Gail Hastings professes to be a sculptor, but she is an unusual one. Her works often consist of such unfamiliar sculptural media as watercolours or pencil drawings. Her subject matter is equally unusual. It often features pages that look as if they have been transplanted from some esoteric encyclopaedia or otherwise may contain snippets of… Continue reading Making space for the invisible architecture of the social
On Monday 3 September 2012, ABC art: red cube (2008) was taken off the exhibition wall of Less is More at Heide Museum of Modern Art before the exhibition’s conclusion, upon my request. This was a drastic and, for me, painful action made necessary given there was no retraction of the curator’s views expressed in the… Continue reading Withdrawal from ‘Less is More’
While browsing iTunes one fine July 2007 day, I happened upon a new release by Austin Indie band ‘Spoon’ with a cover image of the artist Lee Bontecou by photographer Ugo Mulas, taken in 1963. Instantly impressed, I eagerly investigated further and came across an interview. Here, singer/guitarist Britt Daniel explains that, although he was… Continue reading Thank goodness Donald Judd wasn’t a misogynist
Return of my art from Less is More
—Asked for immediate return of my art from Heidi. I have high esteem for the curator, one of the best in Australia. But something went wrong.
Less is More opening at Heidi—A sculptuation by Gail Hastings will be part of the group exhibition Less is More: Minimal and Post-minimal art in Australia, curated by Sue Cramer, from 3 August 2012 at Heidi Museum of Modern Art, Melbourne. Gail Hastings will also participate in an exhibition forum entitled Notes towards contemporary post-minimalism to take place on 11 October 2012.
A ‘limited edition’ is a term we generally associate with printmaking or photography in contemporary art. Both involve the reproduction of an artwork a number of times. If the ‘number of times’ is limited to, say, 100 prints, then the artwork is an edition of 100. There is a problem here, however, with the word… Continue reading Why I make editions: A space for possibilities