Gary Hill Movies
- 1984
Why Do Things Get in a Muddle? (Come On Petunia)
Why Do Things Get in a Muddle? (Come On Petunia)01984HD
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...
- 1966
Skaterdater
Skaterdater5.91966HD
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...
- 1975
AXIS
AXIS01975HD
“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...
- 1977
Bits
Bits01977HD
Our visual field is dominated by gossamer layers that become distorted in fluid motion, break off, begin anew and continually change color. As we...
- 1976
Mesh
Mesh01976HD
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...
- 1986
Mediations (towards a remake of Soundings)
Mediations (towards a remake of Soundings)01986HD
“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...
- 1978
Mouthpiece
Mouthpiece01978HD
Dave Jones prototype modules (keyers, color field generators, output amplifier), black-and-white camera, microphone and Serge audio modules (voltage...
- 2008
Figuring Grounds
Figuring Grounds02008HD
Figuring Grounds – like Tale Enclosure, 1985 – was edited from three hours of recordings made at the Stained Glass Studio in Barrytown,...
- 1979
Resolution
Resolution01979HD
A single solid white line rotates 180 degrees, beginning at a vertical position in the middle of the screen. At first, it forms...
- 1974
Air Raid
Air Raid01974HD
The strategy for recording and composing Air Raid was derived from sound rather than image. This produced some unusual juxtapositions between images...
- 1977
Bits
Bits01977HD
Our visual field is dominated by gossamer layers that become distorted in fluid motion, break off, begin anew and continually change color. As we...
- 1979
Soundings
Soundings01979HD
Two color video cameras, two microphones, Dave Jones prototype modules (input amplifiers, variable soft/hard keyers, output amplifier,...
- 2003
Blind Spot
Blind Spot02003HD
Blind Spot constructs a space of living portraiture by “focusing time” on an exchange between the artist (the camera) and a man on the...
- 1977
Bathing
Bathing01977HD
In Bathing, as in his Mirror Road, Windows and Objects with Destinations, Hill uses the camera and image processing devices to explore the...
- 1978
Sums & Differences
Sums & Differences01978HD
The basis of this “sound/image construct,” recorded in real time, are three black-and-white still images: a keyboard, a flute, and an...
- 1980
Black/White/Text
Black/White/Text01980HD
Using the phenomenon of inverted (or negative) video feedback, this work constructs a one-to-one correspondence between recited text and image. Black...
- 1980
Project Tesla
Project Tesla01980HD
This rarely screened film was used to raise funds for the making of Energy and How to Get It. High-energy physicist Robert Golka was granted a lease...
- 1986
URA ARU
URA ARU01986HD
Recorded on location in Japan, this work was inspired by the notion of “acoustic palindromes,” aural versions of written palindromes,...
- 2004
Gary Hill: I Believe It Is an Image
Gary Hill: I Believe It Is an Image02004HD
In this program video artist Gary Hill uses a number of his pieces to investigate otherness and ambiguity, dislocation of the senses, the boundary...
- 1988
Disturbance (among the jars)
Disturbance (among the jars)01988HD
Disturbance (among the jars) is a multi-lingual adaptation of selected Gnostic texts from the Nag Hammadi library discovered in 1945/46. The...