GARY HILL

Arranged chronologically.

Excerpt of the transcription of the spoken text from Around & About (1980).  In Installation: Video, unpaginated.  Buffalo, New York: Hallwalls Contemporary Arts Center, 1980.

“Processual Video” (various statements and text excerpts from Processual Video (1980);  Videograms, (1980–81); Black/White/Text (1980); Equal Time (1979); Picture Story, (1979); and Soundings, (1979)).  In Video Viewpoints, unpaginated.  New York: Museum of Modern Art, February 1980.  Online here.

“War Zone.”  Media Study/Buffalo (January–May 1980): 10.

“Videograms.”  In Themes in Electronic Image Processing, unpaginated. New York: The Kitchen Center for Music, Video and Dance, December, 1981.

“Judge’s statement.”  In The 8^th Annual Ithaca Video Festival, unpaginated. Ithaca, New York: Ithaca Video Projects, 1982.

“Primarily Speaking, 1981–83.”  In  The New American Filmmakers Series 12, unpaginated.  New York: Whitney Museum of American Art, 1983. Program notes.  Reprinted in Gary Hill, edited by Robert C. Morgan, 280–281.  Baltimore: PAJ Books/The Johns Hopkins University Press, 2000; and in Italian in Gary Hill: Scritti/Interviste, edited by Ester Coen, 109.  Milan: Mondadori Electa S.p.A., 2005.

Artist Statement. In The New American Filmmakers Series 30, unpaginated.  New York: Whitney Museum of American Art, 1986.  Program notes.

Transcriptions of the spoken texts from Around & About (1980), and Processual Video (1980), and the spoken and written text from Happenstance (part one of many parts) (1982–83).  In Oeuvres vidéo de Gary Hill en sa présence: Center for Media Art, unpaginated.  Paris: American Center, 1983.  Program notes.

Description of It’s Time to Turn the Record Over (CRUX, 1983–87).  In Video Installation 1983, unpaginated.  Published as a special supplement to Afterimage (1983).

“Notes on URA ARU: A Work in Progress.”  In Gary Hill/Steven Kolpan Video Works, unpaginated.  Woodstock, New York, 1985.  Program notes.

“URA ARU: The Acoustic Palindrome.” Video Guide 7, no. 34 (1985): 10–11.Reprinted in Gary Hill, edited by Robert C. Morgan,282–286.  Baltimore: PAJ Books/The Johns Hopkins University Press, 2000; and in Italian in Gary Hill: Scritti/Interviste, edited by Ester Coen, 110–114.  Milan: Mondadori Electa S.p.A., 2005.

Focus: Why Do Things Get in a Muddle?, unpaginated.  Tokyo: Video Gallery Scan, 1985.  Program notes.

“Happenstance (explaining it to death).”  In Video d’artiste, unpaginated.  Geneva: Bel Veder, 1986.  Transcription of the work reprinted in Italian in Gary Hill: Scritti/Interviste, edited by Ester Coen, 107–108.  Milan: Mondadori Electa S.p.A., 2005.

Transcription of the spoken text of Processual Video (1980).  In 2nd International Week of Video, 33–35.  Geneva: St. Gervais, 1987.

“Primarily Speaking.” Video Communications, no. 48 (Paris, 1988).  Reprinted in Gary Hill, edited by Robert C. Morgan,271–279.  Baltimore: PAJ Books/The Johns Hopkins University Press, 2000; and in Italian in Gary Hill: Scritti/Interviste, edited by Ester Coen, 99–106.  Milan: Mondadori Electa S.p.A., 2005.

Paragraph and photograph in “Reordering the Hierarchy,” by Willard Wood.  Reflex (May–June 1988).

“And if the Right Hand Did not Know What the Left Hand is Doing.”  In Illuminating Video, edited by Doug Hall and Sally Jo Fifer, 91–99.  New York: Aperture Press in association with the Bay Area Video Coalition, 1990.  Reprinted in German in Noëma Art Journal, no. 49 (October–November 1998): 83–89; and in An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein, 533–539.  Barcelona: Ediciones Polígrafa, 2009.

“BEACON (Two Versions of the Imaginary).”  In Energieen, unpaginated.  Amsterdam: Stedelijk Museum, 1990. Reprinted in Gary Hill, edited by Robert C. Morgan, 287–289.  Baltimore: PAJ Books/The Johns Hopkins University Press, 2000; in Italian in Gary Hill: Scritti/Interviste, edited by Ester Coen, 117–119.   Milan:  Mondadori Electa S.p.A., 2005 ; and in An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein, 540–541.  Barcelona: Ediciones Polígrafa, 2009.

Transcription of the spoken and written text in BEACON (Two Versions of the Imaginary) (1990).  In Bienal de la Imagen en Movimiento ’90, 180, 181.   Madrid: Museo Nacional Centro de Arte Reina Sofia, 1990.

“Inasmuch As It Is Always Already Taking Place.”  In OTHERWORDSANDIMAGES: Video by Gary Hill, 27.  Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990.

“Site Re:cite.” Camera Obscura: Unspeakable Images 8, no. 24 (September 1990): 125–138.  Reprinted in Gary Hill, edited by Robert C. Morgan, 299–307.  Baltimore: PAJ Books/The Johns Hopkins University Press, 2000; and in An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein, 556–559.  Barcelona: Ediciones Polígrafa, 2009.  Online here.

“Split Time Mystery.” Topographie II: Untergrund, Videoinstallations in the Vienna Subway System (Vienna: Wiener Festwochen, 1991), 82, 84.

Responses to a series of questions.  In Vidéochroniques, unpaginated.  Vielle Charité, Marseille 1, September 1991.

Description of Between Cinema and a Hard Place (1991).  In The 2nd International Biennale in Nagoya ARTEC ‘91, 30–33.  Nagoya, Japan: Nagoya City Art Museum, 1991.

Transcription of written text of CORE SERIES “Leaves” (1991).  In Gary Hill—I Believe It Is an Image, unpaginated.  Tokyo: Watari Museum of Contemporary Art, 1992.

Description of Between Cinema and a Hard Place (1991).  In Dance!, 3, 4.  Riverside, California: California Museum of Photography, 1992.  Program notes.

“Surfing the Medium.”  Preface to Chimaera Monographe No. 10 (Gary Hill), by Stephan Sarrazin, 7–10.  Montbéliard: Centre International de Création Vidéo Montbéliard, Belfort, 1992.  Reprinted in Italian in Gary Hill: Scritti/Interviste, edited by Ester Coen, 129–132.  Milan:  Mondadori Electa S.p.A., 2005; and in An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein, 560–562.  Barcelona: Ediciones Polígrafa, 2009.

“Entre-vue.”  In Gary Hill, 8–13.   Paris: Musée national d’art moderne, Centre Georges Pompidou, 1992. In French. Reprinted in English (with Dutch and German translations) in Gary Hill, 13–17.  Amsterdam: Stedelijk Museum and Vienna: Kunsthalle Wien, 1993; in Spanish (with English translations) in Gary Hill, 12–17.  Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993; in Gary Hill, edited by Robert C. Morgan, 290–298.  Baltimore: PAJ Books/The Johns Hopkins University Press, 2000; in Spanish in Gary Hill en Argentina: textos, ensayos, dialogos, 15–18.  Buenos Aires: Centro Cultural Recoleta, 2000; and in Italian in Gary Hill: Scritti/Interviste, edited by Ester Coen, 120–128.  Milan: Mondadori Electa S.p.A., 2005.

Excerpts from “Inter-view.”  In ForumBHZvideo 1993: Festival Internacional de Vídeo: Limite, 45–47.  Belo Horizonte, Brazil: Festival Internacional de Video, 1993.

“Entre 1 & 0.”  In Gary Hill, 74–76.  Paris: Musée national d’art moderne, Centre Georges Pompidou, 1992. In French. Reprinted in English (with Dutch and German translations) in Gary Hill, 37–39.  Amsterdam: Stedelijk Museum and Vienna: Kunsthalle, Wien, 1993; in Spanish (with English translations) in Gary Hill, 78–80.  Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993; in Italian in Gary Hill: Scritti/Interviste, edited by Ester Coen, 133–137.  Milan: Mondadori Electa S.p.A., 2005 ; and in An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein, 542–545.  Barcelona: Ediciones Polígrafa, 2009.

Interview and spoken text of If Two People (1993).  In Das 21. Jahrhundert—Mit Paracelsus in die Zukunft, 84–87.  Basel: Kunsthalle Basel, 1993.

Description of BEACON (Two Versions of the Imaginary) (1990).  In Gary Hill, 24, 25.  Seattle, Washington: Henry Art Gallery, University of Washington, 1994.

Transcription of the spoken text of Withershins (1995).  In Colisiones: Arteluku, Donostia 14 Augosto–16 Octobre 1995, 60–63.  San Sebastián: Diputación Foral de Gipuzkoa, 1995.

Response to the question “What is ‘Utopia’ to you?.”  Intercommunication 21 (Summer 1997): 173.

“The Electronic Gallery.”  The New York Times Magazine (Special Technology Issue), September 28, 1997, 93.

Transcriptions of texts from Splayed Mind Out (1997).  In Gary Hill, Meg Stuart/Damaged Goods. Splayed Mind Out, unpaginated.  Helsinki: Kiasma, 1998.  Program notes.

“Void Still Life.”  ANY, no. 27 (2000): 27. 7B.  Poster.

“Withershins 1995.”  In Gary Hill: Around & About: A Performative View.  Paris: Éditions du Regard, 2001.

“Gary Hill: Withershins.”  Raddle Moon, no. 20 (January 2003): 5–31, 119–120 .  Front and back cover.

Transcriptions of the spoken texts in Soundings (1979); Site Recite (a prologue) (1989); Reflex Chamber (1996); and Impressions d’Afrique (2003).  In Gary Hill: Scritti/Interviste, edited by Ester Coen, 96–98; 138–139; 140–143.  Milan: Mondadori Electa S.p.A., 2005.  In Italian.

“Gary Hill: Primarily Speaking.” Infra-Mince: revue de photographie, 5 (2009): 133–143.

“Over Varèse 360°.”  In Varèse 360°, 76–79, 124–127, 169–172.  Amsterdam: Holland Festival, 2009. In Dutch, English and French. Revised version reprinted as “À propos de Varese 360°” in Edgard Varèse/Gary Hill: Edgard Varèse 360°, 8–10.  Paris: Salle Pleyel, 2009 . In French.

Transcriptions of the spoken texts in 23:59:59:29—The Storyteller’s Room (1998); Around & About (1980); Cut Pipe (1992); Equal Time (1982); Goats and Sheep (1995/2001), and Twofold (Goats and Sheep) (1995/2002); House of Cards (1992); Impressions d’Afrique (2003); Midnight Crossing (1997); Primarily Speaking (1981–83); Processual Video (1980); Reflex Chamber (1996); Videograms (1980–81); and Wall Piece (2000).  In An Art of Limina: Gary Hill’s Works and Writings, by George Quasha and Charles Stein, 54–55, 76–77, 108–109, 293, 354–355, 403, 408, 412–415, 419, 531–532, 546–548, 549–555, 563–565.  Barcelona: Ediciones Polígrafa, 2009.

Transcriptions of the spoken texts in Around & About (1980); Happenstance (part one of many parts) (1982–83); Mediations (towards a remake of Soundings) (1979/1986); Site Recite (a prologue) (1989); and Wall Piece (2000).  In Gary Hill: Viewer, 46–47, 56–57, 64–65, 70–71, 74–75.  Moscow: GMG Gallery, 2010. In Russian and English.