Doug Hall (artist)

Doug Hall is an American photographer and media artist, who has received national and international recognition for his work in a range of practices including performance, installation, video, and large scale digital photography.

"[citation needed][4] Hall claims that it was this combination of influences that led him into the visual arts, which he imagined as a system of thought and action flexible enough to engage his emerging interests and concerns.

[5][6] Their work from this period took many forms: performances incorporating the gestures and language of the political speech, exemplified in their political archetype, The Artist President; carefully choreographed performances that combined live action with prerecorded sound, projected film and slides (as exemplified by the stage performance, Great Moments); and interventions into public space (such as The Avant Guard Security – in one event Procter posed as part of the official security detail for President Ford’s visit to San Francisco on the day when Sara Jane Moore attempted his assassination).

T. R. Uthco’s best known work is the videotape and installation, The Eternal Frame,[6] which documents their reenactment of Kennedy's assassination in Dealey Plaza, Dallas and was done in collaboration with Ant Farm, another Bay Area collective that shared its interests in media and political spectacle.

Short videos in which he performed, like The Speech and This is the Truth from 1982, used humor and irony to continue his explorations of mass media and their relation to political rhetoric.

Working with the videographer, Jules Backus (1944–1996),[11] with whom he had collaborated on many of his videos, Hall accumulated mages of violent weather and extreme forms of technology.

"Multiple video monitors and projections present televised imagery of storms, fires, floods, and industrial processes in a fast-paced confluence of the natural and the mechanical.

[13] In a 2003 interview with the architectural historian, Richard Tuttle, Hall explained his shift to still photography as: "a need to free myself from the narrative of time-based media.

And by narrative I not only mean the unfolding of events in the sense of a story but more importantly a temporality that flows and takes the viewer along with it–like a leaf fallen into a river, moving at a speed that’s determined by the current.