Encyclopaedia of Time in Art: pp. 1-3
Specifications
Encyclopaedia of Time in Art: pp. 1-3 is made of Watercolour and lead pencil on paper.
with an overall measurement of 34.3 x 71.5 x 3.5.
| 07/11/2003 | But is it art?, The Cross Art Projects, Sydney |
| 25/03/2001 | Gail Hastings: multiples, books, prints, editions, etc., Pestorius Sweeney House, Brisbane |
| 08/09/1999 | Space Affects: the art and architecture of James Birrell and Gail Hastings, Metro Arts (cur. David Pestorius), Brisbane |
| 12/03/1998 | art opinion no. 636, David Pestorius Gallery, Brisbane |
| 23/05/1997 | two corners and a cube, Galerie Köstring/Maier, München |
| 09/05/1996 | Art 1996 Chicago, David Pestorius Gallery, Chicago |
Bibliography
Alexander George,
‘Primed Suspects: Gail Hastings’ Sculptural Situations’,
But is it Art?: Sculptural Situations by Gail Hastings,
exhibition catalogue,
The Cross Art Projects,
Sydney
2003.
Excerpt
Called sculptural situations, paintings look like pages torn from an encyclopaedia, and sculpture looks like furniture. […] 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 of the whole. In the meantime we interview eyewitnesses, flick through art catalogues, and try to second-guess the spooks. It’s an environment of suspicion, and we have to read between the lines. Among the works that leap out are Andreas Gursky’s huge, mind-boggling color photographs of factory interiors (at Jean Bernier Gallery and Galerie Ghislaine Hussenot); the writing-in-space-and-shadow by Fred Eerdekens (James Van Damme Gallery); Kent Bellows’ realist self-portrait (Forum); and Gail Hastings’ text-and-image meditations (David Pestorius). Hastings’ recurring construct or motif is the detective story, whose various tropes and characters frame the alternating presence, absence or very question of the ‘work of art’. […] Here the viewer is implored to investigate a ‘big cover-up’, to ‘go disguised as an art viewer and note all suspicious circumstances – such as other art viewers. And remember, nothing is ever nothing’. If anything, that is. I went to a curious event where the artist Gail Hastings spoke […] As a leftist I was not convinced in the slightest. But I was prepared to enjoy something else – I liked the theatre of her proposition. The proposition didn’t matter for me, the rhetoric couldn’t have been better, the body language attractive, her mannerisms unique and almost televisual.
Later artwork
Earlier 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