Gary Hill

01 de jan. de 1978

“A structural work (with humor) that uses indeterminacy to forge an abstract landscape upon which the ‘vision’ of an ox appears. A sequence of word...

01 de jan. de 1979

In this work, the field of Hill’s experimentation is the synchronization of visual and linguistic elements. For Equal Time, he sets up a minimalist...

01 de jan. de 1979

This work is the single-channel version of a multi-channel installation of the same name. The picture plane is divided into a left and a right hal...

01 de jan. de 1981

Recorded on location in Japan, this work was inspired by the notion of “acoustic palindromes,” aural versions of written palindromes, located in th...

01 de jan. de 1986

The strategy for recording and composing Air Raid was derived from sound rather than image. This produced some unusual juxtapositions between image...

01 de jan. de 1974

Our visual field is dominated by gossamer layers that become distorted in fluid motion, break off, begin anew and continually change color. As we c...

01 de jan. de 1977

A fixed color camera is slightly defocused on the wire mesh of a window screen. Outside the window the leaves of trees are moving with the wind. Th...

01 de jan. de 1976

Our visual field is dominated by gossamer layers that become distorted in fluid motion, break off, begin anew and continually change color. As we c...

01 de jan. de 1977

DVD insert of monograph Gary Hill: Around & About: A Performative View containing a compilation of Hill's performance art.

01 de out. de 2000

Observaciones Sobre los Colores consists of a single video projection in which a boy reads a Spanish translation of Wittgenstein's Remarks on Color...

01 de jan. de 2008

Figuring Grounds – like Tale Enclosure, 1985 – was edited from three hours of recordings made at the Stained Glass Studio in Barrytown, New York, w...

01 de jan. de 2008

The Psychedelic Gedankenexperiment is a declaration claiming the psychoactive event of lysergic acid diethylamide (LSD) as a "found performance" an...

01 de jan. de 2011

Two color video cameras, two microphones, Dave Jones prototype modules (input amplifiers, variable soft/hard keyers, output amplifier, analog-to-di...

01 de jan. de 1979

The work’s images appear as visualizations of electronically generated sounds. Initially, small pulsating pixel structures occasionally appear on t...

01 de jan. de 1977

The associative stream of images and sounds treats the word as an abstract structure. Spoken and written text flows from image to image, morphing i...

21 de out. de 1983

A single solid white line rotates 180 degrees, beginning at a vertical position in the middle of the screen. At first, it forms “stair-steps,” and ...

01 de jan. de 1979

One of the earlier works Hill produced on the Rutt/Etra video synthesizer, Elements combines abstract “landscapes” with fragmented syllabic languag...

01 de jan. de 1978

Using the phenomenon of inverted (or negative) video feedback, this work constructs a one-to-one correspondence between recited text and image. Bla...

01 de jan. de 1980

This piece was originally planned by the artist as a reading for the Viewpoint series at New York’s Museum of Modern Art. “It was an attempt to cir...

01 de jan. de 1980

The basis of this “sound/image construct,” recorded in real time, are three black-and-white still images: a keyboard, a flute, and an African drum....

01 de jan. de 1978

Recorded in Woodstock, New York, Rock City Road incorporates multiple levels of rescanned images of walking on different surfaces, including paveme...

01 de jan. de 1974

“The image plane is divided into three sections. In the lower half, a close-up of two hands form a circle out of a metal rod. The upper half of the...

01 de jan. de 1978

Disturbance (among the jars) is a multi-lingual adaptation of selected Gnostic texts from the Nag Hammadi library discovered in 1945/46. The struct...

01 de jan. de 1988

“I was thinking of the camera as a kind of archeological tool that I could use to dig into or slice through the landscape —one among many studies t...

01 de jan. de 1975

Solstice d’Hiver was Hill’s last single-channel video before the recently completed Goats and Sheep and Blind Spot. The work was recorded in real t...

01 de jan. de 1990

In Bathing, as in his Mirror Road, Windows and Objects with Destinations, Hill uses the camera and image processing devices to explore the malleabi...

01 de jan. de 1977

“The beginning of a remake of an earlier work [Soundings, 1979] in which I wanted to extend the reflexivity of each text in relation to the interac...

01 de jan. de 1986

“In 1979-80, I was teaching in the Media Studies Department at the State University of New York at Buffalo, filling in for Woody and Steina Vasulka...

01 de jan. de 1980

Objects from the artist’s studio (hammer, cathode ray tube, circuit board rack, chair, clip light) constitute the subjects for a series of short se...

01 de jan. de 1979

Goats and Sheep uses the source material of the installation Withershins, 1995, consisting of two simultaneous views of a person signing: the hands...

01 de jan. de 2001

Blind Spot constructs a space of living portraiture by “focusing time” on an exchange between the artist (the camera) and a man on the street in th...

01 de jan. de 2003

“Made just before Around & About, this work is something of a ‘manifesto in jest’ against television…. I’m a sit-in viewer looking slightly up at t...

01 de jan. de 1980

Silent or with minimal sound, Hill's early formalist works explore the manipulation of electronic color and image density through the camera obscur...

21 de out. de 1978

The artist’s mouth fills the whole image plane. Silently the words “red,” “blue,” “green” are slowly and repeatedly articulated. The color of the s...

01 de jan. de 1978