Hill Gary
Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images -- an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.
This exploration would give way to thoroughly unique investigations of linguistics and consciousness -- including the empirical inquiries of Why Do Things Get in a Muddle? (Come on Petunia) (1984), URA ARU (the backside exists) (1985-86) and Incidence of Catastrophe(1987-88) -- offering resonant articulations of philosophical and poetic insights.
Hill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: "The earlier works, e.g Air Raid, Sums & Differences, Ring Modulation (Full Circle) -- variations on the notion of a sound-image construct -- arose primarily out of a dialogue with the properties of the medium. In Processual Video, Black/White/Text and Happenstance, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates -- a kind of image/language Moebius strip. Around & About and Primarily Speaking were an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech... Why Do Things Get In A Muddle? (Come On Petunia) and URA ARU (the backside exists), originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time."
Perhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill "writes" masterfully on Maurice Blanchot in Incidence of Catastrophe, and Jacques Derrida writes on Hill's "writing." But in its correlation to the "French" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as Primarily Speaking and Happenstance dazzle with their perspicacious and illuminating language play; stunning structural achievements such as Why Do Things Get In A Muddle? and URA ARU awe with their elaborate execution; and Incidence of Catastrophe, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.
Hill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries.
In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.
His installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.
Hill lives in Seattle.
Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images. His inquiries into linguistics and consciousness offer resonant philosophical and poetic insights, as he explores the formal conjunctions of electronic visual and audio elements with the body and the self. With experimental rigor, conceptual precision and imaginative leaps of discovery, Hill's work in video is about, and is, a new form of writing.
Gary Hill: Selected Works I 1975-79, 26:20 min, color, sound
Objects With Destinations 1979, 3:57 min, color, silent
Windows 1978, 8:28 min, color, silent
Bathing 1977, 4:30 min, color, silent
Bits 1977, 2:59 min, color, silent
Mirror Road 1975-76, 6:26 min, color, silent
Gary Hill: Selected Works II 1977-80, 19:26 min, b&w, sound
Electronic Linguistics 1977, 3:39 min, b&w, sound
Sums & Differences 1978, 8:24 min, b&w, sound
Black/White/Text 1980, 7:23 min, b&w, sound
Gary Hill: Selected Works III 1978-79, 19:22 min, b&w and color, sound
Full Circle (formerly Ring Modulation) 1978, 3:38 min, color, sound
Mouthpiece 1978, 1:07 min, color, sound
Elements 1978, 2:13 min, b&w
Primary 1978, 1:19 min, color, sound
Picture Story 1979, 6:26 min, color, sound
Equal Time 1979, 4:39 min, color, sound
Soundings 1979, 18:03 min, color, sound
Mediations 1979-86, 4:17 min, color, sound
Around & About 1980, 5 min, color, sound
Commentary 1980, 1:02 min, color, sound
Processual Video 1980, 11:13 min, b&w, sound
Videograms 1980-81, 13:27 min, b&w, sound
Primarily Speaking 1981-83, 19:23 min,color, sound
Happenstance (part one of many parts) 1982-83, 6:47 min, b&w, sound
Why Do Things Get In a Muddle?(Come on Petunia) 1984, 33:09 min, color, sound
Tale Enclosure 1985, 5:50 min, color, sound
URA ARU (the backside exists) 1985-86, 28:30min, color, sound
Incidence of Catastrophe 1987-88, 43:51 min, color, sound
Site/Recite (a prologue) 1989, 4:05 min, color, sound
Solstice d'hiver 1993, 60 min, color, sound
Gary Hill. Seattle: Henry Art Gallery, University of Washington, 1994. Texts by Chris Bruce, Lynne Cook, Bruce W. Ferguson, John Hanhardt and Robert Mittenthal.
Gary Hill. Paris: Éditions du Centre Georges Pompidou, 1992: Amsterdam: Stedelijk Museum and Vienna: Kunsthalle, Wien, 1993; and Valencia: I.V.A.M Centre del Carme, 1993. Texts by Christine van Assche, Lynne Cook, Gary Hill, Jacinto Lageira and Hippolyte Massardier.
Gary Hill: Around and About: A Performative View. Paris: Éditions du Regard, 2001.
Gary Hill: Selected Works and catalogue raisonne. Wolfsburg, Germany: Kunstmuseum Wolfsburg, 2002.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books/ The Johns Hopkins University Press, 2000.
Quasha, George and Charles Stein. Viewer:Gary Hill's Projective Installations -- Number 3. Barrytown, NY: Station Hill Arts, 1997.
Gary Hill
Born in Santa Monica, California in 1951, Gary Hill was a surfer who became interested in sculpture in high school. He studied sculpture and painting in Woodstock, New York, and in 1973 he borrowed a video portapak from Woodstock Community Video (WCV). From 1974 to 1976 he was TV lab coordinator at WCV, producing tapes that "arose out of a dialogue with the properties of the medium." From 1975 to 1977 Hill was an artist-in-residence at the Experimental Television Center in Owego, New York, where he made use of various tools including the Rutt/Etra Scan Processor and David Jones's colorizer which Hill helped build. In 1976 Hill met poet George Quasha who, along with Charles Stein, inspired Hill's first experiments with language. Hill's early works investigated synthesized imagery, ecological subjects, and post-minimal political statements (Hole in the Wall, 1974). Hill's works exploring the intertextuality of image, sound, speech, and language emerged in the late 70s and early 80s, such as Soundings (1979) and Around and About (1980). Hill has gained an international reputation for his video art tapes and installations.
This exploration would give way to thoroughly unique investigations of linguistics and consciousness -- including the empirical inquiries of Why Do Things Get in a Muddle? (Come on Petunia) (1984), URA ARU (the backside exists) (1985-86) and Incidence of Catastrophe(1987-88) -- offering resonant articulations of philosophical and poetic insights.
Hill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: "The earlier works, e.g Air Raid, Sums & Differences, Ring Modulation (Full Circle) -- variations on the notion of a sound-image construct -- arose primarily out of a dialogue with the properties of the medium. In Processual Video, Black/White/Text and Happenstance, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates -- a kind of image/language Moebius strip. Around & About and Primarily Speaking were an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech... Why Do Things Get In A Muddle? (Come On Petunia) and URA ARU (the backside exists), originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time."
Perhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill "writes" masterfully on Maurice Blanchot in Incidence of Catastrophe, and Jacques Derrida writes on Hill's "writing." But in its correlation to the "French" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as Primarily Speaking and Happenstance dazzle with their perspicacious and illuminating language play; stunning structural achievements such as Why Do Things Get In A Muddle? and URA ARU awe with their elaborate execution; and Incidence of Catastrophe, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.
Hill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries.
In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.
His installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.
Hill lives in Seattle.
Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images. His inquiries into linguistics and consciousness offer resonant philosophical and poetic insights, as he explores the formal conjunctions of electronic visual and audio elements with the body and the self. With experimental rigor, conceptual precision and imaginative leaps of discovery, Hill's work in video is about, and is, a new form of writing.
Gary Hill: Selected Works I 1975-79, 26:20 min, color, sound
Objects With Destinations 1979, 3:57 min, color, silent
Windows 1978, 8:28 min, color, silent
Bathing 1977, 4:30 min, color, silent
Bits 1977, 2:59 min, color, silent
Mirror Road 1975-76, 6:26 min, color, silent
Gary Hill: Selected Works II 1977-80, 19:26 min, b&w, sound
Electronic Linguistics 1977, 3:39 min, b&w, sound
Sums & Differences 1978, 8:24 min, b&w, sound
Black/White/Text 1980, 7:23 min, b&w, sound
Gary Hill: Selected Works III 1978-79, 19:22 min, b&w and color, sound
Full Circle (formerly Ring Modulation) 1978, 3:38 min, color, sound
Mouthpiece 1978, 1:07 min, color, sound
Elements 1978, 2:13 min, b&w
Primary 1978, 1:19 min, color, sound
Picture Story 1979, 6:26 min, color, sound
Equal Time 1979, 4:39 min, color, sound
Soundings 1979, 18:03 min, color, sound
Mediations 1979-86, 4:17 min, color, sound
Around & About 1980, 5 min, color, sound
Commentary 1980, 1:02 min, color, sound
Processual Video 1980, 11:13 min, b&w, sound
Videograms 1980-81, 13:27 min, b&w, sound
Primarily Speaking 1981-83, 19:23 min,color, sound
Happenstance (part one of many parts) 1982-83, 6:47 min, b&w, sound
Why Do Things Get In a Muddle?(Come on Petunia) 1984, 33:09 min, color, sound
Tale Enclosure 1985, 5:50 min, color, sound
URA ARU (the backside exists) 1985-86, 28:30min, color, sound
Incidence of Catastrophe 1987-88, 43:51 min, color, sound
Site/Recite (a prologue) 1989, 4:05 min, color, sound
Solstice d'hiver 1993, 60 min, color, sound
Gary Hill. Seattle: Henry Art Gallery, University of Washington, 1994. Texts by Chris Bruce, Lynne Cook, Bruce W. Ferguson, John Hanhardt and Robert Mittenthal.
Gary Hill. Paris: Éditions du Centre Georges Pompidou, 1992: Amsterdam: Stedelijk Museum and Vienna: Kunsthalle, Wien, 1993; and Valencia: I.V.A.M Centre del Carme, 1993. Texts by Christine van Assche, Lynne Cook, Gary Hill, Jacinto Lageira and Hippolyte Massardier.
Gary Hill: Around and About: A Performative View. Paris: Éditions du Regard, 2001.
Gary Hill: Selected Works and catalogue raisonne. Wolfsburg, Germany: Kunstmuseum Wolfsburg, 2002.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books/ The Johns Hopkins University Press, 2000.
Quasha, George and Charles Stein. Viewer:Gary Hill's Projective Installations -- Number 3. Barrytown, NY: Station Hill Arts, 1997.
Gary Hill
Born in Santa Monica, California in 1951, Gary Hill was a surfer who became interested in sculpture in high school. He studied sculpture and painting in Woodstock, New York, and in 1973 he borrowed a video portapak from Woodstock Community Video (WCV). From 1974 to 1976 he was TV lab coordinator at WCV, producing tapes that "arose out of a dialogue with the properties of the medium." From 1975 to 1977 Hill was an artist-in-residence at the Experimental Television Center in Owego, New York, where he made use of various tools including the Rutt/Etra Scan Processor and David Jones's colorizer which Hill helped build. In 1976 Hill met poet George Quasha who, along with Charles Stein, inspired Hill's first experiments with language. Hill's early works investigated synthesized imagery, ecological subjects, and post-minimal political statements (Hole in the Wall, 1974). Hill's works exploring the intertextuality of image, sound, speech, and language emerged in the late 70s and early 80s, such as Soundings (1979) and Around and About (1980). Hill has gained an international reputation for his video art tapes and installations.