Exhibition: To Do

A review by Chloé Wolifson Gail Hastings’ major new work Exhibition: To Do is anchored around a large square plywood structure that sits on the earth’s axis – the walls respectively facing north, south, east and west. The visitor is invited to enter the structure, also entitled Exhibition: To Do, via an opening in its eastern wall. This has […]

Missing: four sculptuations by Gail Hastings

A REVIEW by Annabel Crabb When Charles Saatchi’s gallery opened in South Bank, with its notorious list of headliners (chunks of frozen human blood, sump oil lagoons and rooms full of chopped-up cattle), one small corner was devoted to a collection of newspaper cartoons lampooning the works. My favourite was one in which an Eskimo, […]

Sydney Contemporary 13

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 […]

JANIS II

Janis encompasses a range of activities initiated by Kelly Doley (a member of Brown Council) focusing on female artists, writers and thinkers allowing them “to be heard a little louder, to take up more space and more time in the world” (website). She has teamed up with Amanda Rowell to curate the second Janis exhibition […]

[space holder]

space-holder by Gail Hastings

While standing in a queue at, for example, a supermarket, we might realise we have forgotten something we need to fetch, and turn to the person behind to ask if they wouldn’t mind holding our place in line. In this simple act a social contract is made between oneself and a stranger who vows to hold one’s claim. The held space […]

Space you can’t sit on: The space in Today

Half exhibition, half archival room – this exhibition presents a number of sculptuations that focus on the creation of space. The exhibition’s title refers, in part, to an included work in which the spatially isolated letters of the word ‘today’ invoke a daily fragmentation that nevertheless come together as one in the end  – as ‘Today’. Called […]

Encounter: Stephen Sinn

An article entitled 'Art, bare feet, love: and interview with Steve Sinn' - Gail Hastings

In this exhibition there is one work, ‘encounter: Stephen Sinn’. The word ‘encounter’ surfaced during discussion after Fr Steve spent some very long moments silently looking at the work for the first time. For him, the term tended to encapsulate not only the movement happening in the work, but its parallel with what was most […]

Taint

Exhibition 'Taint' at Firstdraft Gallery, 2010

Taint observed the continued currency of minimalism through the work of six contemporary Australian artists. Formal and conceptual links can be made between their work and the Minimal project of the 1960s; their art is spare with an emphasis on geometric form, their works articulate space and in doing so acknowledge the audience and their role in […]

Leave the line standing

Leave the line standing

After much squabbling over how best to cut the piece of wood, with jigsaw in hand I decided to ignore Mick and get on with the job as I always do — uncomfortable with his audience but, nevertheless — when Mick made a last ditched effort and said, ‘leave the line standing’. Standing? Line? I […]

Faith and Lust: Various Approaches to Formalist Abstraction

Faith and Lust: Various Approaches to Formalist Abstraction takes as a departure point Bruce Nauman’s Vices and Virtues of 1988, which features ‘Faith and Lust’ in neon light, wrapped around a major building at the University of California in San Diego. The exhibition will explore the psychological implications of various modes of production in formalist art. […]

Store 5 is … ?

Other artist initiatives before Store 5 ostensibly grew from radical 1970s and early 1980s activism, where artists collaborated to stand for their rights (e.g. artists’ fees) and, thereby, contemporary art. Pre-ordained definitions of art were questioned as well as the politics of inclusion and exclusion in public programs (e.g. the exclusion of women artists). By […]

But is it art?

But is it art? 2003, Gail Hastings

As in a detective story, or the scene of a crime, everything is primed or poised for meaning. That corridor to the library and that picture on the wall: everything in the mystery seems chosen, asking us why it is there.  Everyone becomes a suspect. We bring our private eyes along and take partial views […]

October 2001 / Geometrical Affairs

The Daimler Art Collection focuses on geometrical and abstract concepts in 20th century art, and shows how these ideas are developing on the contemporary art scene world-wide. The Geometrical Affairs exhibition includes selected works spanning six decades, starting with classical pictures by artists like Josef Albers or Adolf Fleischmann and ending up with “Sculptural Situations” by the […]

Gail Hastings: Sculptural Situation 1989–2000

Included sculptuations: a sculptural situation to enter, and to leave, 2000 a sculptural situation, drawn in, 2000 a sculptural situation’s architectonic colour-space, 2000 Encyclopaedia of possibilities: Mon 14.9.95, 1995 magazine – mission: untitled (blue), 1999 Movie directions for secret agents, 1994 pattern book five, 1996 poster: a sculptural situation (drawn in), 2000 stare two, 1997 […]

Open House

A different example of such temporal-spatial puzzles is found in Room for love 1990, which contains a conversational or ‘tête-à-tête’ chair, an S-shaped two-seater sofa, sometimes called a ‘love chair’. In such a chair, two people sit in close proximity facing in opposite directions, although they can also converse face-to-face. For Hastings, the analogy alludes […]

apparently not

The Director said, ‘action’, he acted, he said ‘apparently not’, then the Director said, ‘cut’. This ‘take’ was done 10 times. Then, at night for ten nights, he dreamt each take in detail. One take was selected and the movie completed. For ten weeks the movie was shown at the movie house in his nome town. […]

The Pool

A different example of such temporal-spatial puzzles is found in Room for love 1990, which contains a conversational or ‘tête-à-tête’ chair, an S-shaped two-seater sofa, sometimes called a ‘love chair’. In such a chair, two people sit in close proximity facing in opposite directions, although they can also converse face-to-face. For Hastings, the analogy alludes […]