Art Journal’s Fall Issue out soon
Art Journal Vol. 77, no. 3 Fall 2018
Sarah Hamill Surface Matters: Erin Shirreff ’s Videos and the Photography of Sculpture
Mara Pogolvsky Ezcurra Beyond Evil: Politics, Ethics, and Religion in León Ferrari’s Illustrated Nunca más
Gail Hastings The Power of Inclusion in Donald Judd’s Art: Observations by an Artist
Gail Hastings Artist’s Project: Space Practising Tools
Samantha A. Noel Envisioning New Worlds: The “Tropical Aesthetics” in the Art of Wifredo Lam and Aaron Douglas
Emily Kathryn Morgan Harry Callahan’s Pornographic Appropriations
Terry Smith on Caroline A. Jones, The Global Work of Art:World’s Fairs, Biennials, and the Aesthetics of Experience, and Charles Green and Anthony Gardner, Biennials,Triennials,
and Documenta:The Exhibitions That Created Contemporary Art; Ara H. Merjian on Jaleh Mansoor, Marshall Plan Modernism: Italian Postwar Abstraction and the Beginnings of Autonomia; and Stephanie Sparling Williams on Uri McMillan, Embodied Avatars: Genealogies of Black Feminist Art and Performance, and Malik Gaines, Black Performance on the Outskirts of the Left: A History of the Impossible
Thank you Kalamunda Hospital
And the land is dark
And the moon is the only light we’ll see
No I won’t be afraid, no I won’t be afraid
Just as long as you stand, stand by me
Oh stand by me, stand by me
Should tumble and fall
Or the mountains should crumble to the sea
I won’t cry, I won’t cry, no I won’t shed a tear
Just as long as you stand, stand by me
Oh stand now by me, stand by me, stand by me-e, yeah
Oh, stand now by me, stand by me, stand by me-e, yeah
Oh stand by me, stand by me
Oh stand by me, stand by me
Winner of this years Redlands Konica Minolta Art Prize
Connie Anthes, Gemma Avery, Richard Bell, Vivienne Binns OAM, Vincente Butron, Consuelo Cavaniglia, Megan Cope, Renee Cosgrave, Melissa Deerson, Richard Dunn, Hayley Megan French, Kath Fries, Sarah Goffman, Agatha Gothe-Snape, Gail Hastings, Tim Johnson, Mason Kimber, Lucina Lane, Lindy Lee, Stephen Little, Dan McCabe, Adrain McDonald, Aodhan Madden, Hilarie Mais, Jonny Niesche, John Nixon, Rose Nolan, Annie O’Rourke, Conor O’Shea, Kerrie Poliness, Jacob Potter, Elizabeth Pulie, Zoe Marni Robertson, Huseyin Sami, David Serisier, Oliver Wagner, Jenny Watson, Zoe Wilson and Chanelle Collier.
2018 Redlands Konica Minolta Art Prize at the National Art School Gallery
The prize exhibition will be held at the National Art School Gallery in Sydney from 15 March until 12 May 2018.
Nike Savvas writes, ‘I have selected artists whose practices evidence discriminating, uncompromising and highly individualist approaches to art making. In a cultural climate beset by hype, hits, corporatisation and swinging social agency, the next iteration of this exhibition titled Extreme Prejudice seeks to highlight the personal and critical imperatives that belie and drive such single-minded work’.
Fellow participating artists include Richard Bell, Vivienne Binns, Vicente Butron, Richard Dunn, Sarah Goffman, Agatha Gothe-Snape, Tim Johnson, Lindy Lee, Stephen Little, Hilarie Mais, Jonny Niesche, John Nixon, Rose Nolan, Kerrie Poliness, Elizabeth Pulie, Huseyin Sami, David Serisier and Jenny Watson.
In addition to the main prize, each artist nominates a younger artist to participate in the emerging prize. Harking back to her WA roots, Gail Hastings nominates Dan McCabe — a Fremantle based artist.
Thanks go to Nike Savvas for her invitation to participate in the exhibition.
Best Artist Book – AAANZ Prize 2017
The judges write that this ‘publication pushes the format of Artist book the most, and is engaged with it’s format. As one of the few projects not heavily engaged with research as a format, it is important. It is good that art can step outside of a retrospective mode, and this does that engaging with media of it’s time but not for the sake of it’.
Missing includes a brief foreword by art historian Richard Shiff, who ruminates on how a ‘“copy” exists in two different modes, two different kinds of spaces, two different realms of experience’.
Missing is a digital book of limitless copies. The original, however, from which these copies are drawn does not occur outside the copies. It occurs inside each sculptuation comprising it. This is the particular peculiarity of a sculptuation. Each of the four that comprise Missing endeavours as actual art, not the documentation of art. Missing also includes a brief afterword by Amanda Rowell.
Hastings thanks the judges for awarding the prize, AAANZ for hosting the prize and Monash Art Design and Architecture for putting up the prize. Hastings congratulates Ana Paula Estrada, also, who shares in winning the first prize for Best Artist Book.
Australia Council for the Arts grant: Space Practising Tools
We are happy to announce that Gail Hastings’ studio is a current recipient of an Australia Council for the Arts grant for the project Space Practising Tools.
The Space Practising Tools project is a studio based experimental study of three-dimensional space from which Gail Hastings will make a number of new works called ‘Space Practising Tools’.
The study will, in itself, be an all encompassing visual investigation that will form the basis of Gail Hastings’ contribution to a book to be published as part of the project.
The book will include an art historical study of Donald Judd’s space by Adrian Kohn and introduction by Andrew McNamara.
An excerpt from the submission to the Australia Council for the Arts in part reads:
“First: What is a Space Practising Tool? A tool helps us to do something, to achieve something. As a tool, it is not an end result, but helps us to reach an end result; as will a Space Practising Tool. With it, we will be able to practise seeing space. The space, though, we practise to see will be the three-dimensional space that it, as a tool, is made of.”
“If we think of this in terms of colour, if the sky, sea, sand and trees, everything, were all red, then we wouldn’t be able to say they were red. For red, to be differentiated as red, needs to be seen against another colour. Differentiated colours are the tools of their own making. Without blue, we would only have red and non-red, just as today we only have space and non-space. To see space as a tool of its own differentiation is to begin to name the differentiations of space.”
As well as the book Space Practising Tools published through iBooks and available August 2017, the project includes an essay by Gail Hastings on the space in Donald Judd’s art published in Art Journal, New York, in the fall 2018 issue, and an exhibition of Gail Hastings’ Space Practising Tools at Daimler Contemporary, Berlin, in 2019.
For more information please contact Gail Hastings’ studio using the contact form at the top-right of this page.
Architecture Bulletin – The room issue
Gail Hastings‘ page 28 from ‘Encyclopaedia of Time in Art: pp. 28–30’ graces the cover of the upcoming Architecture Bulletin – The room issue, Autumn 2017, available in mid-March.
Andrew Nimmo has written an introduction to the issue that in part reads:
The Autumn issue of Architecture Bulletin explores what the room means to a cross section of practitioners, academics and friends of architecture. Is it internal or external? Does it provide shelter? Is it public or private? Is it grand or intimate, old or new? Does it have a function? Does it even exist in a literal sense? At its most elementary it seems reasonable to assume that a room is defined as space – however scale, enclosure, function, form and materiality are all up for negotiation. The other critical thing is that for a room to have any meaning at all there needs to be a relationship to the body, either through inhabitation or observation – and this reminds us that architecture has no meaning without people.
Chair of the Editorial Committee
The autumn issue of Architecture Bulletin will be distributed to members of the NSW Chapter of the Australian Institute of Architects. Anyone can collect a free printed copy from the Institute at 3 Manning St, Potts Point. A digital edition can be found here after mid-March: www.architecturebulletin.com.au.
‘Encyclopaedia of Time in Art: pp. 28–30’ is one of 12 works from the 36 pages about time edition first exhibited in 1996 at the Chicago Art Fair. It is one of four works from the edition collected by the National Gallery of Australia, Canberra, in 1996. Seven of the remaining eight works from the edition are in either public or private collections. The last remaining work is the first in the edition, pp. 1–3. Originally in the artists‘ collection, it is now available and can be found here.
Review of The Missing Space Project in De Witte Raaf
De Witte Raaf is a journal of critical essays and reviews on visual art published in the Netherlands.
Wouter Davidts is a Belgian academic based in Antwerp, who teaches in the Department of Architecture & Urban Planning and the Department of Art, Music and Theatre Sciences at Ghent University, with a forthcoming project entitled Larger than the Body: Size and Scale in Postwar American Art.
The Missing Space Project released on iBooks
Most regard phenomenological space made popular in the 1960s as the only type of space introduced by Minimal art. Few are aware of an alternate self-determined space made by the art, itself, that is a concrete, material space. An account of this space is missing.
The six interviews of The Missing Space Project debate the cause of this oversight.
To describe what one sees is fundamental to being aware of what one sees. Without a vocabulary with which to describe material space one, effectively, cannot see it.
The Missing Space Project explores the potential development of a vocabulary with which to describe the differentiated space of art since its emergence in the early 1960s.
Interviews are with: Marianne Stockebrand, Egidio Marzona, Daniel Marzona, Gregor Stemmrich, Richard Shiff and Renate Wiehager.
A Few Pieces: Taubert Contemporary, Berlin
Replica of an original space: yellow green and Replica of an original space: blue light are two wall sculptuations in the group exhibition ‘A Few Pieces’ at Taubert Contemporary in Berlin. Work by artists in the exhibition include: Lars Arrhenius, Geissler & Sann, Gail Hastings, Markus Linnenbrink, Mutter & Genth, Jan van der Ploeg, Markus Weggenmann, Beat Zoderer. The exhibition dates are 17/01/2015 to 07/03/2015. Taubert Contemporary is located at Lindenstraße 35, D – 10969 Berlin.
Gail Hastings travels to Berlin and New York to participate in a group exhibition at Taubert Contemporary and to interview participants for a project supported by an Australia Council Grant.
Taking It All Away: MCA Collection
To make a work of timeless art, 1996, is in the MCA collection exhibition ‘Taking It All Away‘ curated by Natasha Bullock. ‘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 history and to the vigorous, evolving nature of contemporary art. The Museum of Contemporary Art Australia dedicates this exhibition to the memory of artists Gordon Bennett and Robert Hunter, who sadly passed away during its development.‘ The exhibition dates are 18/12/2014 to 22/02/2015.
Australia Council for the Arts Grant
Successful grant submission to the Australia Council. The purpose of the grant is to research and canvass through interviews the unexamined space of so-called Minimal Art.