News / Note:
2018 Redlands Konica Minolta Art Prize at the National Art School Gallery
Artist Nike Savvas, guest curator for the Redlands Konica Minolta Art Prize, invites Gail Hastings to participate in the 2018 exhibition. 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
AAANZ judges Martyn Jolly and Christopher LG Hill award Missing: Four Sculptuations by Gail Hastings the Best Artist Book prize at the the AAANZ 2017 conference in Perth in December.
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.
Michael Benedikt to write on Donald Judd’s space for Space Practising Tools
‘In exception to the meagre discussion of space, Michael Benedikt describes the slope toward the Kimbell’, writes Donald Judd in 1993. It is an ‘exception’ since space, for Donald Judd, ‘is so unknown’. Writers on art had broached space. They had written the words ‘space, ‘actual space’ and ‘real space’ over and over. Yet, without proper consideration. Space remained, ‘unknown’.
The ‘Kimbell’ to which Donald Judd refers, is the Kimbell Art Museum in Forth Worth, Texas, by architect Louis Kahn that opened to the public in 1972.
And Michael Benedikt is Distinguished Professor of the Association of Collegiate Schools of Architecture. He is also Director of The Center for American Architecture and Design at The University of Texas at Austin, where he has taught since 1975.
Against this disappointing backdrop of ‘almost no discussion of space in art’, Donald Judd singles out Michael Benedikt’s discussion of Louis Kahn’s Kimbell as an exception.
It is, therefore, a tremendous honour to have Michael Benedikt write an historical essay on the space of Donald Judd’s art for Space Practising Tools.
Space Practising Tools is a project by Gail Hastings that has received Australian Council for the Arts funding.
The Space Practising Tools book will include an introduction by art historian Andrew McNamara. It will also include an experimental essay by Gail Hastings that explores the studio practise of space as a material art medium. Can space be concrete? Can space be a ‘thing’? Can space be constructed, built, as are solids, one thing added to another?
The Space Practising Tools book release will be in August 2018, through iBooks.
Space Practising Tools Project reforms
The Space Practising Tools project has grown. The sudden departure of art historian Adrian Kohn from its, as yet, unpublished pages has brought it to a point of reform. We therefore thank Adrian Kohn for all his time and support that he gave to the project. As a Donald Judd expert keen to expand present considerations of Donald Judd’s space, we look forward to reading Adrian Kohn’s research in the near future.
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.
A new website for Gail Hastings’ studio is now up and running.
Previous pages and information may be missing as data is still being entered.
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.
re-published ‘Sites of communication: when art takes your breath away’
Have just posted Sites of communication: when art takes your breath away, previously published on 04/07/2011 on a former rendition of this website.’Sites of Communication’ was a museum’s symposium at the Art Gallery of NSW in 2005, where I was invited to deliver a response to Ross Gibson’s keynote address—Theatres for alteration.