mechanism: a layering of systems, societies, generations, inheritances and innovations. Groups of human beings have developed numerous models to identify with each other, work together, build societies and exercise power. […]

[space holder]

space-holder by Gail Hastings

While standing in a queue at, for example, a supermarket, we might realise we have forgotten something we need to fetch, and turn to the person behind to ask if they wouldn’t mind holding our place 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 […]

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

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 […]

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

An article entitled 'Art, bare feet, love: and interview with Steve Sinn' - Gail Hastings

In this exhibition there is one work, ‘encounter: Stephen Sinn’. The word ‘encounter’ surfaced during discussion after Fr 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 its parallel with what was most […]

Taint

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

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 […]

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 … […]

sculptural situation: plans

Moments of Mind : The Sweeney Reed CollectionSculptural Situation – Plans: Gail Hastings The two exhibitions in Heide 1 are a departure from the survey collection shows exhibited in the space to date. The juxtaposition of work by Sweeney Reed and practising Sydney artist Gail Hastings is the first in a planned series of projects […]

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 […]

mission: untitled (blue)

It used to be said of experimental art that it didn’t really need an audience to view it…. Experimentation for its own sake was to be sufficient …  Of course this was before — or despite — some people reckoning that the value of art was actually something produced in the exchange between artists and […]

Gail Hastings: Sculptural Situation 1989–2000

Included sculptuations: a sculptural situation to enter, and to leave, 2000 a sculptural situation, drawn in, 2000 a sculptural situation’s architectonic colour-space, 2000 Encyclopaedia of possibilities: Mon 14.9.95, 1995 magazine – mission: untitled (blue), 1999 Movie directions for secret agents, 1994 pattern book five, 1996 poster: a sculptural situation (drawn in), 2000 stare two, 1997 […]