News / Note:


Art Journal’s Fall Issue out soon

Art Journal Vol. 77, no. 3 Fall 2018, will soon be released.

Edited by Rebecca M. Brown, it includes a text on Donald Judd’s space by Gail Hastings, and an Artist’s Project and cover by Gail Hastings.

The full list of the issue’s contents is listed below.

Art Journal is available through subscription, however single copies can be purchased here.

Or people in the US can call toll-free at 800-354-1420.

List of Contents …


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

Single copies purchased here


AAANZ Conference 2018

Below is my submission for this year’s AAANZ Conference to be held at RMIT, Melbourne in December 2018. The title for my proposed panel session If ‘Art offers a site for modelling political alternatives, questioning dominant discourses, and producing new historical narratives’, is art but a spatial platform to be used for ulterior purposes?

The convenors of this conference understandably aim to inspire a multitude of art professionals with diverging expertise to participate, which their wording facilitates. Such wording, nevertheless, appears to present art as a vacant site to be used for purposes outside its bounds, which gain credence when presented within its bounds, its ‘site’. Either this, or the wording casts art as an independent entity, a Giacometti sculpture for instance, wandering a bygone Paris near, say, Place de la Bastille in search of a ‘site’ to ‘offer’ for ‘political alternatives’. Admittedly, the alignment between art and words is difficult in anyone’s conveyance of art’s occurrence. By splicing the convenors’ words this way, anyone might equally splice mine. That being said, the convenors’ alignment of art with ‘site’ prescribes the ‘use’ of space in art as metaphor, as a vacant place to be filled with external content. While most recognise a variegation of this form/content split in most types of visual art, its occurrence in spatial art is hardly discussed and remains, thereby, unrecognised. This panel session therefore seeks papers that discuss, for instance: particular instances of this in art; space as a ‘thing’, not a metaphor in art; the politics of a gallery’s intersubjective space in view of curatorial prerogatives (e.g. the politics of sight-lines that determine the reception of individual works in group exhibitions); a history of spatial art; the differentiation of space and place in art; and tools used in creating spatial art that give it visibility.


Thank you Kalamunda Hospital

For my sister Clancy Jo Hastings

See artwork here

When the night has come
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
So darlin’, darlin’, stand by me, oh stand by me
Oh stand by me, stand by me
If the sky that we look upon
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
And darlin’, darlin’, stand by me, oh stand by me
Oh stand now by me, stand by me, stand by me-e, yeah
And darlin’, darlin’, stand by me, oh stand by me
Oh, stand now by me, stand by me, stand by me-e, yeah
Whenever you’re in trouble won’t you stand by me, oh now now stand by me
Oh stand by me, stand by me
Oh stand by me, stand by me
Songwriters: Ben King / Jerry Leiber / Mike Stoller



Winner of this years Redlands Konica Minolta Art Prize

Gail Hastings is the proud winner of Redlands Konica Minolta Art Prize for 2018, with her sculptuation colour circle: four colour scheme for a room .

Superbly curated by Nike Savvas and held at the National Art School Gallery, Sydney, it was an honour to exhibit with so many fine artists.

Congratulations to Adrian McDonald for his work Approximating a Circle, 2018, that won the emerging artists sections.

And congratulations to Dan McCabe who hails from Perth, WA, for his fine work, Portraits: CHN ISTD PAF and NZL DDL RSU 2018.

(Image: Showing work by Richard Dunn, Gail Hastings, Hayley Megan French and Tim Johnson)

The list of artists Nike Savvas invited into the exhibition include…



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

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.

A review by Annabel Crabb of Missing can be read here.

Missing: Four Sculptuations by Gail Hastings is published by Pigment Publisher and can be purchased through iBooks.

Kimbell Art Museum September 2004 - Creative Commons

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

Australia Council for the ArtsWe 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 ToolA 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. 

Andrew Nimmo
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:

‘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.


New website

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

Wouter Davidts reviews The Missing Space Project: Six Interviews in De Witte Raaf (volume 30, issue 178 (November–December 2015), p.25). Read review.

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.