Gary Hill Movies

In Bathing, as in his Mirror Road, Windows and Objects with Destinations, Hill uses the camera and image processing devices to explore the...

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

The associative stream of images and sounds treats the word as an abstract structure. Spoken and written text flows from image to image, morphing...

The basis of this “sound/image construct,” recorded in real time, are three black-and-white still images: a keyboard, a flute, and an...

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

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...

Disturbance (among the jars) is a multi-lingual adaptation of selected Gnostic texts from the Nag Hammadi library discovered in 1945/46. The...

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

“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...

Using the phenomenon of inverted (or negative) video feedback, this work constructs a one-to-one correspondence between recited text and image. Black...

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

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

Solstice d’Hiver was Hill’s last single-channel video before the recently completed Goats and Sheep and Blind Spot. The work was recorded...

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

“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...

“Made just before Around & About, this work is something of a ‘manifesto in jest’ against television…. I’m a sit-in...

“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...

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...