A watercolour page from the Encyclopaedia of Timeless Art is first seen intact on the exhibition announcement card posted to regular gallery visitors prior to the exhibition. The page slips from the vertical plane of 2D to the horizontal plane of 3D.
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 visionary in its scope and generosity.
[…] The annual Moët & Chandon Touring Exhibition is the second element of the Foundation. The work of the winning Fellow and the other finalists is exhibited throughout Australia at the major galleries giving the artists the associated exposure and recognition that a tour of this status provides.
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 visionary in its scope and generosity.
[…] The annual Moët & Chandon Touring Exhibition is the second element of the Foundation. The work of the winning Fellow and the other finalists is exhibited throughout Australia at the major galleries giving the artists the associated exposure and recognition that a tour of this status provides.
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 visionary in its scope and generosity.
[…] The annual Moët & Chandon Touring Exhibition is the second element of the Foundation. The work of the winning Fellow and the other finalists is exhibited throughout Australia at the major galleries giving the artists the associated exposure and recognition that a tour of this status provides.
A watercolour page from the Encyclopaedia of Timeless Art is first seen intact on the exhibition announcement card posted to regular gallery visitors prior to the exhibition. The page slips from the vertical plane of 2D to the horizontal plane of 3D.
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 visionary in its scope and generosity.
[…] The annual Moët & Chandon Touring Exhibition is the second element of the Foundation. The work of the winning Fellow and the other finalists is exhibited throughout Australia at the major galleries giving the artists the associated exposure and recognition that a tour of this status provides.
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 textural and spatial — connects the three installations in belles-lettres, which individually explore cultural terrains and practises.
Media Release, Australian Centre for Contemporary Art, 6 August 1993
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 one figuratively travels. On another level, the circle and the square stand in for any number of oppositions, whose shifting relationships are negotiated through our experience of this work, such as subject and object, time and space, signifier and signified. The idea of the passage signals the artist’s attempt to locate a truth or a place between such oppositions. Her work may be characterised in terms of movement, transference, the passage between the arts (drawing, sculpture, theatre, writing), the actors (viewer, artist, object) and between dimensions (two, three and four dimensional). The divide between subject and object is infringed by the union of the viewer and the scene; the divide between time and space by the temporality manifested in the experience of space, the passing of time in a space of passage.
