HanD HearD, 1995-96
Five-channel video installation, silent
Five video projectors, five media players and five video files (color; silent)
Dimensions variable; projections approx. 9 h. x 12 w. ft. (2.7 x 3.7 m.) each
Edition of two and one artist’s proof
Note: A unique seven-channel version of this work was commissioned by the Science Museum in London in 2001.
Five wall-sized color video images are projected at or near the corners of a given space. Each projects a fixed camera angle between a profile and over-the-shoulder view of a person gazing intently at one of his or her hands; aside from slight passive but vibrant “living” movement, the individuals do nothing but gaze. Every once in a while a figure’s head turns a few degrees as if to acknowledge the viewer. The title contains the letters “an ear,” suggesting a space of listening, and yet the work is actively silent.
An example of this work was exhibited for the first time in a solo exhibition at Galerie des Archives, Paris, France, February 24 – April 13, 1996.
Solo exhibition. Barbara Gladstone Gallery, New York, New York, November 17 – December 21, 1996.
Solo exhibition. Musée d’art contemporain de Montréal, Montreal, Quebec, Canada, January 30 – May 3, 1998.
Solo exhibition. Museu d’Art Contemporani, Barcelona, Spain, July 16 – September 27, 1998.
“Hands,” Israel Museum, Jerusalem, Israel, September 28, 2001 – October 2002. Note: Exhibited in DVD format without synchronization.
Solo exhibition. Museum of Modern Art Queens, Long Island City, New York, December 5, 2002 – June 2003. Note: The projection of ‘Robert’ was replaced by the projection of ‘Tim’ in this installation. Exhibited in DVD format without synchronization.
“Gary Hill: Voice Grounds,” St Paul Street Gallery, Auckland University of Technology, Auckland, New Zealand, March 12 - April 25, 2009.
“Now Is The Time,” Wuzhen Contemporary Art Exhibition 2019, March 31 – June 30, 2019.
"Gary Hill: Momentombs," Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.
Quasha, George and Charles Stein. Gary Hill: HanD HearD/liminal objects. Paris: Galerie des Archives; Barrytown, New York: Station Hill Arts, 1996, unpaginated.
Klangkunst - Sonambiente festival für hören und sehen. Berlin: Akademie der Kunste, 1996, p. 70.
Colard, Jean-Max. “Popus: Gary Hill.” Les Inrockuptibles 4 (March 13 – 19, 1996), p. 6.
Carron, Natacha. “Gary Hill. Surfe sur les ondes cérébrales.” Coda 21 (April 1996).
Decter, Joshua. “Gary Hill: Galerie des Archives, Paris.” Artforum 35, 3 (November 1996), p. 108.
Morgan, Robert C. “Gary Hill / Barbara Gladstone Gallery,” Review 2, 7 (December 15, 1996), pp. 29, 30.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, p. 48.
Quasha, George and Charles Stein. Tall Ships. Gary Hill’s Projective Installations 2. Barrytown, New York: Station Hill Arts, 1997, pp. 7, 8.
Quasha, George and Charles Stein. Viewer. Gary Hill’s Projective Installations 3. Barrytown, New York: Station Hill Arts, 1997, pp. 29, 35, 56.
Liesbrock, Heinz. Gary Hill: Midnight Crossing. Münster: Westfälischer Kunstverein, 1997, p. 13.
Marcoci, Roxana, Diana Murphy, and Eve Sinaiko, eds. New Art. New York: Harry N. Abrams, 1997, p. 65.
Bélisle, Josée. Gary Hill. Montreal: Musée d’art contemporain de Montréal, 1998, pp. 9, 12 – 15, 55.
Stals, José Lebrero. Gary Hill: HanD HearD – Withershins – Midnight Crossing. Barcelona: Museu d’Art Contemporani de Barcelona, 1998, pp. 14 – 31, 62.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
Aquin, Stephanie. “Gary Hill – Vague de fond.” Voir, Montreal (February 12, 1998), p. 25.
Tougas, Colette. “Gary Hill. Musée d’art contemporain de Montréal, 30 janvier – 26 avril.” Parachute 90 (April - June 1998), p. 43.
Bellemare-Brière, Véronique. “Gary Hill – La vidéo reine au MAC.” Séquences, Montreal 196 (May – June 1998), p. 55.
La Chance, Michaël. “Vidéognose.” Spirale, Montreal (May – June 1998), p. 12.
Fraser, Marie. “Letter from Montreal: May 1998.” C-Magazine 58 (May – August 1998), p. 41.
“Del paraíso de Delvaux a las instalaciones de Gary Hill y Baldessari,” El Punto de las Artes, Barcelona (July 17 –31, 1998), p. 11.
Sarrazin, Stephen. “Things Fall Apart: Gary Hill & Meg Stuart (with Damaged Goods) ‘Splayed Mind Out’/Gary Hill: Installations and Videotapes.” Intercommunication 25 (Summer 1998), pp. 82, 83.
“Los museos catalanes hacen su agosto: menú de exposiciones a la carta.” ABC Cataluña, Barcelona (August 8, 1998).
Bosco, Roberta. “Gary Hill, en el Macba: En busca de un nuevo lenguaje.” El Periodico del Arte 14 (August/September 1998).
Wakefield, Neville. “Let’s Go to the Videotape.” Art and Auction XXI, 4 (October 19 – November 1, 1998), cover.
Bellemare-Brière, Véronique. “La vidéo s’éclate.” Esse, Montreal 4 (1998), p. 5.
“Liminal Performance: Gary Hill in Conversation with George Quasha and Charles Stein,” PAJ (Performing Arts Journal) No. 58, Vol. XX, No. 1 (January 1998), pp. 7, 12, 23.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, p. 67.
Murphy, Jay. “Gary Hill and the ‘New Aesthetic Paradigm.’” Paper presented at the International Association of Philosophy and Literature (IAPL) Conference “Postmodern Sites,” Hartford, CT, May 12, 1999. (Reprinted at www.thing.net/~ soulcity/ap/)
Chung, Yong-do. “Gary Hill: New Art Language Marking History of Reason. ” Art, Korea (October 2000), p. 142 (in Korean).
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 122 – 126, 127 – 129, 132, 246, 254, 265.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 22, 30, 33, 39.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 24, 36, 42, 51.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 15, 16.
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 14, 15, 20, 25, 45, 60 – 61, 74, 79.
Rowlands, Penelope. “Gary Hill’s Hall of Mirrors.” ARTnews 100, 5 (May 2001), pp. 178.
A Creative Legacy: A History of the National Endowment for the Arts Visual Artists’ Fellowship Program 1966 – 1995. New York: Harry N. Abrams, 2001, pp. 67 (photo).
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 195.
Zutter, Jörg, ed. Gary Hill / Bruce Nauman: International New Media Art. Sydney: National Gallery of Australia, 2002, pp. 29. (Includes George Quasha’s essay: “Gary Hill’s Art of the Threshold.”)
De Volder, Geoffroy (interview with Gary Hill). “L’instant de ma mort.” DITS (MAC’s Grand-Hornu) (Spring 2003), pp. 142 – 153.
Diez, Renato. “Gary Hill: Immagini contro parole.” Arte 380 (April 2005), pp. 98 – 104.
Schwabsky, Barry. “Gary Hill.” Contemporary 71 (2005), pp. 58 – 60.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 24, 37, 208, 209 – 233, 245, 249, 309, 350, 431, 437, 439, 444, 580, 602, 618, 639.
100 Video Artists. Madrid: EXIT Publicaciones – Rosa Olivares y Asociados S.L., 2010, pp. 30, 218 – 221, 459. Text by George Quasha.