My Instagram account was hacked on 19 January 2022. Followers I had messaged were sent a message by the hackers asking (as me) for assistance. By assisting, the followers were then hacked. DO NOT FOLLOW or oblige the hackers now masqueradeing as Gail Hastings’ Studio on Instagram. They are conducting illegal activity. They have illegally taken over my studio account.
I have set up a new account at: https://www.instagram.com/reclaimmygailhastingsstudio/
This is the account that has been hacked:
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.
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.
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.
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.
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.
The Daimler Art Collection has recently upgraded its website and is now a more user friendly database of the collection with selected works. Sculptuations by Gail Hastings in the collection include: Missing walls: bureaucracy at work (2007) and Difficult art decisions: wall six (1998). Both sculptuations were exhibited in Minimalism and Applied II, as well as other collection exhibitions.
Image: Gail Hastings, Exhibition: To Do, 2014, acrylic on plywood, plywood, watercolour and lead pencil on paper, 185.4 x 225 x 225cm (photo: Sofia Freeman)
Exhibition: To Do
Closing Launch: Saturday 3 May, 4-6pm
with the work’s spatial score performed by clarinetist
Gail Hastings’ Exhibition: To Do is a ‘to-do list’ for making art not yet done, a task-at-hand still at-hand, except for the construction of storage shelves that await the art, aligned in the gallery along the Earth’s cardinal axes.
We were squabbling over how best to cut the piece of wood when, with jigsaw in hand, I decided to ignore Mick and get on with the job as I always do — uncomfortable with and annoyed by his audience. Then Mick made a last ditched effort and said, ‘leave the line standing’. Standing? Line? …
Hastings uses the term ‘sculptuation’ to define her practice. This is a term that marries ‘sculpture’ with ‘situation’ so as to shift focus away from the individuated sculptural object and towards the spatial scheme it delineates. […] We dip in and out of the space of the work; interpreting it from afar as distanced observers while simultaneously occupying territory contained within its circumference. Whether consciously or not, we are implicated in the work. We inhabit its topography. Can an e-book be enlisted to perform the same function as these object-based works? Can its screened images — floating inaccessible in the data cloud — coerce the viewer into the same tidal pull as their physical counterparts? […] Why should a virtual book ape the form of a physical book? Surely it can possess its own architecture and pioneer its own pathways. Hastings’ work not only recognizes the possibility of such an architecture, it lays the foundations.
Delicately rendered in watercolour with ruled pencil lines emerging from the edges of the translucent wash, these pieces depict the To Do list in question. One such reminder, the instruction: ‘Build racks in which to store the art after the exhibition’, speaks volumes about the established systems of the art world, and the particular approach artists must take when they create work which sits outside the conventionally commercial.
Images 1-4 Gail Hastings, Exhibition: To Do, 2014, acrylic on plywood, plywood, watercolour and lead pencil on paper, 185.5 x 225 x 225cm; image 5 exhibition installation view; images 6-7 Gail Hastings,Corner caretakers, 2014, watercolour and lead pencil on paper in plywood frames, 12 components, each 55 x 46.5 x 1.8cm (Corner caretakers is a sculptuation from Gail Hastings’ eBook, Missing, 2014)
The four walls that make up Gail Hastings’ Exhibition: To Do are oriented within the gallery along the Earth’s axis — coordinates and a rudimentary geometry shared by all. Each wall bears geometric patterns of shelves — small units of space — made of intervals and intersections described and located along x, y and z axes. The pattern of spatial intervals has been determined by the material thickness of the wood used — 18mm; wherein solidity and space play interchanging parts (e.g. solid, space, space, solid, space, space, solid, space, space, solid …) along the height and length of each object. In these ways, Hastings has eliminated extraneous moments of decision-making, lending a sense of givenness to the exhibition but also its need to be made. […]
Space is generally thought of in its ideal form — as empty. Notions, such as needing space to breath, space to move, space to be free and outer space (uninhabited) point this way. In being empty, space is thought of as missing something, something that can fill it. It is why space is spoken of with such potential.
The conundrum, then, is how does one retain this potential when one makes art that creates space — an aesthetic space that is not missing something but is, instead, a something: a concrete thing?
Some time ago I was in a cafe in Melbourne, in St Kilda, enjoying a cup of coffee when I could not help but overhear two conversations on art taking place on either side of me. . .
Corner (2013), a sculptuation that spatially embodies a room’s corner, has been acquired by the National Gallery of Australia (NGA). Comprising ten components, the two watercolour components that bracket the sculptuation’s space are from the ENCYCLOPAEDIA OF ART ON PEDESTALS. Within the watercolour floor plans someone struggles to move a pedestal around the corner from storage (first watercolour—opening bracket) to the exhibition room (second watercolour—closing bracket) along a blue striped path. At the corner the work of art falls out from this everyday art world trajectory (of moving pedestals from storage to exhibition rooms and back again) to take place in our space, the breathing space of the actual room, without a pedestal. More of Corner (please login).
Saturday 08 March is the last day to see sides: red versus blue, 2009, at The Commercial, Redfern, Sydney. Sides comprises five components: three non-objective paintings, a framed watercolour page from an encyclopaedia and an aesthetic space situated by the sculptuation. The watercolour page is from the ‘Encyclopaedia of being on the wrong side of art’.
The sculptuation was first exhibited in 2009 in the group exhibition curated by artist Alex Lawler entitled ‘Faith and Lust: Various Approaches to Formalist Abstraction’ at the Flinders Street Gallery, 61 Flinders Street, Surry Hills, Sydney (10/04/2009 to 02/05/2009). Not until September 2013 was it exhibited again, this time by The Commercial Gallery at the Sydney Contemporary 13 art fair in a solo exhibition by Gail Hastings (19 to 22/09/2013). Its inclusion in the group exhibition ‘OUI we’ at The Commercial is the sculptuation’s third exhibition (24/01/2014 to 08/03/2014). For more information on the exhibition OUI we please visit the exhibition’s record or visit The Commercial.
20/200 is group exhibition at Sarah Cottier Gallery that marks 20 years and over 200 exhibitions for the gallery. Gail Hastings is delighted to contribute a sculptuation to the exhibition for having participated in the 1996 exhibition ‘Road to Love’ (20.03.1996–30.03.1996) curated by Mikala Dwyer. The gallery, then, was located at 36 Lennox Street, Newtown, Sydney. The two sculptuations by Gail Hastings included in the 1996 exhibition were untitled 1995 (four pages from the Encyclopaedia of Words), 1995 (private collection, Brisbane) and To make a work of forgetful art, 1996 (private collection, Brisbane). More on 20/200 can be found in the20/200 exhibition record and the Sarah Cottier Gallery website. (photo: habit’s pattern: orange and black, 2010)
With a foreword by art historian Richard Shiff—widely known for his writing on certain Impressionists while lesser known, yet just as profound, for his writing on the art of Donald Judd—Missing‘s52 pages include watercolour moments from the Encyclopaedia of Taking Care in Art, Encyclopaedia of Doubt in Art and Encyclopaedia of Looking for the Plot in Art.
A hidden urban space filled with museum quality artworks never seen together in public before… or ever again.
Curated by Natalia Bradshaw, the Collector’s Space is a unique pop up exhibition which explores personal collecting journeys. Experience highlights from significant and diverse private art collections, free and open to everyone in March. …
The 2014 Collectors:
James Roland and Becky Sparks are a dynamic young couple with a unique collecting vision – they are committed to collecting the art of their contemporaries. Becky and James started actively collecting and supporting contemporary art in 2006. Since that time, they have amassed a significant collection of works, mostly Australian, with a deliberate focus on artists of their generation and younger emerging artists.
At 4pm, 07/02/014 I will be at The Commercial gallery to speak with people as they look at sides: red versus blue, 2009, currently on view in the group exhibition OUI we at The Commercial. GH
From the press release:
Gail Hastings will speak about her exhibited work, the sculptuation ‘sides: red versus blue’and the creation of space. Hastings’ work is both subject and object. It expounds itself. At the same time as being itself, it explains itself. Within this spatial circuit a viewer finds themselves where, perhaps, they least expect to be.
Room rubbed out is presently on view in the back office at The Commercial Gallery, Sydney, during Natalya Hughes’ exhibition entitled ‘Looking Twice’ at The Commercial.
Room rubbed out is a wall work comprised of three parts: two watercolour components and a space component in-between of the same dimension.
Natalya Hughes’ exhibition finishes on Saturday 9 November 2013.
Press Release: The Commercial Gallery – September 2013
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 at what will be the first presentation for the gallery at an art fair. Hastings (b. 1965) has been exhibiting for over twenty-five years with an international exhibition history of significance since the mid-1990s.