368:, horror movies, bedroom wallpapers, street signs, ceramics, and extinct languages. Using the techniques of collecting and cataloguing, presentation and display, she transformed these everyday pieces of ephemera into art works that offer a means of exploring the inherent contradictions in our collective cultural life, as well as the individual and collective unconscious and subconscious. As an artist, she was interested in the areas of our cultural collective experience that are concerned with devalued or irrational experiences: the subconscious, the supernatural, the surreal, the mystical and the paranormal. She engaged with such experiences and phenomena which defy logical or rational explanation through the rational scientific techniques of taxonomy, collection, organization, description and comparison. She did not, however, apply systems of judgment to the work, refraining from ever categorising the experiences as "true" or "false", "fact" or "fiction".
276:(1962–5), Hiller became critical of academic anthropology; she did not want her research to be part of the "objectification of the contrariness of lived events destined to become another complicit thread woven into the fabric of "evidence" that would help anthropology become a science". It was during a slide lecture on African art, that Hiller decided to become an artist. She felt art was "above all, irrational, mysterious, numinous … decided would become not an anthropologist but an artist: would relinquish factuality for fantasy". This decision to begin an art practice was an effort, as the artist later recalled, to "find a way to be inside all my activities."
886:– who Hiller had got to know in the 1960s – the show reflected Hiller's longstanding interest in artworks designed to induce reverie and explore altered states of consciousness. Gathering together historical and contemporary artworks, the exhibition was largely responsible for reigniting interest in the Dreamachine amongst a new generation of British artists after a period of relative neglect. The exhibition was accompanied by a catalogue with texts by Hiller and Jean Fisher.
339:(1977–79), she took photographs of her pregnant body and kept a journal documenting the subjective aspects of her pregnancy. The final work comprises ten gridded blocks of twenty-eight black and white photographs, each block corresponding to a lunar month. The images are accompanied by excerpts from her journal entries for the same period. These components are installed on the wall in a stepped pattern that descends from left to right.
483:(1972–76) - An installation consisting of 14 panels featuring more than 300 "rough sea" postcards and charts analysing the cards' linguistic and visual features, along with an accompanying artist's book. Now part of the Tate Collection and considered a classic work of conceptual art, it was at the time highly controversial for mixing the austerity of conceptualism with elements of romanticism and popular culture.
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paranormal, a devalued site of culture where women and the feminine have been conversely privileged. In the hybrid field of 'paraconceptualism,' neither conceptualism nor the paranormal are left intact ... as ... the prefix 'para'- symbolizes the force of contamination through a proximity so great that it threatens the soundness of all boundaries.
616:(2002–2005) - A documentation of every street sign in Germany that contains the word 'Juden' (Jew), the project consists of an installation of 303 photographs and accompanying maps, a video, and an artists' book. Named in 2019 by the Guardian newspaper as one of the best artworks of the 21st century.
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Hiller's work unearths the repressed permeability ... of ... unstable yet prized constructs, such as rationality and consciousness, aesthetic value and artistic canons. Hiller refers to this precarious positioning of her oeuvre as 'paraconceptual,' just sideways of conceptualism and neighbouring the
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The sentimentality associated with images of pregnancy is set tartly on edge by the scrutiny of the woman/artist who is acted upon, but who also acts: who enjoys a precarious status as both the subject and the object of her work ... The echoes of landscape, the allusions to ripeness and fulfilment,
540:(1983–4) - Based on newspaper reports of people experiencing visions or supernatural messages on their television sets, the video featured flickering flames to spark viewers' own capacity for reverie and pareidolia and was the first video installation to enter the Tate Collection.
1379:, Ann Gallagher, ed. (Tate Publishing, 2011),156. " candidly gages with phenomena that elude the logic of description, organization and contextualization from the arsenal of scientific discourse. She collects and displays source materials as a form of evidence."
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Hiller was well known for her writing and lecturing about art. To date, two collections of texts by Hiller have been published, "Thinking About Art: Conversations with Susan Hiller" and "The
Provisional Texture of Reality: Selected Talks and Texts 1977-2007".
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Following a period where she lived in France, Wales, Morocco and India, Hiller settled in London in the late 1960s, developing a practice that was innovative for its time and included a variety of media and performance-based work. She later cited minimalism,
628:(begun 2003) - various bodies of work made in homage to canonical cultural figures – Joseph Beuys, Marcel Duchamp, Yves Klein, Gertrude Stein – which comment on the unacknowledged history of occult and esoteric belief within modernist thought.
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Over the course of her career, Hiller became known for making use of everyday phenomena and cultural artefacts from our society that commonly were overlooked, denigrated, or marginalised Such cultural artefacts included postcards, dreams,
586:(1997) - 3-channel video installation featuring large projected excerpts from fictional movies about children with telekinetic powers, and a small television showing documentary footage of children who experience religious visions.
461:(begun 1972) - Hiller burnt earlier works and exhibited the ashes in vials and other scientific containers, as an act not of destruction but of transubstantiation. A new burning was carried out each year for the rest of her life.
644:(2012) - installation with a jukebox featuring a collection of 100 popular songs from history, the lyrics for which fill the surrounding walls, as a way of accessing socio-historical consciousness. Originally commissioned for
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as an artist's book. She insisted on blurring the boundaries between cultural definitions of "rational" and "irrational", at the same time reinstating the validity of the unconscious as a source of knowledge or truth.
489:(1977–9) - Daily photographs charting Hiller's growing belly during her pregnancy, arranged into panels of 10 lunar months, accompanied by texts from Hiller's journal on ideas of pregnancy, subjecthood, and language.
592:(1999) - 5-channel video installation featuring large projected excerpts from Hollywood movies about girls with telekinetic powers, as a comment about the subversive threat of female desire and adolescent sexuality.
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Beginning in the 1980s, Hiller incorporated the use of audio and visual technology as a means of investigating these phenomena, allowing the visitor to "make visions from ambiguous aural and visual cues".
1022:, Susan Hiller, Caryn Faure Walker. Published on the occasion of the exhibitions at Kettle's Yard, Cambridge, 8 April 1978–30 April 1978, and Museum of Modern Art Oxford, 9 April 1978 – 14 May 1978.
566:(1991–7) - Installation consisting of a vitrine containing 50 handmade boxes filled with numerous items collected by Hiller, as a commentary upon museological display and the creation of meaning.
332:, 1973, a slide show of facts collected from a British encyclopaedia that revealed the culturally partisan definitions in what was ostensibly an objective and equitable source of information.
313:(1973). These works originated in her conviction that "art can function as a critique of existing culture and as a locus where futures not otherwise possible can begin to shape themselves."
515:, one for each year of Hiller's life, in front of which is a park bench where viewers can sit and listen on headphones to a mediation on notions of remembrance, representation and heroism.
839:, deriving from a series of seminars she had organised at the Slade. Bringing together newly commissioned essays by a variety of artists, art historians and anthropologists – including
863:– it explored the fusion of myth, history and geography which leads to ideas of primitivism, and looked at their construction, interpretation and consumption in Western culture.
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on the occasion of the exhibitions, at BALTIC, 1 May 2004 – 18 July 2004; Museu
Serralves, 15 October 2004 – 9 January 2005; Kunsthalle Basel, 30 January 2005 – 27 March 2005
1132:, Guy Brett, Jorg Heiser, Alexandra Kokoli, Jan Verwoert. Published by Tate Publishing on the occasion of the exhibition at Tate Britain, 1 February 2011 – 15 May 2011
638:(2016) - film installations collecting together examples of endangered or extinct languages as well as, in the latter film, examples of successfully revived languages.
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in four L-shaped frames that, when installed on the wall together with four individually framed pages of her own commentary, make a cruciform. Hiller also published
546:(1987) - Installation consisting of slide projections of three overlapping circles of varying colours and sizes, with a soundtrack of chanting and excerpts of
598:(2000) - a colossal audio-sculptural installation consisting of over 400 miniature loudspeakers playing reports of UFO sightings from around the world. An
324:. There she presented two works, one under her own name and one using the pseudonym "Ace Posible" (a pun on "es posible", Spanish for "make it possible"):
531:(begun 1982) - Grids of images based on Hiller's collection of 'rough sea' postcards, exploring the relationship between painting and photography.
1036:, John Roberts. Published by Orchard Gallery on the occasion of tripartite exhibitions at the Orchard Gallery, Derry, 10 March – 17 April 1984;
410:, 2000). Borrowing strategies from Minimalism to apply a "rational" framework to these products of the unconscious, the artist mounted the work
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installations, and for works that took as their subject matter aspects of culture that were overlooked, marginalised, or disregarded, including
455:(1970–1984) - Existing canvas works by Hiller that were cut up and reassembled into painting "blocks", their surfaces transformed into volumes.
749:, Compton Verney, Warwickshire, and Berlin 2005; 303 col. illus. Intro. by Susan Hiller, afterword by Jörg Heiser (text in English and German)
467:(1973–5) - Two parallel slide-projector sequences featuring texts taken from British and American collections of facts. Also an artists' book.
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2008:
1118:, essays by Rosemary Betterton, Guy Brett, Jean Fisher, Ian Hunt, Louise Milne, Denise Robinson and Stella Santacatterina. Published by
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that places her work between the conceptual and the paranormal. In describing Hiller's work, art historian
Alexandra Kokoli notes that
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Museum, Providence, Rhode Island; Smith
College Museum of Art, Northampton, Massachusetts; Tokyo Metropolitan Museum of Photography;
667:(2013) - widescreen video projection featuring voices describing sightings of unexplained visual phenomena, audio transcriptions of
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1242:. Ann Gallagher, ed. Tate Publishing (2011): 168. Decides to become an artist during a slide lecture on African art. (Hiller,
718:, Coracle Press for Gimpel Fils. London 1983; facsimile of handwritten texts and charts as illus. hand painted board covers.
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705:, Gardner Arts Centre Gallery, University of Sussex, Brighton, with The Arts Council of Great Britain 1979; texts as illus.
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2018:
Genevieve
Cloutier, "Spatial Narratives: Susan Hiller's 'From the Freud Museum' and the Mechanisms of Narrativity",
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Hiller was widely influential as a teacher for a younger generation of
British artists, and was named by the critic
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Hiller's first exhibition was a group show at
Gallery House in London in 1973 that she organised with her friends
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1142:, Jörg Heiser and Ellen Seifermann. Published by Verlag für moderne Kunst on the occasion of the exhibition at
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755:, Institute of Contemporary Arts with Book Works, London, 2008; 70 b/w and col. illus., text by Susan Hiller.
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1982 Visual Arts Board
Travelling Fellowship (Australia), National Foundation for the Arts Fellowship (USA)
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Following her departure from the Slade, Hiller served as
Distinguished Visiting Professor of Fine Art at
551:
495:(1972/79) - 4 L-shaped panels, arranged in a cross shape, displaying pages of Hiller's automatic writing.
832:, about the representation of dreams and dreaming across a variety of cultures and artistic traditions.
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1068:. Published on the occasion of exhibitions at Mappin Gallery, Sheffield, December 1990 – January 1991;
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622:(2003) - a musical sound work for garden spaces based on the binary system of Mendelian genetic theory.
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studying photography, film, drawing and linguistics, Hiller went on to pursue post-graduate studies in
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Hiller's works are included in numerous international public and private collections including the
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artist who lived in London, United
Kingdom. Her practice spanned a broad range of media including
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911:
328:, 1973, a floor to ceiling grid structure with tissue paper covered with the artist's marks, and
501:(1980) - Earlier works on canvas whose weaves were unthreaded during a week-long performance at
1995:
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After the mid-1970s, Hiller continued her engagement with minimalism. For the artwork entitled
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1263:, (Manchester: Manchester University Press, 1996), p. xi. and Karamani, Sofia, "Chronology",
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675:, and various other attempts to translate and represent encounters with mysterious phenomena.
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950:, Jerusalem; Moderner Museet, Stockholm; National Gallery of Art South Australia, Adelaide;
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1977:
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are refused by the anxieties of the text, and by the methodical process of representation.
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2009:"How 'Paraconceptual' Artist Susan Hiller (1940-2019) Probed the Fringes of the Familiar"
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856:
689:
387:, 2004) and collective experiences of unconscious, subconscious and paranormal activity (
1978:"From Here to Eternity, Susan Hiller catalogue essay, Kunsthalle Nürnberg, Germany 2011"
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television sets, which tune in and out of the disembodied voices narrating accounts of
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731:, Book Works, London, 1995. Reprinted 2000; 79 b/w illus. cover, text by Susan Hiller
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301:. In the early 1970s, Hiller created participatory "group investigations" including
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movement that emerged in the UK in the 1990s. During the 1980s she lectured at the
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1058:, on the occasion of the exhibition at the ICA, 22 October 1986 – 23 November 1986
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on the occasion of the exhibition at Henie Onstad, 9 January 1999 – 14 March 1999
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ed. Barbara Einzig, Manchester University Press, Manchester, England, (1996): ii
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653:(2013) - a vast audio-sculptural installation consisting of a wall of over 100
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1996:"The Storyteller of Negative Space : Writing in the Work of Susan Hiller"
505:, the threads then reworked into knotted, looped, and braided abstract shapes.
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743:, self-published, Berlin, 2004, co-authored with David Coxhead, 9 col. illus.
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After doing fieldwork in Mexico, Guatemala and Belize, with a grant from the
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Searle, Adrian; Jones, Jonathan; O’Hagan, Sean; Judah, Hettie (2019-09-17).
511:(1980–1) - An installation consisting of photographs of memorial plaques in
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560:(1990) - 4-channel video installation based on Punch and Judy puppet shows.
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in a field for three nights and produced dream maps each following morning.
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Carabell, Paula (2006). "The J Street Project 2002–2005 by Susan Hiller".
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Museum of Art, Colby, Maine; Ella Fontanals Cisneros Foundation, Miami;
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The work was considered controversial when first exhibited in London.
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across four decades, she was best known for her innovative large-scale
1471:"'Belshazzar's Feast, the Writing on Your Wall', Susan Hiller, 1983–4"
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1090:. Published by Tate Publishing on the occasion of the exhibition at
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In 1976, she co-authored with David Coxhead the art-historical book
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beliefs – an approach which she referred to as "paraconceptualism".
2041:"Susan Hiller: an artist who chased ghosts – and took no prisoners"
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761:, London: Black Dog Publishing, 2012, 80 pp, text by Susan Hiller.
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of certain phenomena including the practice of automatic writing (
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473:(1974) - A "group investigation", in which participants slept in
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2000:
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1837:. Ann Gallagher, ed. (London: Tate Publishing, 2011), 168–173.
1229:(Los Angeles: Museum of Contemporary Art and MIT Press, 2007).
1366:(Los Angeles: Museum of Contemporary Art and MIT Press, 2007)
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Gallery, University of Sussex, Brighton, 1976; 56 b/w illus.
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111:
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Alexandra M. Kokali, "Susan Hiller's Paraconceptualism", in
782:, London. British artists who were taught by Hiller include
1409:, ed. Jennifer Fisher, (Toronto: XYZ Books, 2006), 119–139.
1169:"Susan Hiller, 78, Maker of Dreamlike Conceptual Art, Dies"
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and plasma waves, static interference with traces from the
1267:. Ann Gallagher, ed. (Tate Publishing,2011), 168.(Hiller,
233:, on March 7, 1940, Susan Hiller was raised in and around
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Thinking about Art : Conversations with Susan Hiller
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980:
1976 Gulbenkenian Foundation]Visual Artist's Award (GB)
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1977 Gulbenkenian Foundation Visual Artist's Award (GB)
580:, based on films whose titles include the word 'dream'.
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images, taken at midnight, featuring automatic writing.
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as major influences on her work, as well as aspects of
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and received a B.A. in 1961. After spending a year in
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813:, Los Angeles in 1991–92;, Professor of Art at
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Hiller described her practice as "paraconceptual", a
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1396:, ed. James Lingwood, (Gateshead: BALTIC, 2004):164.
1848:"The Provisional Texture of Reality • JRP|Editions"
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1261:
Thinking About Art: Conversations with Susan Hiller
970:1969 Ministère des Beaux Arts, Morocco (residency)
967:1968 Karolyl Foundation, Vence, France (residency)
835:In 1991, she edited the cross-disciplinary volume
602:commission, it was originally sited in a derelict
1362:Cornelia H. Butler and Lisa Gabrielle Mark eds.,
986:1981 Greater London Arts Association Bursary (GB)
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2070:"Beyond Control: An Interview with Susan Hiller"
1591:. Gardner Centre Gallery, University of Sussex.
1556:. Gardner Centre Gallery, University of Sussex.
1225:Cornelia H. Butler and Lisa Gabrielle Mark eds,
999:2002 DAAD residency, Berlin, 2002–2003 (Germany)
439:Hiller died in London on January 28, 2019, from
1496:"'From the Freud Museum', Susan Hiller, 1991–6"
1246:, New York, 1991: 2); Lucy Lippard, "Preface",
1112:Susan Hiller: Recall – Selected Works 1969-2004
737:, Artangel, London 2000; 21 b/w and col. illus.
169:(March 7, 1940 – January 28, 2019) was a
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1104:, Tim Guest and Denise Robinson. Published by
16:American/British conceptual artist (1940–2019)
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817:1991–98; and Baltic Professor of Fine Art at
1269:The Myth of Primitivism: Perspectives on Art
1244:The Myth of Primitivism: Perspectives on Art
2081:"Speaking Volumes: The Art of Susan Hiller"
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1072:, London, 19 January 1991-31 January 1991;
521:(1982–7) - Prints enlarged from handworked
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766:Teaching, writing, and curatorial projects
642:Die Gedanken sind frei (Thoughts are Free)
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1002:Kulturstifung des Bundes, Halle (Germany)
1763:"Auras and Levitations (Second Edition)"
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1076:, Glasgow, 30 March 1991 – 27 April 1991
1026:Susan Hiller 1973–83: The Muse My Sister
809:in 1988; Visiting Arts Council Chair at
1388:Milne, Louise, "On the Side of Angels:
1375:Verwort, Jan, "Science and Sentience",
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807:California State University, Long Beach
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1788:"Susan Hiller: The Dream and the Word"
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1364:WHACK! Art and the Feminist Revolution
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1227:WHACK! Art and the Feminist Revolution
1146:, 10 December 2011 – 19 February 2012.
1005:Couvent des Recollets residency, Paris
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267:National Science Foundation Fellowship
2020:n.paradoxa: international art journal
1167:Sandomir, Richard (1 February 2019).
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1128:, edited by Ann Gallagher, essays by
774:as one of the key progenitors of the
237:, Ohio. In 1950, her family moved to
1944:
1714:"Split Hairs: The Art of Alfie West"
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1196:. Phaidon Press. 2019. p. 187.
1044:, Glasgow, 17 March – 14 April 1984.
2116:21st-century American women artists
2111:20th-century American women artists
1975:
1749:10.1111/j.1467-8357.2006.00748_10.x
1136:Susan Hiller: From Here to Eternity
1062:Susan Hiller: The Revenants of Time
1040:, London, 13 March – 7 April 1984;
245:, graduating in 1957. She attended
13:
1521:"The best art of the 21st century"
1446:"'Monument', Susan Hiller, 1980–1"
1312:, (London: Tate Publishing, 2003).
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1010:Selected catalogues and monographs
741:Split Hairs: The Art of Alfie West
274:Middle American Research Institute
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2157:
2146:Writers from Tallahassee, Florida
1988:
1625:. Coracle Press for Gimpel Fils.
1210:
1094:, 20 January 1996 – 17 March 1996
679:
576:work, commissioned and hosted by
383:, 2010), near death experiences (
141:The J. Street Project (2002–2005)
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1468:
1443:
1308:Foster, Alicia, "Susan Hiller",
1259:Lucy Lippard in Barbara Einzig,
940:Henry Moore Sculpture Collection
481:Dedicated to the Unknown Artists
269:, completing her Ph.D. in 1965.
2022:, vol. 22, July 2008, pp. 36–43
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1833:Karamani, Sofia, "Chronology",
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1238:Karamani, Sofia, "Chronology",
747:The J. Street Project 2002-2005
243:Coral Gables Senior High School
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889:
371:Many of her works explore the
1:
2121:American contemporary artists
1424:Lisson Gallery London Limited
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952:Rhode Island School of Design
815:University of Ulster, Belfast
996:in Visual Art Practice (USA)
874:. Taking its title from the
866:In 2000, Hiller curated the
830:Dreams: Visions of the Night
446:
7:
2033:, issue 109, September 2007
1878:. No. 23. 1995-06-08.
1678:Hiller, Susan (July 2000).
1420:"In memoriam: Susan Hiller"
1082:, essays by Fiona Bradley,
1048:Susan Hiller: Out of Bounds
10:
2162:
2056:(1996), Dia Art Foundation
1098:Susan Hiller: Lucid Dreams
1016:Susan Hiller: Recent Works
973:1975 Artist in Residence,
962:Art fellowships and awards
956:Victoria and Albert Museum
1908:Routledge & CRC Press
1904:"The Myth of Primitivism"
1407:Technologies of Intuition
1328:(Gateshead: BALTIC, 2004)
908:National Portrait Gallery
620:What Every Gardener Knows
150:
130:
103:
89:
81:
62:
40:
28:
21:
2141:Women conceptual artists
2136:Tulane University alumni
1952:"Susan Hiller 1940-2019"
1654:"After the Freud Museum"
936:Henie–Onstad Kunstsenter
780:Slade School of Fine Art
381:Homage to Gertrude Stein
225:Early life and education
1338:Foster, Alicia (2003).
1100:, essays by Guy Brett,
912:National Gallery of Art
837:The Myth of Primitivism
819:University of Newcastle
519:Midnight Self-Portraits
1619:Hiller, Susan (1983).
1585:Hiller, Susan (1979).
1552:Hiller, Susan (1976).
1282:"Susan Hiller – About"
946:, Brumadhino, Brazil;
800:Jane and Louise Wilson
759:The Dream and the Word
729:After the Freud Museum
659:near-death experiences
437:
366:near-death experiences
364:sightings, reports of
358:Punch & Judy shows
350:
2076:, issue 23, June 1995
2007:Barbara Casavecchia,
1324:James Lingwood, ed.,
994:Guggenheim Fellowship
776:young British artists
753:Auras and Levitations
632:The Last Silent Movie
614:The J. Street Project
564:From the Freud Museum
432:
345:
241:, where she attended
239:Coral Gables, Florida
2126:Artists from Florida
2004:. Book Review. 2010.
1712:West, Alfie (1998).
1394:Susan Hiller: Recall
1271:, New York, 1991: 2)
975:University of Sussex
924:Serralves Foundation
914:, Washington, D.C.;
900:Museum of Modern Art
231:Tallahassee, Florida
55:Tallahassee, Florida
1588:Enquiries Inquiries
1326:Susan Hiller:Recall
1194:Great Women Artists
1144:Kunsthalle Nürnberg
870:Touring exhibition
857:Edgar Heap of Birds
703:Enquiries/Inquiries
690:Gardner Arts Centre
465:Enquiries/Inquiries
453:Conceptual Painting
280:Career and practice
229:Hiller was born in
2131:Postmodern artists
1976:Grayson, Richard.
1392:and Other Works",
1340:Tate women artists
1310:Tate Women Artists
1173:The New York Times
578:Dia Art Foundation
443:at the age of 78.
209:. A key figure in
137:Belshazzar's Feast
2047:, 30 January 2019
2015:, 31 January 2019
1932:Camden Art Centre
1563:978-0-9504908-0-9
441:pancreatic cancer
311:Street Ceremonies
293:and her study of
259:Tulane University
164:
163:
98:Tulane University
2153:
2087:, November 20084
2079:Rachel Withers,
2064:(2000), Artangel
1994:David Berridge.
1982:
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1928:"Dream Machines"
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1872:"Beyond Control"
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634:(2007-2008) and
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499:Work in Progress
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1054:. Published by
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2027:"Second Sight"
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1989:External links
1987:
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51:March 7, 1940
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2073:
2061:
2052:
2045:The Guardian
2044:
2030:
2019:
2012:
1999:
1971:
1959:. Retrieved
1955:
1946:
1935:. Retrieved
1931:
1922:
1911:. Retrieved
1907:
1898:
1887:. Retrieved
1875:
1866:
1855:. Retrieved
1852:JRP|Editions
1851:
1842:
1835:Susan Hiller
1834:
1795:. Retrieved
1791:
1782:
1770:. Retrieved
1766:
1757:
1740:
1737:The Art Book
1736:
1730:
1718:. Retrieved
1707:
1695:. Retrieved
1684:. Artangel.
1680:
1673:
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1657:
1648:
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1621:
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1525:The Guardian
1524:
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1503:. Retrieved
1499:
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1449:
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1427:. Retrieved
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1389:
1384:
1377:Susan Hiller
1376:
1371:
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1309:
1289:. Retrieved
1286:Susan Hiller
1285:
1276:
1268:
1265:Susan Hiller
1264:
1260:
1255:
1247:
1243:
1240:Susan Hiller
1239:
1234:
1226:
1193:
1188:
1176:. Retrieved
1172:
1138:, essays by
1135:
1126:Susan Hiller
1125:
1114:, edited by
1111:
1106:Henie Onstad
1097:
1080:Susan Hiller
1079:
1061:
1052:Lucy Lippard
1047:
1028:, essays by
1025:
1018:, essays by
1015:
902:, New York;
896:Tate Gallery
893:
871:
865:
861:Signe Howell
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346:
341:Lisa Tickner
336:
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315:
310:
306:
302:
295:anthropology
283:
271:
255:anthropology
228:
179:installation
167:Susan Hiller
166:
165:
143:
136:
132:Notable work
108:Installation
68:(2019-01-28)
23:Susan Hiller
2106:2019 deaths
2101:1940 births
1961:21 December
1772:21 December
1720:21 December
1697:21 December
1663:21 December
1638:21 December
1604:21 December
1429:21 December
1291:21 December
1178:21 December
1066:Jean Fisher
1064:, essay by
1050:, essay by
1038:Gimpel Fils
922:, Cologne;
890:Collections
880:Brion Gysin
878:created by
876:Dreamachine
849:Lynne Cooke
821:1999–2002.
792:Tacita Dean
784:Sonia Boyce
772:Louisa Buck
655:cathode-ray
554:recordings.
523:photo booth
475:fairy rings
379:, 1972/79;
326:Transformer
318:Barbara Ess
309:(1974) and
303:Pray/Prayer
263:New Orleans
211:British art
199:performance
187:photography
156:susanhiller
120:performance
116:photography
82:Nationality
2095:Categories
1937:2023-03-14
1913:2023-03-14
1889:2023-03-14
1857:2023-03-14
1797:2023-03-14
1767:Book Works
1658:Book Works
1538:2023-03-14
1505:2023-03-14
1480:2023-03-14
1455:2023-03-14
1349:1854373110
1151:References
958:, London.
918:, London;
910:, London;
898:, London;
724:0906630029
711:0950490822
698:0950490806
665:Resounding
606:chapel on
536:Belshazzar
529:Rough Seas
398:, 1983–4;
394:Belshazzar
373:liminality
322:Carla Liss
291:Surrealism
219:paranormal
215:multimedia
175:conceptual
47:1940-03-07
1884:0962-0672
1743:(4): 71.
1554:Rough sea
1533:0261-3077
1084:Guy Brett
1030:Guy Brett
942:, Leeds;
934:, Dijon;
926:, Porto;
906:, Paris;
845:Guy Brett
686:Rough Sea
610:, London.
604:methodist
590:PSI Girls
572:(1996) -
487:10 Months
447:Key works
428:neologism
404:PSI Girls
343:observed,
337:10 Months
235:Cleveland
195:sculpture
2085:Artforum
938:, Oslo;
673:big bang
651:Channels
600:Artangel
538:'s Feast
509:Monument
406:, 1999;
402:, 1996;
396:'s Feast
391:, 1974;
330:Enquires
305:(1969),
299:feminism
191:painting
139:(1983–4)
85:American
2062:Witness
1681:Witness
1572:2837387
1390:Witness
944:Inhotim
868:Hayward
735:Witness
669:pulsars
626:Homages
596:Witness
548:Raudive
408:Witness
265:with a
207:writing
151:Website
144:Witness
124:writing
2074:Frieze
2031:Frieze
2013:Frieze
2001:Fillip
1882:
1876:Frieze
1688:
1629:
1595:
1570:
1560:
1531:
1494:Tate.
1469:Tate.
1444:Tate.
1346:
1200:
1120:BALTIC
859:, and
798:, and
722:
709:
696:
459:Relics
385:Clinic
287:Fluxus
146:(2000)
74:London
57:, U.S.
992:1998
183:video
112:video
1963:2019
1956:Tate
1880:ISSN
1774:2019
1722:2019
1699:2019
1686:ISBN
1665:2019
1640:2019
1627:ISBN
1606:2019
1593:ISBN
1568:OCLC
1558:ISBN
1529:ISSN
1500:Tate
1475:Tate
1450:Tate
1431:2019
1344:ISBN
1293:2019
1198:ISBN
1180:2019
1086:and
882:and
811:UCLA
720:ISBN
707:ISBN
694:ISBN
320:and
205:and
158:.org
122:and
63:Died
41:Born
1745:doi
1056:ICA
802:.
552:EVP
550:'s
362:UFO
261:in
257:at
2097::
2083:,
2072:,
2043:,
2039:,
2029:,
2011:,
1998:.
1954:.
1930:.
1906:.
1874:.
1850:.
1806:^
1790:.
1765:.
1741:13
1739:.
1656:.
1566:.
1527:.
1523:.
1498:.
1473:.
1448:.
1422:.
1317:^
1301:^
1284:.
1212:^
1171:.
1159:^
1032:,
855:,
851:,
847:,
843:,
794:,
790:,
786:,
688:,
201:,
197:,
193:,
189:,
185:,
181:,
171:US
118:,
114:,
110:,
1980:.
1965:.
1940:.
1916:.
1892:.
1860:.
1800:.
1776:.
1751:.
1747::
1724:.
1701:.
1667:.
1642:.
1608:.
1574:.
1541:.
1508:.
1483:.
1458:.
1433:.
1352:.
1295:.
1206:.
1182:.
661:.
126:.
49:)
45:(
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