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[justforbooks]

Bill Viola

Video artist who melded the material and the spiritual and applied modern technology to Renaissance subjects

In 1957, on a family holiday, Bill Viola fell in a lake. He was six years old. Sixty years later, Viola, who has died aged 73, recalled the event. “I didn’t hold on to my float when I went into the water, and I went right to the bottom,” he said. “I experienced weightlessness and a profound visual sense that I never forgot. It was like a dream and blue and light, and I thought I was in heaven as it was the most beautiful thing I had seen.” And then … “my uncle pulled me out.”

It seemed an unpromising start to an artistic career. However, in 1977 Viola began a series of five works called The Reflecting Pool. Four years out of university, this was his first multipart artwork, its constituent films occupying their maker for three years. In the title piece, a shirtless man – Viola – emerges from a wood, walks toward a pond, makes as if to jump into it and freezes in mid-air. The pool registers his entry nonetheless, its surface rippling as though disturbed; the flying man fades slowly away; and, after seven long minutes, Viola emerges, dripping, from the water and walks back into the woods. The Reflecting Pool drew on the near-drowning of his six-year-old self. It was also classic Viola, its most notable features – slowness, water, a numinous spirituality – recurring in his work of the next half century.

It was the subaqueous blue glow of the screen of a Sony Portapak video camera, donated to his high school in Flushing, New York, that first attracted Viola to the medium. He was raised in the neighbouring lower-middle-class suburb of Queens. It was not, recalled Viola, a cultured household, but his mother, Wynne (nee Lee) “had some ability and sort of taught me how to draw, so when I was three years old I could do pretty good motorboats”. A year before his near death by drowning, a kindergarten finger-painting of a tornado won public praise from his teacher. It was then, Viola said, that he decided to be an artist.

His father, a Pan Am flight attendant turned service manager, had other ideas. Fearing that an art school education would leave his son unemployable, Viola senior insisted that he study for a liberal arts degree at Syracuse, a respected university in upstate New York. “And in saying that,” Viola would admit, “he saved me.”

As luck would have it, Syracuse, in 1970, was among the first universities to promote experimentation in new media. A fellow student had set up a studio where projects could be made using a video camera. Signing up for it, Viola was instantly converted: “Something in my brain said I’d be doing this all my life,” he remembered. He spent the following summer wiring up the university’s new cable TV system, taking a job as a janitor in its technology centre so that he could spend his nights mastering the newfangled colour video system. In 1972, he made his first artwork, Tape I, a study of his own reflection in a mirror. This, too, would be trademark Viola, bewitched by video’s ability simultaneously to see and be seen, but also by his own image. The I in the work’s title was not a Roman numeral but a personal pronoun.

Tape I and works like it were enough to catch the eye of Maria Gloria Bicocchi, whose pioneering Florence studio, ART/TAPES/22, made videos for Arte Povera artists. When Viola took a job there in 1974, he found himself working alongside such giants as Mario Merz and Jannis Kounellis. By 1977, his own reputation in the small but growing world of video art led to his being invited to show his work at La Trobe University in Melbourne, his acceptance encouraged by the offer of free Pan Am flights from his father.

The invitation had come from La Trobe’s director of culture, Kira Perov. The following year, Perov moved to New York to be with Viola, and they married in 1978. They would stay in the house in Long Beach, California, that they moved into three years later, for the rest of their married lives. In 1980-81, the couple spent 18 months in Japan, Viola simultaneously working as the first artist-in-residence at Sony Corporation’s Atsugi laboratories and studying Zen Buddhism.

This melding of the sacred and technologically profane would mark Viola’s work of the next four decades. Viola listed “eastern and western spiritual traditions including Zen Buddhism, Islamic Sufism and Christian mysticism” as influences on his art, although it was the last of these that was the most apparent. At university, he said, he had “hated” the old masters, and proximity to the greatest of them in Florence had not changed that view. It was only with the death of his mother in 1991 that he began to feel the weight of western art history, and to acknowledge it in his own work.

Having struggled with a creative block since the late 1980s, he found that the grief of his mother’s death freed him. Summoned to her side by his father, Viola filmed first the dying woman and then her body lying in an open coffin. This footage would be used in a 54-minute work called The Passing, and then again the following year in the Nantes Triptych, its three screens concurrently showing a woman giving birth, Viola’s dying mother and, in between them, a man submerged in a tank of water.

The first of Viola and Perov’s two sons had been born in 1988. Nantes Triptych was, or appeared to be, a meditation on birth, death and rebirth through baptism. If the subject was traditional, so too was Viola’s use of the triptych form. His references to the old masters would soon become more direct still. In 1995, Viola was chosen to represent the US at the Venice Biennale. One part of the work, Buried Secrets, that he showed in the American pavilion drew openly on a painting by Jacopo da Pontormo of the visitation of the Virgin Mary to her elderly cousin, Elizabeth.

Not surprisingly in these secular times, Viola’s subject matter was not universally popular. The art world was particularly divided. When his videos were shown among the permanent collection of the National Gallery in London in an exhibition called The Passions in 2003, one outraged critic dubbed Viola “a master of overblown, big-budget, crowd-pleasing, tear-jerking hocus-pocus and religiosity”.

The pairing at the Royal Academy in 2019 of his work with drawings by Michelangelo from the Royal Collection drew the barbed comment from the Guardian critic that “Viola’s art is so much of its own time that it is already dated, dead in the water”.

Predictably, he was more popular with the public at large, a survey at a Viola retrospective at the Grand Palais in Paris showing that visitors had spent an average of two-and-a-half hours at the exhibition. Churchmen, too, were won over by Viola’s work, particularly those of the Church of England. In 1996, the artist was invited to make a video piece, The Messenger, for Durham Cathedral. In 2014, the first part of a two-part commission called Martyrs and Mary was installed at St Paul’s, the second joining it two years later. The project, thanks to ecclesiastical wrangling, had been a decade in the making. “The church works kind of slow,” remarked Viola, mildly. “But then I also work kind of slow.”

That mildness, and the religiosity of his subjects, may have led critics to underestimate the rigour of his work. Like Viola’s art or not, he was a master of it. His appreciation of the promise – and the threat – of technology was profound. Viola chafed against the primitiveness of early video, seeing each development in the medium as an opportunity to be grasped. The close-up portraits of The Passions series, for example, made use of flatscreen technology almost as it was invented.

By contrast, the binary nature of the modern world bothered him. “The age of computers is a very dangerous one because they work on ‘yes or no’, ‘1 or 0’,” Viola mourned. “There’s no maybe, perhaps or both. And I think this is affecting our consciousness.” The dissemination of video as an art form had not been like the spread of oil painting by the Van Eyck brothers 500 years before, he said, video having appeared everywhere and at once. True to these beliefs, Viola saw no contradiction in treating Renaissance subjects, and a Renaissance belief system, with the latest inventions from Sony. “The two are actually very close,” he said. “I see the digital age as the joining of the material and the spiritual into a yet-to-be-determined whole.”

In 2012, Viola was diagnosed with early onset Alzheimer’s disease. His work after this was increasingly made with the help of Perov, a fact that lent a new poignancy to the themes of memory and loss that often ran through it.

Viola is survived by his wife and their sons, Blake and Andrei, and by his siblings, Andrea and Robert .

🔔 Bill (William John) Viola, video artist, born 25 January 1951; died 12 July 2024

Daily inspiration. Discover more photos at Just for Books…?

[the-man-in-the-wind]

I’ve been asked to explain my kit and my workflow by @savage-daughter-of-nikitie.

I use either a Canon 80D, Canon 5D Mk IV or a Sony A7Riv with a sigma MC-11 mount converter. I also have a Canon 300D and a Canon 70D from both of which I have removed the internal infrared filter, so that I can shoot in the Infrared.

I have a number of tripods and LED light panels which I sometimes use, but for most general things I prefer to use natural light with perhaps a small reflector.

Lens-wise, my aviation photography is done using either a Sigma 60-600mm f/4.5-6.3 OS DG Sports or a Canon 100-400mm f/4.5-5.6L MkI.

For other general photography such as landscapes and when I do portraits, (which I don’t post here). I have a range of lenses but my favourites are:

* Canon EF 24-70mm f/2.8l USM

* Canon 50mm f/1.8

* Lensbaby Velvet 56mm f/1.6

* Canon EF-S 10-22mm f/3.5-4.5 (this won’t fit on the Sony / MC-11 combo)

For macro photography I generally use either a Sigma 105mm f/2.8 EX DG OS HSM macro or, very occasionally, a Canon MP-E 65mm 1-5x Macro with a lot of light and a macro rail.

I occasionally use a Newer variable ND e.g to slow flowing water and I have various intervalometers, and all of the Pluto Trigger and Dripper kit for water droplets or complex triggering.

I also use my phone camera more and more and then achieve effects in Lightroom, Photoshop or Topaz AI

My workflow varies depending upon the type of photography. By way of an example, for the flower studies my workflow is:

1. Photos were taken on a variety of kit, mainly my phone.

2. Import into Lightroom

3. Square crop the flower and rotate to get the best light/symmetry/arrangement.

4. Use Lightroom’s Subject Mask to initially mask the flower and refine using brush addition/subtraction

5. Duplicate and invert the mask to effectively mask the background

6. Set exposure, contrast, highlights, shadows, whites, blacks and saturation to zero. This removes the background allowing the flower to stand alone but gives me the option to recover the background should I wish to later.

7. At this point any issues with masking become very noticeable so I will often refine both flower and background masks once more.

8. Return to the flower mask and set the exposure, contrast, white balance, response curves, saturation and sharpness as required, to make the flower pop.

9. I often apply radial masks to even the exposure or highlight the inner or outer sections at this point.

10. Use the heal tools to remove pollen specs, imperfections or other issues. Lightroom’s content aware AI healing is extremely good these days.

11. I then catalogue, add metadata, and export to a number of private and public storage and distribution services.

I have two projects I want to start as we move into winter, life permitting.

Firstly, I want to try to do some star trails. Near where I live there is a park on an escarpment running east west, with a couple of stone crosses that can be photographed from the south with the Polaris (the North Star, which is the centre or rotation in the night sky) just above the top of one of them.

I also want to play more with my 70D and do some more IR photography. This makes warmer parts of the scene brighter and cooler darker and can lead to some eerie effects. I have a long standing desire to visit a certain chateau in France and photograph it in IR.

This is probably way more than you were asking for and I’m not sure is this is what you wanted to know, but I hope it helps.

[filmforager]

Venom: The Last Dance – Review

Not with a fang, but with a whimper

With the hilariously woeful misfires of Morbius and Madame Web, the Venom series has become a jewel in the crown of Sony’s recent cinematic output. But that’s the very definition of damning with faint praise. For while this series has had its moments, its mix of unfunny buddy comedy and serviceable action has never really found a sweet spot. The last entry in the trilogy does little to change that – for the most part, this is more of what you’ve come to expect.

After an opening that pointlessly deposits our hero in the multiversal madness of the MCU (which invites invites comparisons to much better films), we join Eddie back in his own universe, where he’s been linked with the murder of Detective Gilligan (Stephen Graham) in San Francisco. But that’s the least of Eddie’s problems – a mysterious space-bound entity known as ‘Knull’ (voiced by Andy Serkis) is plotting his return to earth, and he’s basically the godfather of all symbiotes.

For what reason this is all happening, the film can’t really explain. It centres on Knull’s villainous plot to find a ‘Codex’, which for some reason activates whenever Eddie and Venom morph together (don’t ask why). What follows is a half-baked road trip adventure, as Eddie and Venom imagine what it means to live a normal life, while evading the pursuit of Knull’s fearsome alien lackies.

Written and directed by Kelly Marcel, who was heavily involved in the first 2 films, there’s clearly a lot of passion for the material here, but that doesn’t transfer to a good script. Tonally it’s a bit all over the place, drifting from slapstick comedy moments – Venom discovers a gambling addiction, Eddie slapping a man mid-piss – before trying to hit you in the feels with its central bromance. As Brock, Hardy hobbles through the film with the same humdrum demeanour, leaving it up to Venom’s tired banter (also voiced by Hardy) for a bit of character. At one point, after possessing a horse, Venom gleefully yells ‘now that’s what I call horsepower!’ This is the kind of comedy you’re dealing with.

Somehow this series continues to draw good actors to thinly sketched characters. Chiwetel Ejiofor does his darndest to add dramatic heft as a containment officer with a vendetta against the symbiotes, while Juno Temple isn’t given too much to do as a scientist whose fascination with aliens threatens to go too far. There’s also a weird plot point involving a road-tripping family led by alien-obsessed Rhys Ifans, which starts out quite funny before becoming more implausible as the film progresses.

There are cool moments here, mostly involving eye-popping visual effects work. Yet except for one thrilling chase scene, where Venom morphs into a fish and a frog to avoid capture, the action sequences end up blurring into one by the final act. Unfortunately, you could say the same for the films in this series.

Venom: The Last Dance will please people who enjoyed the first two films, with dazzling effects and Hardy’s growly anti-hero taking centre stage. For everyone else? Stay off the dancefloor.

★★

[werindialive]

Month Before Delhi Basement Deaths, IAS Aspirant's SOS Flagged Huge Risk 

New Delhi: A month before waterlogging in the basement of a building in Delhi's Rajinder Nagar left three civil service aspirants dead, a complaint had flagged risks in using the basement as a library or for holding classes. 

Kishor Singh Kushwah, a civil service aspirant, says he had written to the Centre, the state government and the Municipal Corporation of Delhi about how Rau's IAS Study Circle was using the basement as a library and endangering the lives of students and staff. 

The MCD, it has emerged, had only allowed use of the basement for storage and parking. 

The complaint, addressed to Kumar Mahendra, executive engineer of the building department in Karol Bagh zone, states that Rau's IAS is using the basement for classes without a No-Objection Certificate from the authorities. "This is endangering the lives of students and staff and may lead to a big accident," it adds. Mr Kushwah also alleged corruption and demanded strict action against UPSC coaching centres that are violating safety norms and putting students' lives in danger. 

The complainant sent two reminders, urging authorities to take action. On July 15, he wrote: "Sir, it's a very important and urgent issue, take strict action on it." In another reminder dated July 22, Mr Kushwah wrote: "Sir, please take action, it's (an) issue of student safety.” 

The online portal states that the matter is under process. Before the issue could be resolved, a downpour on Saturday evening led to the flooding of the basement. At least 20 students, who were in the library of the IAS coaching centre, were trapped. While some of them could be rescued, Tania Soni and Shreya Yadav, both 25, and Navin Delvin, 28, died. The incident has sparked protests and outrage as people accuse civic authorities and the Aam Aadmi Party government of negligence that cost the students their lives. 

Kishor Singh Kushwah said he had complained against Rau's IAS Study Circle through the government's public grievance portal. "If the administration acted in time, this tragedy could have been avoided," he told IANS. 

"All basement libraries in Rajinder Nagar are illegal. They have no FIR safety clearance. And the staircases are 3 feet - 4 feet wide, if there is an emergency, so many students cannot rush out easily," he said.  

For more national news India in Hindi, subscribe to our newsletter 

[harikahari5563]

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