Still Life, 1999
Mixed media installation
Five video projectors, eight monitors ranging from 4-inch to 35-inch (10 to 89 cm.), five projection screens ranging from 50-inch to 300-inch (127 to 760 cm.), two-in by thirteen-out computer controlled video switcher, computer, one DVD player and one DVD (black-and-white, silent)
Edition of two and one artist’s proof
Still Life consists of several hundred computer-generated objects ranging from appliances and furniture to books and various personal odds and ends. The black and white images are projected and emitted so as to be visible from multiple angles throughout a given space. Image sizes range from 4 inches to 300 inches. Seen on only one monitor or screen at a time, the view explores a vast landscape of everyday things. The images continuously move among the displays, correcting for scale as the virtual view zooms in and out and rotates around. The twelve displays without an image at any given time are of a gray/silver color. The images and the equipment used to display them at times become interchangeable.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, GHCR 116, pp. 228.
Solo exhibition. “A Name, A Kind of Chamber, Two Weapons & A Still Life,” Barbara Gladstone Gallery, New York, New York, September 18 – October 30, 1999.
Yablonsky, Linda. “Medium Cool.” Time Out, New York 210 (September 30 – October 7, 1999), p. 67.
Bakke, Erik. “Gary Hill: Barbara Gladstone Gallery.” New Art Examiner (February 2000), pp. 54 – 55.
“Void Still Life.” (non-textual poster design contribution) Any Magazine, No. 27 (2000), pp. 27.7B.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 228.
Daniel, Noel, ed. Broken Screen: 26 Conversations with Doug Aitken: Expanding the Image, Breaking the Narrative. New York: D.A.P./Distributed Art Publishers, 2006, p. 156, 157, 160.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, p. 68.