Moët &​ Chandon Australian Art Foundation Touring Exhibition 1996

Established by Moët & Chandon in 1987, the Foundation comprises three elements, the Fellowship, the Touring Exhibition and the Art Acquisition Fund which have provided developing young artists in Australia with an innovative programme of support of real significance. Moët & Chandon’s long term commitment to the future of the visual arts in Australia is unique and […]

Moët &​ Chandon Australian Art Foundation Touring Exhibition 1996

Established by Moët & Chandon in 1987, the Foundation comprises three elements, the Fellowship, the Touring Exhibition and the Art Acquisition Fund which have provided developing young artists in Australia with an innovative programme of support of real significance. Moët & Chandon’s long term commitment to the future of the visual arts in Australia is unique and […]

Moët &​ Chandon Australian Art Foundation Touring Exhibition 1996

Established by Moët & Chandon in 1987, the Foundation comprises three elements, the Fellowship, the Touring Exhibition and the Art Acquisition Fund which have provided developing young artists in Australia with an innovative programme of support of real significance. Moët & Chandon’s long term commitment to the future of the visual arts in Australia is unique and […]

Belles-lettres

Belles-lettre is a project consisting of separate installations by three artists, Maureen Burns, Gail Hastings and Virginia Ward. Based in Sydney, Melbourne and Perth respectively, each has devised a site-specific work for ACCA which explores new definitions of sculpture and the relationships between object, text and space. The ephemeral nature of the communications — both […]

Primavera: The Belinda Jackson Exhibition of Young Artists

The combination of a circle, square and a connecting / dividing passage take on different configurations in Gail Hastings’ [sculptuations*]: the circle and square may connote rooms in a floor plan, objects in a room, or props on a stage; the passage may refer to a connecting room in a plan, an actual passageway, or a text through which […]

Australian Perspecta 1991

In Hastings’ work we are asked to reconcile two positions: that of having the privileged point of view over the site or plan of the work, and that of being made to feel over-sized and external to the three-dimensional Alice-in-Wonderland world before us.

Dis-location

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 […]