Louis Hock was born in Los Angeles in 1948 and raised in Nogales and Tucson, Arizona. He began making films when he was studying psychology and poetry at the University of Arizona, graduating with a BA in Psychology in 1970. In 1973 he received an MFA from the School of the Art Institute of Chicago. He joined the University of California, San Diego in 1977 and works as a professor the Visual Arts Department.
Hock's artwork - films, video tapes, installations and public media events- have been exhibited in solo shows at numerous national and international art institutions including the Museum of Modern Art in New York, the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, and the San Francisco Museum of Modern Art. He has been the recipient of numerous awards and grants including the National Endowment for the Arts, the American Film Institute, the Rockefeller Foundation, and California Arts Council (2002).
- Zebra (1973, 16mm, b&w, 17.25 min)
A visual keening for the exterminated quagga. A silent dirge for lost friends, shadowed up against the wall with light from the tombs.
- Light Traps (1975, 16mm, color, 10 min)
A dance metered between the tempo of 60 cycles per second of electrified gas and camera shutter, further wrought by manual, etched harmonics. Las Vegas in a closet.
- Still Lives (1975, 16mm, color, 19 min)
A motion picture camera shooting through a portal in a church began accumulating images of an adjacent Arlington, Texas shopping plaza at the rate of 1 frame per hour, 24 hours a day. September 22, 1974: The camera was stopped. Meteorological fluctuations, this planet's revolutions (solar and axial), and the palpable presence of human cycles are transposed from slow daily change into rapid visual rhythms. The act of metamorphosis during the year visually displaces the pictorial arena in which the year transpires. Space, the image frame, becomes a manifestation of time. "Our eyes are virtually goaded out of our heads." -- Richard Eder, New York Times.
- Studies In Chronovision (1975, 16mm, color, 21.75 min)
Film sketches constructed over the past five years investigating temporal composition via single frame-time lapse techniques: light struck metronomes, 20th century dust from a Mayan dream, horology complete with coordinates, Kodak vs. Timex. "... resembles visual works of art ...." -- Janet Kutner, Dallas Morning News
- Photogrammetry Series (1977, 16mm, color, sound, 8 min)
In a completely dark gymnasium, Louis Hock unspooled dozens of feet of 16mm color print stock along the different dimensions of the space, laying equal lengths of gnarly twine on top of it. One brief flash of the gymnasiums lights later, the resulting film functions as an abstract map of the location, a record of a performance, and an unusual meditation on the objecthood of film. The image, a vertical, negative shadow of the twines presence, unspools over time, with occasional bursts of sound that occur when the twine image slides over into the soundtrack area of the film.