Movies: Gary Hill

The film tells a story with no dialogue. The group of boy skaters are suddenly at a point when one of the boys sees a young girl, and becomes interested in her. This causes a rift with the other boys, who challenges him to a skating duel that goes do...

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 half. A changing background is formed by colorful, highly graphic patterns reminiscent of TV test signals...

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

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 arrangement, whereby two identical panels with grid patterns, starting respectively on the left and ri...

“A structural work (with humor) that uses indeterminacy to forge an abstract landscape upon which the ‘vision’ of an ox appears. A sequence of words—hierarchically ordered from the utilitarian (functions and processes of the tools being used to make ...

This tape is the first of Hill’s works for which he deliberately wrote a screenplay. The title defines the piece’s starting point: Alice in Wonderland asks her omniscient father why things get in a muddle. They then talk on a metalinguistic level. A ...

Our visual field is dominated by gossamer layers that become distorted in fluid motion, break off, begin anew and continually change color. As we continue looking, they break down into seemingly amorphous constructions. We see details, textures and p...

Recorded on location in Japan, this work was inspired by the notion of “acoustic palindromes,” aural versions of written palindromes, located in the Japanese language. Hill creates this palindromic world as a site for excavation, uncovering new meani...

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. The images, about one-half second each, are edited directly to the master tape at intervals based on the ...

A humanoid form strikes its body while making primal guttural sounds. At times the form is “stopped” and “started” using the pause of a reel-to-reel video player—a frozen line of noise (an asynchronous frame) cuts through the image reinforcing the se...

In Mirror Road, Hill uses the camera and image processing devices to explore the malleability of electronic colors and image density. Amorphous structures move across the monitor like drifting clouds, changing color and direction. From time to time s...

Dave Jones prototype modules (keyers, color field generators, output amplifier), black-and-white camera, microphone and Serge audio modules (voltage controlled oscillators, filters, sequencer)...

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 the small Algerian neighborhood of Belsunce in Marseille, France. As the camera zooms in slowly on its su...

In this program video artist Gary Hill uses a number of his pieces to investigate otherness and ambiguity, dislocation of the senses, the boundary between words and comprehension, the physicality of text, and figurative interactivity....

1980-81, 13:27 min, b&w, sound Videograms is an ongoing series of text/image constructs or syntaxes using the Rutt/Etra Scan Processor, a device that enables Hill to sculpt electronic forms on the screen. Each "videogram" relates literally or concep...

Returning to the primal source of language, Hill explores the physical and subconscious origins of speech. In a continuous shot of a rhythmic, linguistically inspired chant-performance by George Quasha and George Stein, the camera wanders from mouth ...

The strategy for recording and composing Air Raid was derived from sound rather than image. This produced some unusual juxtapositions between images found in the everyday: a lawnmower, the wrapping of fruit with tin foil, a cement mixer, record playe...

Figuring Grounds – like Tale Enclosure, 1985 – was edited from three hours of recordings made at the Stained Glass Studio in Barrytown, New York, where Hill’s Why Do Things Get in a Muddle? (Come On Petunia), 1984, was also taped. Facing one another,...

Our visual field is dominated by gossamer layers that become distorted in fluid motion, break off, begin anew and continually change color. As we continue looking, they break down into seemingly amorphous constructions. We see details, textures and p...

Observaciones Sobre los Colores consists of a single video projection in which a boy reads a Spanish translation of Wittgenstein's Remarks on Color, Part 1 (1951), consisting of 88 segments, in real time over a period of 78 minutes. Hill provided a m...