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.

Artner Alan G., ‘More Than Meets The Eye: Increase In Dealers At Navy Pier Gives `Art 1996 Chicago’ A Distinct European Shift’, Chicago Tribune, May 12 1996. Excerpt

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).

Birrell James, ‘Abstract Distractions’, in David Pestorius (ed.), Space Affects: The art and architecture of James Birrell and Gail Hastings, exhibition catalogue, Metro Arts, Brisbane 1999, pp.23–5.

Kelly Lisa, ‘If Anything.’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, pp.7.1–7.2 . Excerpt

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.

Lewis Ruark, ‘An emailed note concerning an art talk by Gail Hastings’, in Gwynneth Porter and Dan Arps (ed.), Natural Selection Magazine, issue 1, 2004, p.7.3, . Excerpt

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.

Holdings
Gail Hastings’ studio
Encyclopaedia of Time in Art: pp. 1-3 is available for acquisition. Please enquire about viewing the artwork.

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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, and to Elders of Australia’s First Peoples other communities who may be visiting this website.
Gail Hastings

@ Studio Gail Hastings 2024