Gary Hill Movies

“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...

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

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

“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...

A humanoid form strikes its body while making primal guttural sounds. At times the form is “stopped” and “started” using the...

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

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

“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...

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

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...

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

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

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

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 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...

“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...

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

In Mirror Road, Hill uses the camera and image processing devices to explore the malleability of electronic colors and image density. Amorphous...

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

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