![]() ![]() The flat bed of the copier narrows the space between the object and the lens, reading the object much more closely. ‘I realised it was a printing machine and a camera of a new kind.’ ‘My interest in the machine was philosophical really,’ he explains. Her two previous marriages ended in divorce.What’s really interesting, though, is the way in which Hockney utilised the copy machine. She attended George Washington University before moving to New York and finding work as a model. Patricia Louise Guion Hill was born on April 3, 1921, in Rugby, Ky., and grew up in Virginia. “I wanted to see what the copier, a modern device, would make of something old,” she told The New Yorker in 1980. ![]() In the early ’80s, she set out to photocopy the palace at Versailles, or as much of it as she could: sculptures, draperies, bedspreads. Hill put all sorts of things on copiers and, when they did not fit or could not be moved, she moved the copier. Called “A Swan: An Opera in Nine Chapters,” the series was included in an exhibition called “Electroworks,” which began at the George Eastman House in Rochester in 1979 and was later at the Cooper Hewitt museum in Manhattan. She also published several books that combined her stories and poems with photocopied images.Īmong her best-known artworks was a series of images of a dead swan she had found and flopped onto the glass top of a copier. She found particular satisfaction in what she said were the bolder contrasts and tones of IBM copiers (as opposed to the more common Xerox machines), and her work was exhibited many times in New York, in France and elsewhere. She was far from the first person to play with the possibilities presented by photocopiers, but she was among the medium’s most enduring and articulate advocates. Then she discovered the IBM copier and, with the help of the designer Charles Eames, whom she had befriended, she eventually persuaded IBM to lend her one for an extended period. Hill was untrained as a visual artist, by the mid-70s she had begun making art herself, including needlework that played with traditional artistic images. At the time, her husband, Paul Bianchini, a French-born gallery owner, was becoming well known for bringing attention to postwar painters including Claes Oldenburg, Jasper Johns, Roy Lichtenstein and Andy Warhol. Hill also published a book of poems in 1962, “The Snow Rabbit.” But then, as she did with her modeling career, she changed direction.īy the early 1960s she had moved back to the United States and was living in Stonington, Conn., where she gave birth, in 1962, to a daughter, Paola. “Prosper,” a 1960 novel set in a French village, and “One Thing I Know,” a 1962 novella about the coming-of-age of a teenage girl in Washington, were both praised for their unusual approaches and nuanced characters. ![]() Without benefit of quotation marks she makes dialogue a part of exposition, and exposition an extension of dialogue.” He called the novel “one of the most unusual and enjoyable books of the year.” “But we have seldom heard these stories told again as Miss Hill tells them in a flowing stream of narrative that is a skillful blend of conscious and subconscious impressions. “We have heard this all before, all before,” Mr. Reviewing the novel in The New York Times, Charles Poore wrote that her evocation of the complicated events and eccentric characters in a small Southern town resembled the approach of William Faulkner, but that it stood on its own.
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