Patterns 17 and 71
Specifications
Patterns 17 and 71 is made of watercolour and lead pencil on paper, gesso on wood, plastic tubing and cotton thread.
The work comprises six components with an overall measurement of variable components that include two watercolours that measure 57 x 57 cm and two soft-space objects that measure 31 x 31 x 8 cm.
| 18/09/1996 | Moët & Chandon Australian Art Foundation Touring Exhibition 1996, Art Gallery of New South Wales (cur. Terry Smith, Pat Hoffie & John McPhee), Sydney |
| 24/05/1996 | Moët & Chandon Australian Art Foundation Touring Exhibition 1996, Art Gallery of South Australia (cur. Terry Smith, Pat Hoffie & John McPhee), Adelaide |
| 17/04/1996 | Moët & Chandon Australian Art Foundation Touring Exhibition 1996, National Gallery of Victoria (cur. Terry Smith, Pat Hoffie & John McPhee), Brisbane |
| 14/02/1996 | Moët & Chandon Australian Art Foundation Touring Exhibition 1996, National Gallery of Victoria (cur. Terry Smith, Pat Hoffie & John McPhee), Melbourne |
| 12/05/1995 | please nota bene the other rules on the following page, David Pestorius Gallery (cur. Gail Hastings), Brisbane |
Bibliography
Clabburn Anna,
‘Who is art for?’,
in Maudie Palmer (ed.),
Moët & Chandon Touring Exhibition,
exhibition catalogue,
Moët & Chandon Australian Art Foundation,
Melbourne
1996,
pp.7, 13, 18, 21.
Excerpt
A similar inversion occurs in Gail Hastings’ delicate pop wall-piece Patterns 17 and 71. This work also hails from a larger series, titled Encyclopaedia of broken patterns. Hastings uses a unique rhetoric; fusing modernist art history with contemporary fictions and disguising meaning in clever visual metaphor. Her love of language informs this visual parable, as does her uncanny awareness of habitual human behaviour. Here she reiterates an earlier method of drafting emotions into an architectural floor plan. In attempting to freeze the personal and ephemeral, she casts doubt over those things we regard as permanent. Deliberate ‘mistakes’ reveal her endeavour to demystify art history’s grandiose mausoleum and scale its rooms down to an intimate, fallible, sometimes witty dimension. Over the years the range of media has broadened from the earlier ’80s idea of the master-style oil painting to more recent developments in sculpture, such as Yenda Carson’s glass and light floor sculptures and Gail Hastings’s wall reliefs. The judges, including an art historian, Terry Smith, the gallery curator of Australian art, John McPhee, and an artist, Pat Hoffie […] 23 finalists, including Victorians Malcolm Bywaters, Angela Brennan, Gail Hastings, Kerrie Poliness and Louis Pratt, who is a son of Ms Blanche d’Alpuget. Ms d’Alpuget attended the function with her husband, the former Prime Minister, Mr Hawke.
Johnson Anna,
‘Art Beat’,
Arts,
The Sydney Morning Herald,
Sydney
Friday 9 February
1996,
p.18.
Excerpt
Trioli Virginia,
‘A 64-page photocopy wins art award’,
The Age,
Wednesday 14 Feb
1996,
p.3.
Excerpt
HoldingsGail Hastings’ studioPatterns 17 and 71 is available for acquisition. Please enquire about viewing the artwork.
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Acknowledgement
I acknowledge the Kulin Nation’s Yaluk-ut Weelam clan of the Boon Wurrung people as custodians of the lands, waterways and skies where I live and work. I pay my respect to their Elders past, present and emerging. I recognise their cultural faithfulness, strength and resilience against the trauma of colonisation. First Peoples’ sovereignty has never been ceded.
Gail Hastings