John Hilliard, Sixty-nine, 1986.
John Hilliard, Sixty-nine, 1986.
John Hilliard, Act of Theft, 1986.
John Hilliard, Installation View, 1989.
John Hilliard, Installation View, 1989.
John Hilliard, Installation View, 1989.
John Hilliard, Installation View, 1989.
John Hilliard, Installation View, 1989.
John Hilliard, Installation View, 1989.
John Hilliard, Installation View, 1989.
John Hilliard, Installation View, 1989.
John Hilliard, 1961, 1987.
John Hilliard, Martix, 1987.
John Hilliard, Sixty-nine, 1986.
John Hilliard, Tempo, 1983.
John Hilliard, Vanishing Point, 1984.
John Hilliard, Self Regard, 1987.
John Hilliard questions photography’s alleged ability to accurately and objectively depict the world. He juxtaposes identical images made different through technical and material manipulation. His diptychs and triptychs are arranged in such a way that it is difficult to determine which one is “right,” thus undermining the entrenched but highly suspect notion of truth in photography.
