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Mouthpiece
Gary Hill
1978, 1:07 min, color, sound
More Info
Description
Ordering & Fees
Documents
Titles by Gary Hill
+
Around & About
Bathing
Bits
Black/White/Text
Commentary
Electronic Linguistics
Elements
Equal Time
Full Circle (formerly Ring Modulation)
Happenstance (part one of many parts)
Incidence of Catastrophe
Mediations
Mirror Road
Mouthpiece
Objects With Destinations
Picture Story
Blind Spot
Point of View: An Anthology of the Moving Image
Primarily Speaking
Primary
Processual Video
Site/Recite (a prologue)
Solstice d'hiver
Soundings
Sums & Differences
Tale Enclosure
URA ARU (the backside exists)
Videograms
Why Do Things Get In a Muddle? (Come on Petunia)
Windows
Description
Ordering & Fees
Documents
Titles by Gary Hill
+
Around & About
Bathing
Bits
Black/White/Text
Commentary
Electronic Linguistics
Elements
Equal Time
Full Circle (formerly Ring Modulation)
Happenstance (part one of many parts)
Incidence of Catastrophe
Mediations
Mirror Road
Mouthpiece
Objects With Destinations
Picture Story
Blind Spot
Point of View: An Anthology of the Moving Image
Primarily Speaking
Primary
Processual Video
Site/Recite (a prologue)
Solstice d'hiver
Soundings
Sums & Differences
Tale Enclosure
URA ARU (the backside exists)
Videograms
Why Do Things Get In a Muddle? (Come on Petunia)
Windows
Mouthpiece
Gary Hill
1978, 1:07 min, color, sound
Documents
SHORT SHORTS
Press Release
Press release for SHORT SHORTS EAI's summer screening in August 2010.
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\"short_desc\": \"In his works from the late 1970s, Hill continues to construct a dialogue of sound and image, devising analogies between linguistics and electronic phenomena. In <I>Mouthpiece<\/I>, the gyrations of an electronic red mouth on a blue background affect the rolling of the image.\",
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\"long_desc\": \"In these works from the late 1970s, Hill continues to construct a dialogue of sound and image, devising analogies between linguistics and electronic phenomena. In <i>Full Circle,<\/i> the screen is divided into three sections: a close-up of hands bending a metal rod into a circle; a full-image view of this figure; and an electronically generated circular image, which is created by Hill's vocalization of an \\"Ah\\" sound. The result is a paradoxical tension between sculpting physical material and \\"sculpting\\" with the non-physical material of electronics. In <i>Mouthpiece,<\/i> the gyrations of an electronic red mouth on a blue background affect the rolling of the image. <i>Elements<\/i> is an electronic tapestry of graphic shapes and syllabic sound. This fabric of landscape images and language fragments pulses back and forth with a layered rhythm, as visual and aural elements converge. <i>Primary<\/i> is a formal color study of the primary colors red, green and blue, in which Hill's lips, the purveyors of language, repeat the color names as images change hue. Hill writes that <i>Picture Story<\/i> is \\"structured upon a hierarchical ladder of meaning, starting with the mechanistic and ending with a vision which pinpoints an `insignificant' intersection of image and language concerning the d-r-a-w-i-n-g.\\" Using letters as his visual and textual source, he \\"draws\\" relationships between linguistics and video via the mapping of a short narrative that ends with a structural joke. <i>Equal Time<\/i> is an abstract visual translation of two contrasting narratives, one about psychological space and the other about concrete space.\",
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\"short_bio\": \"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images. His inquiries into linguistics and consciousness offer resonant philosophical and poetic insights, as he explores the formal conjunctions of electronic visual and audio elements with the body and the self. With experimental rigor, conceptual precision and imaginative leaps of discovery, Hill's work in video is about, and is, a new form of writing.\",
\"long_bio\": \"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements. \r\n\r\n This exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of <i>Why Do Things Get in a Muddle? (Come on Petunia)<\/i> (1984), <i>URA ARU (the backside exists)<\/i> (1985-86) and <i>Incidence of Catastrophe<\/i>(1987-88) — offering resonant articulations of philosophical and poetic insights. \r\n\r\n Hill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \\"The earlier works, e.g <i>Air Raid, Sums & Differences, Ring Modulation (Full Circle)<\/i> — variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In <i>Processual Video, Black\/White\/Text <\/i>and <i>Happenstance<\/i>, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image\/language Moebius strip. <i>Around & About<\/i> and <i>Primarily Speaking<\/i> were an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech... <i>Why Do Things Get In A Muddle? (Come On Petunia)<\/i> and <i>URA ARU (the backside exists)<\/i>, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\\" \r\n\r\n Perhaps as much as any artist using image\/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \\"writes\\" masterfully on Maurice Blanchot in <i>Incidence of Catastrophe<\/i>, and Jacques Derrida writes on Hill's \\"writing.\\" But in its correlation to the \\"French\\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as <i>Primarily Speaking<\/i> and <i>Happenstance<\/i> dazzle with their perspicacious and illuminating language play; stunning structural achievements such as <i>Why Do Things Get In A Muddle?<\/i> and <i>URA ARU<\/i> awe with their elaborate execution; and <i>Incidence of Catastrophe<\/i>, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity. \r\n\r\nHill was born in 1951, in Santa Monica, California. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan\/United States Exchange Fellowship, and in 1988, he received a France\/United States Exchange Fellowship, completing major works in both countries. Hill was awarded the Leone d'Oro Prize for Sculpture at the Venice Biennale in 1995. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. In recent years he has been awarded the Kurt-Schwiters-Preis (2000), a Skowhegan Medal for Video Installation (2003), and an Honorary Degree of Doctor Honoris Causa of The Academy of Fine Arts Poznan, Poland (2005). Hill has served as artist-in-residence at the Television Laboratory at WNET\/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\r\n\r\nHis installations and tapes have been seen throughout the world, in group exhibitions at the Vancouver Art Gallery, British Columbia, Canada; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Fundación Santander Central Hispano, Madrid; The Museum of Modern Art, New York; Musée du Louvre, Paris; ZKM - Center for Art and Media, Karlsruhe, Germany; Documenta 8, Kassel, Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the <em>Video-Skulptur Retrospektiv und Aktuell 1963-1989<\/em>, Cologne, Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at MIS - Museu da Imagem e do Som, S\u00e3o Paulo, Brazil; Fondation Cartier pour l'art contemporain and Centre Pompidou in Paris; Whitney Museum of American Art, New York; San Francisco Museum of Modern Art; Guggenheim Museum SoHo, New York; Museum f\u00fcr Gegenwartskunst, Basel; Museu d'Art Contemporani, Barcelona; Kunstmuseum Wolfsburg; and The Museum of Modern Art, New York, among others.\r\n\r\nHill lives in Seattle.\",
\"bibliography\": \"<u>Gary Hill.<\/u> Seattle: Henry Art Gallery, University of Washington, 1994. Texts by Chris Bruce, Lynne Cook, Bruce W. Ferguson, John Hanhardt and Robert Mittenthal.<br><br>\r\n<u>Gary Hill.<\/u> Paris: \u00c9ditions du Centre Georges Pompidou, 1992: Amsterdam: Stedelijk Museum and Vienna: Kunsthalle, Wien, 1993; and Valencia: I.V.A.M Centre del Carme, 1993. Texts by Christine van Assche, Lynne Cook, Gary Hill, Jacinto Lageira and Hippolyte Massardier. <br><br>\r\n<u>Gary Hill: Around and About: A Performative View.<\/u> Paris: \u00c9ditions du Regard, 2001. <br><br>\r\n<u>Gary Hill: Selected Works and catalogue raisonne.<\/u> Wolfsburg, Germany: Kunstmuseum Wolfsburg, 2002.<br><br>\r\nMorgan, Robert C., ed. <u>Gary Hill.<\/u> Baltimore: PAJ Books\/ The Johns Hopkins University Press, 2000. <br><br>\r\nQuasha, George and Charles Stein. <u>Viewer: Gary Hill's Projective Installations -- Number 3.<\/u> Barrytown, NY: Station Hill Arts, 1997.\",
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\"see_also\": \"<a href=\/eai\/tape.jsp?itemID=1227><b>Gary Hill: Sites Recited<\/b><\/a> <\/b><i>1994, 60 min, color, sound<\/i>\r\n<br><br>\r\n<a href=\\"http:\/\/www.eai.org\/eai\/tape.jsp?itemID=10476\\"><b>Point of View: An Anthology of the Moving Image<\/b><\/a><br>\r\n<br>\r\nThe <i>Point of View<\/i> anthology is a boxed DVD set that features eleven of the most important artists working in film, video, and digital imagery today: Francis Al\u00ffs, David Claerbout, Douglas Gordon, Gary Hill, Pierre Huyghe, Joan Jonas, Isaac Julien, William Kentridge, Paul McCarthy, Pipilotti Rist and Anri Sala. Each DVD includes newly commissioned works, in-depth interviews with the artists, and reference material.\",
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\"notes\": \"As per an email from Gary Hill's studio in November, 2011, EAI is suspending all sales of his titles - for both educational and archival use.\r\n\r\nEmail from Rayne to Rebecca, 11\/9\/11:\r\n\r\nHi Rebecca,\r\n\r\nMany thanks again for your email and suggestions. \r\n\r\n\\"I spoke with Gary, and for now, he would also like to suspend educational sales and limit distribution to exhibitions\/rentals only. \r\n\r\nAnd yes, - for now - it would be wonderful if you could please forward any requests for archival purchases to us as an addition to the disclaimer; however, Gary has always greatly appreciated your support through the years and would very much like for you to be a part of the purchasing structure once the new edition model is in place. \r\n\r\nThanks again, and please let us know if you have any questions. \r\n\r\nBest wishes,\r\nRayne \r\n\r\nRayne Roper Wilder\r\nGary Hill Studio (T: 206.443.0952 \/ ghstudio@hotmail.com \/ www.garyhill.com) \\"\r\n\r\n\r\n\r\n\r\nWill allow his work to be broadcast, but does not permit excerpts to be taken.\",
\"royalty_notes\": \"Rebecca Cleman, EAI's Distribution Director, must review and approve all royalty statements before they are paid and sent to Hill. -November 2011, in conjunction with educational purchase suspension -GJH\",
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