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...
- 1979
Picture Story
Picture Story01979HD
“A structural work (with humor) that uses indeterminacy to forge an abstract landscape upon which the ‘vision’ of an ox appears. A...
- 1966
Skaterdater
Skaterdater5.81966HD
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...
- 1981
Primarily Speaking
Primarily Speaking01981HD
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....
- 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...
- 1981
Videograms
Videograms81981HD
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...
- 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...
- 1978
Mouthpiece
Mouthpiece01978HD
Dave Jones prototype modules (keyers, color field generators, output amplifier), black-and-white camera, microphone and Serge audio modules (voltage...
- 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...
- 1978
Elements
Elements01978HD
One of the earlier works Hill produced on the Rutt/Etra video synthesizer, Elements combines abstract “landscapes” with fragmented...
- 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,...
- 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...
- 2008
Observaciones Sobre los Colores
Observaciones Sobre los Colores02008HD
Observaciones Sobre los Colores consists of a single video projection in which a boy reads a Spanish translation of Wittgenstein's Remarks on Color,...
- 1975
Earth Pulse
Earth Pulse01975HD
A humanoid form strikes its body while making primal guttural sounds. At times the form is “stopped” and “started” using the...
- 1976
Mirror Road
Mirror Road01976HD
In Mirror Road, Hill uses the camera and image processing devices to explore the malleability of electronic colors and image density. Amorphous...
- 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...
- 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...
- 1978
Windows
Windows01978HD
Silent or with minimal sound, Hill's early formalist works explore the manipulation of electronic color and image density through the camera obscura...
- 1979
Equal Time
Equal Time01979HD
In this work, the field of Hill’s experimentation is the synchronization of visual and linguistic elements. For Equal Time, he sets up a...