Gary Hill (b. 1951)

Born:
April 4, 1951

Gary Hill (b. 1951, Santa Monica, CA) has worked with a broad range of media – including sculpture, sound, video, installation and performance – since the early 1970’s, producing a large body of single-channel videos, mixed-media installations, and performance work. His longtime work with intermedia continues to explore an array of issues ranging from the physicality of language, synesthesia and perceptual conundrums to ontological space and viewer interactivity. (Vimeo)

Additional information:

The Search Form


Director:
1974  Air Raid
1974  Rock City Road
1975  AXIS
1975  Earth Pulse
1976  Mesh
1976  Mirror Road
1977  Bathing
1977  Bits
1977  Bits
1977  Electronic Linguistic
1978  Elements
1978  Full Circle
1978  Mouthpiece
1978  Primary
1978  Sums & Differences
1978  Windows
1979  Equal Time
1979  Objects with Destinations
1979  Picture Story
1979  Resolution
1979  Soundings
1980  Around & About
1980  Black/White/Text
1980  Commentary
1980  Processual Video
1981  Primarily Speaking
1981  Videograms
1983  Happenstance (part one of many parts)
1984  Why Do Things Get in a Muddle? (Come On Petunia)
1985  Tale Enclosure
1986  Mediations (towards a remake of Soundings)
1986  URA ARU
1988  Disturbance (among the jars)
1988  Incidence of Catastrophe
1989  Site/Recite (a prologue)
1990  Solstice d’Hiver
2000  Performative images. My skin its skin (per)forming another skin where I voice from
2001  Goats & Sheep
2003  Blind Spot
2008  Figuring Grounds
2008  Observaciones Sobre los Colores
2011  The Psychedelic Gedankenexperiment

Editor:
1974  Air Raid
1974  Rock City Road
1975  AXIS
1975  Earth Pulse
1976  Mesh
1976  Mirror Road
1977  Bathing
1977  Bits
1977  Bits
1977  Electronic Linguistic
1978  Elements
1978  Full Circle
1978  Mouthpiece
1978  Primary
1978  Sums & Differences
1978  Windows
1979  Equal Time
1979  Objects with Destinations
1979  Picture Story
1979  Resolution
1979  Soundings
1980  Around & About
1980  Black/White/Text
1980  Commentary
1980  Processual Video
1981  Primarily Speaking
1981  Videograms
1983  Happenstance (part one of many parts)
1984  Why Do Things Get in a Muddle? (Come On Petunia)
1985  Tale Enclosure
1986  Mediations (towards a remake of Soundings)
1986  URA ARU
1988  Disturbance (among the jars)
1988  Incidence of Catastrophe
1989  Site/Recite (a prologue)
1990  Solstice d’Hiver
2000  Performative images. My skin its skin (per)forming another skin where I voice from
2001  Goats & Sheep
2003  Blind Spot
2008  Figuring Grounds
2008  Observaciones Sobre los Colores
2011  The Psychedelic Gedankenexperiment

Writer:
1974  Air Raid
1974  Rock City Road
1975  AXIS
1975  Earth Pulse
1976  Mesh
1976  Mirror Road
1977  Bathing
1977  Bits
1977  Bits
1977  Electronic Linguistic
1978  Elements
1978  Full Circle
1978  Mouthpiece
1978  Primary
1978  Sums & Differences
1978  Windows
1979  Equal Time
1979  Objects with Destinations
1979  Picture Story
1979  Resolution
1979  Soundings
1980  Around & About
1980  Black/White/Text
1980  Commentary
1980  Processual Video
1981  Primarily Speaking
1981  Videograms
1983  Happenstance (part one of many parts)
1984  Why Do Things Get in a Muddle? (Come On Petunia)
1985  Tale Enclosure
1986  Mediations (towards a remake of Soundings)
1986  URA ARU
1988  Disturbance (among the jars)
1988  Incidence of Catastrophe
1989  Site/Recite (a prologue)
1990  Solstice d’Hiver
2000  Performative images. My skin its skin (per)forming another skin where I voice from
2001  Goats & Sheep
2003  Blind Spot
2008  Figuring Grounds
2008  Observaciones Sobre los Colores
2011  The Psychedelic Gedankenexperiment

Director:
1990  Live

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  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

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Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

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Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.