Primarily Speaking, 1981-83
Video (color, stereo sound); 18:40 min.
This work is the single-channel version of a multi-channel installation of the same name. The picture plane is divided into a left and a right half. A changing background is formed by colorful, highly graphic patterns reminiscent of TV test signals and various monochrome surfaces. Two smaller rectangles appear on the surface, in which video sequences are running. The two image strands show landscapes, interiors, objects, graphical images and text that are sometimes used in contrast, and on other occasions the same image can be seen mirrored in each rectangle. They are accompanied by Hill’s recitation of a long text, whose syllabic sequence determines the rhythm of the images (the screen changes with each uttered syllable). His voice comes alternately out of the left and right stereo channels functioning like a dialogue. This is broken into sections by a singing, but electronically altered, voice. The text, constructed for the most part from idiomatic expressions, extends the themes seen in Around & About, 1980. In both works, the artist is concerned with disclosing and deciphering the codes of human relations. The desire for a community through language comes very much to the fore, while the constantly changing images attempt to compete.
Broeker, Holger, ed. Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, GHCR 47, pp. 105 - 110.
An example of this work was exhibited for the first time as a work-in-progress as part of “Gary Hill: Equal Time,” Long Beach Museum of Art, Long Beach, California, March 28 – May 2, 1982.
“The Sydney Biennale,” Sydney, Australia, April 7 – May 23, 1982.
Solo screening. Boston Film/Video Foundation, Boston, Massachusetts, March 24, 1983.
“American Video: Twenty New Works,” Museum of Modern Art, New York, New York, May 1 – October 30, 1983. Travelled to the Museum of Modern Art, Hyogo, Japan, May 3 – 8, 1983 and other venues in Japan, the United States and Europe.
“The Second Link: Viewpoints on Video in the Eighties,” Walter Philips Gallery, Banff, Alberta, Canada, July 8 – July 21, 1983. Travelled to: Museum of Modern Art, New York, New York, August 18 – September 27, 1983; Stedelijk Museum, Amsterdam, The Netherlands, September 9 – October 16, 1983; A Space, Toronto, Canada, October 1 – 29, 1983; Long Beach Museum of Art, Long Beach, California, November 20, 1983 – January 15, 1984; Institute of Contemporary Arts, London, England, December 16, 1983 – January 15, 1984.
XXXI Festival Internacional de Cine de San Sebastian, San Sebastian, Spain, September 15 – 24, 1983.
San Francisco International Video Festival, San Francisco, California, October 6 – 15, 1983.
19th Chicago International Film Festival, Chicago, Illinois, November 4 – 18, 1983.
Solo screening. London Video Arts, London, England, December 8, 1983.
Solo screening. International Cultural Center, Antwerp, Belgium, December 9, 1983.
Solo exhibition. Center for Media Art, The American Center, Paris, France, December 13 – 15, 1983.
“Videographia,” Escoia I Centre d’Activtats Video, Barcelona, Spain, February 20 – 25, 1984.
“Gary Hill Selected Videography,” JISC Plaza Video and International Cultural Community Services, Tokyo, Japan, March 16, 1984.
“So There, Orwell 1984,” The Louisiana World Exhibition, New Orleans, Louisiana, May 12 – November 11, 1984.
1st Festival Nacional de Video, Círculo de Bellas Artes, Madrid, Spain, June 11 – 16, 1984.
“WNET/Thirteen TV Lab: A Survey,” Museum of Modern Art, New York, New York, November 23, 1984 – January 1, 1985.
Solo exhibition. Video Gallery Scan, Tokyo, Japan, March 15 – 17, 1985.
“The Artist and the Computer. Personal Visions in a New Age,” Aaron Davis Hall, The Leonard Davis Center for the Arts, City College of New York, New York, New York, September 20 – 22, 1985.
Solo screening. 911 Arts Center, Seattle, Washington, November 9, 1985.
“Video Transformations,” organized by Independent Curators Incorporated, New York, New York. Travelled in the United States from January 20, 1986 – April 19, 1987.
“Video d’artistes: Robert Cahen, Gary Hill, Jacques Louis Nyst, Dan Reeves,” Salle Patino, Geneva, Switzerland, January 31 and February 1, 1986.
“Collections Vidéo: Acquisitions Depuis 1977,” Musée national d’art moderne, Centre Georges Pompidou, Paris, France, March 5 – May 11, 1986.
“Resolution: A Critique of Video Art,” Los Angeles Contemporary Exhibitions (LACE), Los Angeles, California, April 18 – May 10, 1986.
Solo screening. Port Washington Public Library, Port Washington, New York, May 22, 1986.
Solo exhibition. Whitney Museum of American Art, New York, New York, May 24 – June 15, 1986.
International Festival of Video Art, Saw Gallery, Ottawa, Ontario, Canada. Travelled to: Centre for Art Tapes, Halifax, Nova Scotia, Canada, October 6 – 13, 1986; Forest City Gallery, London, Ontario, Canada, October 8 – 17, 1986; EM Media, Calgary, Alberta, Canada, October 15 – 26, 1986; A Space, Toronto, Ontario, Canada, October 7 – 16, 1986; Video Pool, Winnipeg, Manitoba, Canada, October 14 – 22, 1986; Monitor North, Thunder Bay, Ontario, Canada, October 20 – 30, 1986; PRIM Video, Montreal, Quebec, Canada, November 5 – 15, 1986.
“Contemporary Diptychs: Divided Visions,” Whitney Museum of American Art, Fairfield County, Stamford, Connecticut, March 20 – May 27, 1987.
“Documenta VIII,” Museum Fridericianum, Kassel, Germany, June 12 – September 20, 1987.
Japan 87 – The First Video Television Festival: “Private Visions and Media Crossover,” Spiral, Tokyo, Japan, July 29 – August 11, 1987.
2e Semaine Internationale de Vidéo, Saint-Gervais Genève, Geneva, Switzerland, November 16 – 21, 1987.
Solo screening. Western Front, Vancouver, British Columbia, Canada, April 16, 1988.
“Art Video Americain. Les Annees quatre-vingt,” Le centre de recherche, d’echange et de diffusion pour l‘art contemporain (CREDAC), Paris, France, May 18, 1988.
“AS TOLD TO: structures for conversation,” Walter Phillips Gallery, Banff Centre, Banff, Alberta, Canada, July 28 – August 28, 1988.
Solo exhibition. Musée d’art moderne, Villeneuve d’Ascq, France, January 19 – February 19, 1989.
Vidéoformes 89: Festival de la Création Vidéo, Clermont-Ferrand, France, April 20 – 29, 1989.
39 Berliner Festwochen 1989; “25 Jahre Video-Skulptur,” Neuer Berliner Kunstverein, Berlin, Germany, August 27 – September 24, 1989.
Solo exhibition. “OTHERWORDSANDIMAGES,” Video Galleriet, Huset, Denmark and Ny Carlsberg Glyptotek Museum, Copenhagen, Denmark, April 20 – May 13, 1990.
“Passages de l’image,” Musée national d’art moderne, Centre Georges Pompidou, Paris, France, September 18 – November 19, 1990. Travelled to: Centre Cultural de la Fundació, Caixa de Pensions, Barcelona, Spain, February 11 - March 31, 1991; The Power Plant, Toronto, Ontario, Canada, May 10 – June 16, 1991; Wexner Center for the Arts, Columbus, Ohio, July 12 – October 27, 199; San Francisco Museum of Modern Art, San Francisco, California, February 6 – April 12, 1992.
Solo exhibition. Moderna Museet, Stockholm, Sweden, November 26 – December 16, 1990. Travelled to: Museum of Contemporary Art, Helsinki, Finland, July 24 – 27, 1991.
“Selections from the Circulating Library,” Museum of Modern Art, New York, New York, January 17 – March 5, 1991.
"Impakt: Festival voor Experimentele Kunst," Utrecht, Holland, May 23 – 26, 1991.
Japan 92 Video and Television Festival: “Prospectus for a TV Art Channel,” Spiral, Tokyo, Japan, February 1 – 11, 1992.
“Passageworks,” Rooseum, Malmö, Sweden, April 27 – July 25, 1993.
“Gary Hill: In Light of the Other,” Museum of Modern Art, Oxford, England, November 7, 1993 – January 9, 1994; The Tate Gallery, Liverpool, England, February 25 – May 2, 1994.
ForumBHZvideo, Festival Internacional de Video, Belo Horizonte, Brazil, November 10 – 15, 1993.
“Gary Hill: Sites Recited,” Long Beach Museum of Art, Long Beach, California, December 3, 1993 – February 20, 1994.
“Gary Hill: Selected Videotapes 1978 – 1990,” Art Gallery of Ontario, Toronto, Ontario, Canada, June 7 – August 28, 1994.
“Gary Hill,” Museum of Contemporary Art, Los Angeles, California, December 19, 1994 – March 12, 1995.
“Gary Hill,” (travelling exhibition organized by Riksutställningar, Stockholm, Sweden) Moderna Museet, Spårvagnshallarna, Stockholm, Sweden, February 4 – April 17, 1995; Museet for samtidskunst, Oslo, Norway, April 26 - May 21, 1995; Helsingin Taidehalli, Helsinki, Finland, June 29 - July 30, 1995; Bildmuseet, Umeå, Sweden, September 3 - October 15, 1995, Jönköpings läns museum, Jönköping, Sweden, October 22 - November 15, 1995; Göteborgs Konstmuseum, Göteborg, Sweden, November 15, 1995 - January 14, 1996.
Solo exhibition. Dia Center for the Arts, New York, New York, May 11 – June 25, 1995.
Sedicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova, Padua, Italy, October 29, 1995 – January 28, 1996.
“Gary Hill: O lugar do outro/where the other takes place,” Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, July 1 – 6, 1997 (not the full run of the exhibition); Museu de Arte Moderna de São Paulo, São Paulo, Brazil, October 3 – November 2, 1997.
“Gary Hill: Rétrospective de ses premières oeuvres mono-bandes,” Cinéma Lux, Caen, Basse-Normandie, France, December 11, 1997.
“Visual Utterance: The Works of Gary Hill,” Pacific Film Archive, University of California, Berkeley, California, February 11, 18, 1998.
Solo exhibition. Center for Contemporary Images, Saint-Gervais Genève, Geneva, Switzerland, September 9, 10, 1998.
Aarhus Kunstmuseum, Aarhus, Denmark, January 17 – April 5, 1999.
“Gary Hill: Video Works,” NTT InterCommunication Center, Tokyo, Japan, February 16 – March 31, 1999.
“The Cool World: Film & Video in America 1950 – 2000, Part 2: The Unfixed Image, 1970 - 2000,” Whitney Museum of American Art, New York, New York, January 30, 2000.
Solo exhibition. Centro Cultural Recoleta, Buenos Aires, Argentina, May 17 – June 4, 2000 (May 25, 2000 screening).
Solo exhibition. Museo Caraffa, Córdoba, Argentina, July 7 – 30, 2000 (July 15, 2000 screening).
“Hill(scape),” Extra Microwave Media Art Festival (organized by Videotage), Hong Kong Space Museum Lecture Hall, Hong Kong, January 14 – 31, 2001 (January 20 screening).
“l’écriture vidéophage – les bandes vidéo de Gary Hill,” La Compagnie, Marseille, France, May 1 – 31, 2001 (May 15 and 17 screenings).
“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.
“Gary Hill: Selected Works 1976 – 2003,” Museum of Contemporary Art, Taipei, Taiwan, May 2 – August 24, 2003.
“Image, Body, Text: Selected Works by Gary Hill,” San Francisco Museum of Modern Art, San Francisco, California, March 24 – May 30, 2005.
“Videographies – The Early Decades,” EMST (The National Museum of Contemporary Art), Athens, Greece, July 13 – December 31, 2005.
Seoul International NewMedia Festival, Seoul, Korea, August 4 – 14, 2011.
“SCHRIFTFILME: Schrift als Bild Bewegung (TYPEMOTION: Type as image in motion,” FACT, Karlsruhe, Germany and Liverpool, Great Britain, November 13, 2014 – February 8, 2015."Gary Hill: Momentombs," Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.
Fourth Biennale of Sydney 1982: Vision in Disbelief. Sydney: Biennale of Sydney, 1982, p. 147.
Renouf, Renee. "Conceptual visualizations: Video Free America, San Francisco." Artweek 13, 23 (July 3, 1982), p. 2.
The Second Link: Viewpoints on Video in the Eighties. Banff, Alberta, Canada: Walter Phillips Gallery, The Banff Centre School of Fine Arts, 1983, pp. 29, 45, 82, 83.
Hanhardt, John G. and Gary Hill. Gary Hill: Primarily Speaking, 1981-83. The New American Filmmakers Series 12. Program notes. New York: Whitney Museum of American Art, 1983, unpaginated.
Oeuvres vidéo de Gary Hill en sa présence. Center for Media Art. Program notes. Paris: American Center, 1983, unpaginated.
19th Chicago International Film Festival. Chicago: Chicago International Film Festival, 1983, p. 51.
L’Avantguarda Catalana del Video. Mostra de Vídeos Premiats al il Festival de Vídeo de San Sebastián. Mostra de les Cintes de Producció Espanyola Seleccionades al il Festival de Vídeo de San Sebastián. San Sebastian: Departament de Cultura de la Generalitat de Catalunya, 1983, unpaginated.
XXXI Festival Internacional de Cine de San Sebastian. Program notes. San Sebastian, Spain: Il Festival de Vídeo de San Sebastian, 1983, p. vii.
Lee, Thomas. "March Screening Series at BF/VF." Visions Magazine (March 1983), p. 13.
Furlong, Lucinda. "A Manner of Speaking: An Interview with Gary Hill." Afterimage 10, 8 (March 1983), pp. 12 – 15.
Zeichner, Arlene. “MoMA-TV: The Push to Artisfy Video.” Village Voice XXVIII, 36 (September 6, 1983), p. 83.
Larson, Kay. "Art Through a Screen Dimly." New York 16, 36 (September 12, 1983), pp. 86, 87.
“SF Video Festival.” Video Networks, San Francisco 7, 6 (September 1983), p. 1.
Lord, Catherine. "It's the thought that counts: Museum of Fine Arts, Santa Fe; University of New Mexico, Albuquerque." Afterimage 11 (October 1983), p. 11.
Actes du colloque video, fiction et cie. 2e Manifestation International de Vidéo de Montbéliard. Montbéliard, France: CAC Montbéliard, 1984, p. 46.
So There, Orwell 1984. Program notes. New York: The Beard’s Fund, 1984, unpaginated.
“The landscapes we can see in installation video.” Video Com, Japan 14 (1984), pp. 20, 26, 27.
The Sixth Annual San Francisco International Video Festival. Program notes. San Francisco: San Francisco International Video Festival, 1985, p. 147.
Sugihara, Mariko. “Everything that is seen on TV is an idiom.” Video Com, Japan 20 (1985), p. 164.
The Image of Fiction: International Videoart Infermental 5. Rotterdam, Germany: Con Rumore, 1986, p. 41 & unpaginated.
Hanhardt, John G. and Gary Hill. Gary Hill. The New American Filmmakers Series 30. New York: Whitney Museum of American Art, 1986, unpaginated.
Video by Artists 2. Toronto: Art Metropole, 1986, p. 52.
Podesta, Patti. Resolution: A Critique of Video Art. Los Angeles: Los Angeles Contemporary Exhibitions (LACE), 1986, p. 25.
1986 SAW Gallery International Festival of Video Art. Ottawa, Ontario: Saw Gallery, 1986, pp. 6, 8, 21.
Bianchi, Lois. Video Transformations. New York: Independent Curators Incorporated, 1986, unpaginated.
Lalanne, Dorothée. “Artistes in Video.” L’Autre Journal 6 (April 1986), p. 32.
Kolpan, Steven. "Bateson Through the Looking Glass." Video and the Arts (Winter 1986), p. 22.
“The Sixth Annual San Francisco International Video Festival. 1985 Catalog.” Video and the Arts 11 (Winter 1986), p. 28.
Feinstein, Roni. Contemporary Diptychs: Divided Visions. New York: Whitney Museum of American Art, New York, 1987, pp. 10, 11.
2e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 63, 127.
Electrovisions: Japan 87 Video Television Festival. Tokyo: Video Gallery SCAN, 1987, p. 93.
2e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 63 – 66.
Berland, Jody. "International Video." Vanguard (April/May 1987), pp. 26, 27.
Fabre, Gladys C. Art Video Americain. Les Annees quatre-vingt. Program notes. Paris: Le centre de recherche, d’echange et de diffusion pour l‘art contemporain (CREDAC), 1988, unpaginated.
Gary Hill: DISTURBANCE (among the jars). Villeneuve d'Ascq, France: Musée d'Art Moderne, 1988, unpaginated.
Vidéoformes '89: Festival de la Création Vidéo. Clermont-Ferrand, France: Festival de la Création Vidéo, 1989, p. 12.
1989 Biennial Exhibition. New York: Whitney Museum of American Art, 1989, p. 210, 211.
Mittenthal, Robert. “Video’s Event: Gary Hill Catastrophe.” Reflex 3, 6 (November/December 1989), p. 10.
OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990, pp. 13, 14.
Gary Hill: And Sat Down Beside Her. Paris: Galerie des Archives, 1990, unpaginated.
Passages de l'Image. Paris: Musée national d'art moderne, Centre Georges Pompidou, 1990. (In Spanish: Passages de l’image. Barcelona: Centre Cultural de la Fundacio Caixa de Pensions, 1991, p. 141.)
V.I.P. – video –image(s) – peinture. Paris: galerie du génie, 1990, p. 17.
Le Temps des Machines. Valence, France: Centre de recherche et d’action culturelle (CRAC), 1990, unpaginated.
Passages de l'Image. Paris: Musée mational d'art moderne, Centre Georges Pompidou, 1990, p. 130.
Chion, Michel. "La bouche et la video." L'Image Video 3 (April/May 1990), pp. 20 – 22.
Devriendt, Christine and Paul-Emmanuel Odin. "L'image comme une aiguille qui ecrit au bout des mots Site Recite (a prologue) une video de Gary Hill." Kanal 6 (May 1990), p. 54.
Van Assche, Christine. "Gary Hill: The Imager of Disaster. Interview with Gary Hill." Galeries Magazine (December 1990/January 1991), p. 77.
IMPAKT: festival voor experimentele kunst. Program notes. Utrecht: Cultuurcentrum Ekko, 1991, p. 15.
Video Forum Berlin Bestandskatalog. Berlin: Neuer Berliner Kunstverein, 1991, pp. 16, 77.
Lageira, Jacinto. "Gary Hill. Une verbalisation du regard." Parachute 62 (April/May/June 1991), pp. 6 – 9.
Sarrazin, Stephen. “Objecten die leven Spreken, Tapes die Leren Zwijgen.” Andere Sinema 104 (July-August 1991), p. 24.
Hill, Gary. Responses to a series of questions. Vidéochroniques 1 (September 1991), unpaginated.
Hill, Gary. "Site Re:cite." Camera Obscura: Unspeakable Images, San Francisco 24 (1991), pp. 125, 134, 136.
Romano, Gianni. “Inasmuch as it is always already taking place.” Lapiz 80 (October 1991), p. 36.
Watari, Shizuko. Gary Hill – I Believe It Is an Image. Tokyo: WATARI-UM, The Watari Museum of Contemporary Art, 1992, unpaginated.
Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 38, 40, 59, 87, 95.
Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 7, 16, 23 – 25, 28 – 31, 39, 40, 49, 63, 78 – 80. (Including a preface by Gary Hill and an interview with Gary Hill.)
Glowen, Ron. “Natural processes of thought: video of the mind.” Artweek 23 (September 17, 1992), p. 24.
Fargier, Jean-Paul. “Gary Hill sur la crête des vagues.” Jardin des Modes (December 1992).
Cooke, Lynne. "Gary Hill: 'Who am I but a figure of speech?'" Parkett 34 (1992), pp. 16, 19.
ForumBHZvideo 1993. Festival Internacional de Vídeo: Limite. Belo Horizonte, Brazil: Festival Internacional de Video, 1993, pp. 46, 48. (Including an excerpt from Gary Hill, “Inter-view”).
Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 13, 38, 39, 45, 60, 61, 63, 105, 136. (Including an excerpt from Gary Hill, “Inter-view”).
Gary Hill: Sites Recited. Long Beach, California: Long Beach Museum of Art, 1993, pp. 5, 7, 24, 25.
Mignot, Dorine. Gary Hill. Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993, pp. 8, 12 – 14, 18, 21 – 35, 49, 54. (Including an excerpt from Gary Hill, “Inter-view”).
Den Hartog Jager, Hans. “Droomwereld.” HP de Tijd (September 3, 1993), pp. 113, 115.
Braet, Jan. “Schepen in de nacht.” KNACK (September 15, 1993), p. 132.
Murin, Preložil Michal. “Gary Hill.” Profil. Súcasného Výtvarného Umenia (December 1993), p. 28.
Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 48, 50, 62 - 64, 82, 83.
Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, pp. 2, 3, 5, 8, 15.
Thériault, Michèle. Gary Hill. Selected videotapes 1978 – 1990. Toronto: Art Gallery of Ontario, 1994, unpaginated.
Vogel, Sabine B. “Im Licht des Monitors Gary Hill.” Artis (December 1994/January 1995), pp. 44, 45.
Vischer, Theodora, ed. Gary Hill: Imagining the Brain Closer than the Eyes. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 69, 100, 118, 119. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 75, 108, 123, 124.)
Gary Hill: Tall Ships, Clover. Stockholm: Riksutställningar, 1995, pp. 14, 48, 58.
Duncan, Michael. “In Plato’s electronic cave.” Art in America 83, 6 (June 1995), p. 69.
Klangkunst - Sonambiente festival für hören und sehen. Berlin: Akademie der Kunste, 1996, p. 71.
Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), p. 20.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, p. 69, 80.
Joachimides, Christos M. and Norman Rosenthal, eds. The Age of Modernism. Art in the 20th Century. Ostfildern-Ruit, Germany: Verlag Gerd Hatje, 1997, p. 604.
Der elektronische Raum: 15 Positionen zur Medienkunst. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Dueuschland, 1998, pp. 147 – 149, 156, 157.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
“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. 8, 16.
Gary Hill: Video Works. Tokyo: NTT InterCommunication Center, 1999, pp. 24, 30, 31.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, pp. 94, 114.
Rinder, Lawrence, ed. Searchlight: Consciousness of the Millennium. San Francisco: California College of Arts and Crafts, 1999, p. 65.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 33, 67, 69, 73 – 75, 82, 146 – 147, 163 – 164, 193, 195 – 199, 217, 218, 232, 292, 302, 306.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 9, 10, 25 – 26.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 29 – 30, 74, 75.
Hill (scape): Gary Hill’s video screening, performance and installation exhibition. Program notes. Hong Kong: Videotage, 2001, p. 7.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 14, 54 - 59.
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, p. 34.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 21, 38, 89, 105 – 110, 112.
Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust. Long Island City: P.S. 1 Contemporary Art Center, 2003, pp. 172.
Unfolding Vision: Gary Hill, Selected Works 1976 – 2003. Taipei: Museum of Contemporary Art, 2003, pp. 15 – 16, 102 – 113.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 51, 119, 140 – 148, 204, 260.
Spielmann, Yvonne. Video: The Reflexive Medium. Cambridge: The MIT Press, 2008, pp. 101, 104 – 105, 108 – 110, 124, 191 – 197, 251 (photo only).
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 24, 60, 122, 395, 396, 397, 399, 401, 463, 464, 473, 550 – 557, 575, 588, 624, 642.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 24, 25.
you know what they say
we've all heard it before
it never ceases to amaze me
it's more than just a change in the weather
they've really outdone themselves
how they ever got it past us I don't know
in many circles it's considered the unspeakable
these types of goings-on surface every so often
one of us is probably involved
there's always someone willing to run the risk
at this point though
there are no tell tale signs to speak of
I wonder if the better thing to do is refrain from speculation
hang in there but hold back
not get caught up in the missing link syndrome
of course there's an ulterior motive
when is there ever not
that it's been dropped in our laps I'm sure is no accident
we can't just stand around though
where to go from here is the question
do you have any ideas
one thing's for certain
they don't know we'll go to any length to do what has to be done
for the time being
if we can hold our own
we're bound to come across something in that near future
Blue Green Red Cyan Magenta Yellow
Food Feed Fed I have the time of Day-Glo
there's no way in the world I'm going to get framed this time around
chances are you're thinking along similar lines
stick close to me and remember
I'll be calling the shots from now on
if at any time I drop back
you pick up where I left off
if we find ourselves losing touch here's a little piece of advice
there can never be an eye for an eye
there will always be a middle man
who will whisper in your ear at every turn
something to the effect of
"we can go by the book or you can eat my words"
no reason to go to such extremes
think little or nothing of it
just to be on the safe side
better file it away for future reference
let's get on with the business at hand
we can cover a lot of ground in the time we've allotted ourselves
we have our choice
living in suspended animation
or under the auspices of supply and demand
when you buy and we sell we both trade
I've swallowed a good many hook line and sinker
in light of the fact
I've been a fish out of water for a long time
it's pretty safe to assume you're in the same position
I know that you know that I know that you know
so on and so forth
you've got it all staked out
I know you were playing for keeps from the beginning
why do I sense a note of skepticism
we can part company anytime
in case you've forgotten
this is all at your convenience
it's necessary if not by design that we cross paths in some way shape or form
Blue Green Red Cyan Magenta Yellow
Food Feed Fed I have the time of Day-Glo
off the record
this is somewhat out of character for me as I imagine being closed mouth is for you
if it all seems a bit too high and dry
take comfort in the fact
that coming up face to face would eliminate our time for reflection
on the surface
what do we have to lose
what is it
why has it come to this
I've never turned on you before
or vice versa
have our shortcomings finally met
one of us must accept the other
if not the two of us accept each other
the remaining possibility is out of the question
objects in the mirror are closer than they appear
in light of the situation maybe it's wrong to carry on like this
we've been on delicate ground before
should one of us back off
let's try to be objective
there's no sense in running ourselves into a ditch
in the midst of it all
let's try to be objective for a moment
who are you
I mean it
just this one time
we don't have to split hairs or anything
shift gears for a minute
take a deep breath
you know the ropes
you're one of those in their right mind
take a deep breath and face the music
start now and work backwards
start in the middle and dream
think it over
rattle off a list if that's all that's left
never mind the images
they always return
if not new ones will replace the old ones
it's their destiny
even those permanently lodged
sooner or later lose their grasp
it's the nature of the beast
Blue Green Red Cyan Magenta Yellow
Food Feed Fed I have the time of Day-Glo
where did you leave off
did you take the plunge
what was the cut off point
maybe you need more lead time
there's a long way to go before hitting rock bottom
put your best foot forward
move on it
cover some ground
get the feel of it
you're not a backseat driver are you
I know what you're thinking
it's not in the scheme of things that you take me for a ride
I'm your monkey business
I can never really touch you
I can only leave word
there's not much separating us
I ask the same questions
you give the same answers
you can't teach an old dog new tricks
or can you
I don't know
you tell me
maybe you prefer sightseeing and I'm better off leaving well enough alone
time on our hands is blood on our hands
I think we're off the track
I know we're off the track
I never for one moment thought I could railroad this through
I knew it was coming
this is the diminishing return I failed to negotiate
sad but true
less is more
more or less
more and more of the time
such as it is
Blue Green Red Cyan Magenta Yellow
Food Feed Fed I have the time of Day-Glo
in the meantime
let's not lose sight of the facts
they do not need reiterating
there's a time and place for everything
I hope we haven't come here under false pretenses
there are things that should be said and things that should be done
you've been around
and I've been around
double talking will get us nowhere and second guessing is a lost art
we are an act of faith
there's no reason we can't walk out of this together
the controlling factors of our little mise en scène are untouchable
take my word for it
put me above suspicion for a moment
you are on the receiving end
the distances we imagine are next to close by
at arm’s length
we are at each other's disposal
we can concentrate on our discrepancies or we can split the difference
that which takes the edge off
in any event
it is on our consciences
don't don't block block the the box box
a a void void grid grid lock lock
the fixation moves from left to right
as time goes on it becomes clockwork
you will have your way and I will make do
in the end we can double back or play the field
I don't want to deny you your own flesh and blood
who am I but a figure of speech
in advance of a broken arm
these things can happen when one gets ahead of themselves
I'm just going to sit tight
take refuge in the picturesque
things travel fast by word of mouth
I can be long-winded at times as well as drag my feet
the logical conclusion
I'm always putting my foot in my mouth
of course you understand
this is all in a manner of speaking
I don't want to underscore my place here that would be misleading
it's not an open door policy
by the same token
it's very touch and go here
anything can happen at anytime and no one's privy to that bit of information
I don't want to make a production out of it though
all I want is to walk through it with you
we don't have to go to the four corners of the earth to discover we speak the same language
the place is here
the time is now
and so on
Blue Green Red Cyan Magenta Yellow
Food Feed Fed I have the time of Day-Glo
I want to come to terms with where we began and let the rest fall into place
there are many simultaneities
that goes without saying
but for practical purposes
we should respect our limits
take a good long hard look at yourself
never mind me
I’ll just go in one ear and out the other
complications can arise in the simplest of forms
and should be played out
perhaps the most we can do is try and remain true to form
however short-lived these moments may be we can never return to the killer instinct
the floor has been mine now for longer than I care to remember
do you want to talk
do you want to talk it over
do you want to talk about it
feed it intravenously
and have it be over with as soon as possible
I know the position you're in
if you can pull it off
more power to you
it's never clear cut and you'd be wasting your time with the clean break idea
I'll bend over backwards to meet you halfway
in view of where you stand where does that put me
where does that leave us
in the mercenary position
but right side up
we can't go by rote memory
there's nothing tying you down and there's nothing letting you go
make up your mind
get a grip on things
your modus operandi
square off and break ground
put your head on the table tangent to your ear
talk to yourself and smile know that you are still here
on the level
perhaps I'm not coming across
I know it's difficult in these close quarters
I've tried to make it as easy as possible
I assure you
one can adapt to this neck of the woods
I'm not out of bounds
you know it and I know it
I'm not going to walk off with it
and you're not going to let it get away
when I'm through
you are going to know what I am talking about
word for word
let's face it
we are too few and far between to let generalities get the best of us
up to this point
when all is said and done
so far so good
when it gets down to the wire perhaps it will be a different story
let's not get ahead of ourselves
we're bound to end up in the red that way
you might think the grass is greener on the other side
but it's once in a blue moon a situation the likes of this can occur
in all seriousness
you're dead center in the sightlines of a tour de force