Gary Hill, Viewer, 1996, 5-channel video installation, installation view. Courtesy Barbara Gladstone.
Gary Hill’s installations combine video, sound, and text into highly visceral experiences that incorporate the body and the viewer’s sense of place and being. In these new works, he turns his attention to “views of human beings” and continues his inquiry into a kind of participatory ontological space.
Hill has worked with different forms of media since the early ’70s and has been a pivotal force in extending the possibilities of video and installation art. As critic Susan Handel writes, “Hill strips away the hardware, imperils the idioms, and interrupts the flow with strange moments of epiphany.”
Gary Hill, Standing Apart, 1996, 2-channel installation view. Courtesy Barbara Gladstone.
Gary Hill, HanD HearD, 1995–96, 5-channel installation. Courtesy Barbara Gladstone.
Brooke Alfaro is a quiet man, so I feared that interviewing him would be arduous, but I was wrong.
As Anna K.E. explains it, first a picture comes to her, then she completes the action.
The painter looks back on five decades of experimentation and how that’s generated new levels of confidence and clarity in her art.
Originally published in
Featuring interviews with Tim Roth, Amy Hempel, Emmylou Harris, Matthew Ritchie, Wallace Shawn, Christian Wolff, Gilles Peress, Kendall Thomas, and George Walker.
Work that is just about the technical or conceptual, personal or political, is fine; it meets the world with what’s in fashion. But there’s something else bordering on magic, that brings an artwork home, makes it land and resonate. You can’t really teach that so much as conjure it.
Kara Walker
