Viewer, 1996
Five-channel video installation, silent
Five video projectors, five-channel synchronizer, five DVD players and five DVDs (color; silent)
Dimensions: total projection size approx. 45 ft. long (14 m.)
Edition of two and one artist’s proof
Approximately life-size color images of seventeen day laborers, facing out from a neutral black background, are projected on an approximately 45-foot long wall, by five video projectors attached to the ceiling. These seventeen discrete images, recorded one by one and then composited in three groups of three and two groups of four figures, are synchronized so that the figures appear to be standing side-by-side in a somewhat continuous line. The men stand almost motionless, their movement limited to involuntary stirring – an incidental shuffling from foot to foot, slight movements of the hands, and almost imperceptible changes in facial expression. There is no interaction among them, each man standing quite alone and gazing out from the plane of projection towards the viewer.
An example of this work was exhibited for the first time in a solo exhibition at Barbara Gladstone Gallery, New York, New York, November 17 – December 21, 1996.
“4e biennale d’art contemporain de Lyon,” Musée d’art contemporain, Lyon, France, July 9 - September 24, 1997.
Aarhus Kunstmuseum, Aarhus, Denmark, January 17 – April 5, 1999.
“Warten,” Kunst-Werke Berlin, Germany, September 30, 1999 – February 28, 2000.
“Voici, 100 ans d’art contemporain,” Palais des Beaux-Arts, Brussels, Belgium, November 23, 2000 – January 28, 2001.
“Gary Hill: Selected Works.” Kunstmuseum Wolfsburg, Wolfsburg, Germany, November 10, 2001 – March 10, 2002. Travelled to: Centro Cultural de Belém, Lisbon, Portugal, October 10, 2002 – January 12, 2003.
“Works and Days: Acquisitions for the Louisiana Collection 2000 – 2004,” Louisiana Museum of Modern Art, Humlebaek, Denmark, June 22 – August 22, 2004.
“Image, Body, Text: Selected Works by Gary Hill,” San Francisco Museum of Modern Art, San Francisco, California, March 24 – May 30, 2005.
“Take Two. Worlds and Views: Contemporary Art from the Collection,” MOMA, New York, New York, September 14, 2005 – July 3, 2006.
“Sip My Ocean,” Louisiana Museum of Modern Art, Humlebaek, Denmark, April 5 – August 20, 2006.
“Beyond Cinema: The Art of Projection,” Hamburger Bahnhof – Museum für Gegenwart, Berlin, Germany, September 29, 2006 – February 25, 2007.
“Gary Hill: o lugar sem o tempo / taking time from place,” Oi Futuro, Rio de Janeiro, Brazil, July 20 – September 6, 2009.
“Gary Hill: Circumstances/Circunstâncias,” MIS - Museu da Imagem e do Som, São Paulo, Brazil, January 19 – March 21, 2010.
“Gary Hill: Viewer,” GMG Gallery, Moscow, Russia, June 21 – 30, 2010.
“America - it's also our history!,” organized by Museum of Europe / Tempora, Tours & Taxis, Brussels, Belgium, October 15, 2010 – July 4, 2011.
“Gary Hill – Solo Exhibition,” The Center for Contemporary Art, Tel Aviv, Isreal, November 22, 2012 - January 21, 2013,
“Gary Hill: Momentombs,” Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.
"Gary Hill: Viewer," Art & Design District Palma, Palma de Mallorca, December 12, 2023.
"Gary Hill: Continuous Happening," Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, China, October 23 - December 8, 2024.
Halle, Howard. “Class Act. Way west in Chelsea, Gary Hill includes the masses.” Time Out, New York (December 19, 1996).
Chambers, Karen. “Gary Hill: Barbara Gladstone Gallery.” http://www.artresources.com/reviews/review.ihtml.
Quasha, George and Charles Stein. Viewer. Gary Hill’s Projective Installations 3. Barrytown, New York: Station Hill Arts, 1997.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, pp. 45, 46.
Quasha, George and Charles Stein. Tall Ships. Gary Hill’s Projective Installations 2. Barrytown, New York: Station Hill Arts, 1997, pp. 7, 8.
Liesbrock, Heinz. Gary Hill: Midnight Crossing. Münster: Westfälischer Kunstverein, 1997, pp. 15, 16.
4e biennale d’art contemporain de lyon: l’autre. Lyon: Réunion des Musées Nationaux, 1997, pp. 114, 115, 207.
The Multimedia and Cultural Revolution. Tokyo: NTT Intercommunication Center, 1997, pp. 134, 135.
Schumacher, Rainald. “Stop the train: Stan Douglas, Beat Streuli, Bruce Nauman and Gary Hill.” Flash Art (International Edition) 30, 194 (May/June 1997), pp. 90, 91, 93.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
Kremer, Mark. “Geef me een licham met vleugels van papier.” Metropolis M 6 (December 1997/January 1998), pp. 22, 23, 32.
Tougas, Colette. “Gary Hill. Musée d’art contemporain de Montréal, 30 janvier – 26 avril.” Parachute 90 (April - June 1998), p. 43.
La Chance, Michaël. “Vidéognose.” Spirale, Montreal (May – June 1998), p. 12.
“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. 11, 12, 23.
“Beunruhigende blick.” Art – das Kunstmagazin. (January 1999), p. 67.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, pp. 59 – 70, 114.
Doran, Anne. “Seeing is Believing.” Time Out, New York 173 (January 14 – 21, 1999), p. 49.
Bouruet-Aubertot, Veronique. “Art et son en phase de resonance.” Beaux Arts Magazine, No. 178 (March 1999), p. 33.
“Wij herinneren ons niet.” KNACK Belgium (October 13 – 19, 1999), p. 81.
“Pass Partout.” TIP Berlin Magazin (October 14, 1999).
Schmitz, Edgar. “warten.” Contemporary Visual Arts 28 (1999), pp. 70 – 71.
Wewerka, Olga. “ ‘KW’ – finální dokoncení.” Atelier Czech Republic (November 18, 1999).
“Umfrage: Medienkunst.” Art – das Kunstmagazin 12. (December 1999), pp. 50 – 51.
Biennale of Sydney 2000. Sydney: Biennale of Sydney Ltd., 2000, pp. 64 – 65.
Duve, Thierry de. Voici, 100 ans d’art contemporain. Bruxelles/Brussel 2000 and Gand-Amsterdam: Ludion, 2000, pp. 200 – 201.
Chung, Yong-do. “Gary Hill: New Art Language Marking History of Reason. ” Art, Korea (October 2000), pp. 144 - 145 (in Korean).
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 7 – 8, 152, 253, 254, 265.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 33, 39.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 41 – 42, 51, 55.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 15, 19, 20, 21 – 22, 23 – 24.
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 – 16, 25 – 26, 57 – 60, 61, 74, 79, 86.
Mauron, Véronique. Le signe incarné: ombres et reflets dans l’art contemporain. Paris: Éditions Hazan, 2001, pp. 175 – 178, 184, 189, 191, 202 – 204, 208 – 209, 266.
Rowlands, Penelope. “Gary Hill’s Hall of Mirrors.” ARTnews 100, 5 (May 2001), pp. 176 - 177.
Riemschneider, Burkhard and Uta Grosenick, eds. Art Now. Cologne: Taschen, 2001, pp. 68 – 69.
Odin, Paul-Emmanuel. “La syncope du regard.” Le Pavé 188 (February 27 – 13, 2002).
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 29, 36, 37, 201.
Thély, Nicolas. “Gary Hill: Vidéographe.” Beaux Arts 213 (February 2002), p. 36.
Maquis. Paris: Le Plateau / FRAC Île-de-France and Brussels: La Lettre Volée, 2002, pp. 36 (photo only).
Zutter, Jörg, ed. Gary Hill / Bruce Nauman: International New Media Art. Sydney: National Gallery of Australia, 2002, pp. 26. (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.
Barro, David. Gary Hill: Poeta da percepção, poet of perception, poeta de la percepción. In Portuguese, Spanish and English. Porto: Mimesis, 2003, pp. 25, 39, 47, 61.
Shaw, Jeffrey and Peter Weibel, eds. Future Cinema: The Cinematic Imaginary after Film. Karlsruhe: ZKM and Cambridge: MIT Press, 2003, pp. 309 - 310.
Odin, Paul-Emmanuel. “L’inquiétude de la communauté.” L’Inventaire Six: “identité.” Marseille: La Compagnie, 2005, pp. 8 – 23.
Lundgaard, Ida Braendholt, Teddy Josephsen, and Julie Blicher Trojaborg, eds. Moderne kunst i dansk 3: ‘Man kan vel se, hvad det er.’ Copenhagen: Gyldendalske Boghandel, 2005, pp. 24 –2 7, 69. [educational book]
Gary Hill: Resounding Arches / Archi Risonanti. (Catalogue and DVD.) Rome: Ministero per i Beni e le Attività Culturali Soprintendenza archeologica di Roma, and Milan: Mondadori Electa S.p.A., 2005, pp. 148.
Sip My Ocean: Video from the Louisiana Collection. Humlebaek: Louisiana Museum of Modern Art, 2006, pp. 40 – 45. Essay entitled “Viewing Viewer” by Anders Kold.
Beyond Cinema: The Art of Projection: Films, Videos and Installations from 1963 to 2005. (Berlin: Staatliche Museen zu Berlin, Hamburger Bahnhof, 2006), pp. 102 – 103, 110 – 113.
Kaye, Nick. Multi-Media: Video, Installation, Performance. London: Routledge, 2007, pp. 26, 131 – 139, 210.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 10, 11, 19, 24 - 37.
Schürmann, Eva. Sehen als Praxis, Ethisch-ästhetische Studien zum Verhältnis von Sicht und Einsicht suhrkamp taschenbuch wissenschaft. Frankfurt: Suhrkamp Verlag, 2008, pp. 28, 214 – 216, 219, 241. In German.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 5, 10, 24, 47, 234 – 244, 248, 253, 255, 269, 271, 340, 431, 437, 444, 445, 470, 495, 504, 566, 569, 597, 627.
Gagnon, Jean. “Gary Hill à la recherche de la perte technologique / An Interview with Gary Hill.” artpress 2: Arts Technologiques - Conservation et Restauration (February/March/April 2009), pp. 10 – 21. (French and English)
Douglas, Stan and Christopher Eamon, eds. Art of Projection. Ostfildern: Hatje Cantz Verlag, 2009, pp. 20, 143.
Alzugaray, Paula. “Sob Os Holofotes.” Istoé (July 22, 2009), pp. 110 -111.
Molina, Camila. “Cinco confrontos com Gary.” Caderno 2, Sao Paolo (July 20, 2009), p. D1.
Torres, Bolivar. “Plugado no apagamento do ritmo e dos corpos.” Jornal Do Brasil, Caderno B (July 19, 2009), p. B2.
Velasco, Suzana. “Linguagem Física.” O Globo. (July 20, 2009), p. 1 (Segundo Caderno).
Gary Hill: o lugar sem o tempo / taking time from place. Rio de Janeiro: Contra Capa Livraria / Mag Mais, 2009, pp. 14, 15, 26, 30 – 45, 49 – 55.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 16, 17, 18, 19, 32, 33, 42 – 43.