Interpreting Bill Viola’s Acceptance (2008)

Bill Viola is internationally recognized for establishing motion video as a vital form of contemporary art. For over thirty-five years he has been creating rich videos, architectural video installations, projects involving sound environments and electronic music performances. His artistic progression depicts rapid adaptation of cutting edge technologies as they were just emerging and I thought it would be appropriate to dedicate one post to his creativity, discuss subject elements that he employs and how his creations are realized in a video installation entitled Acceptance (2008).

It took me several separate occasions to watch the installation in its entirety to fully interpret what that particular work solicits in me. At first, we are seeing a female figure appearing somewhat out of focus. The subject passes through a water stream and emerges in focus. The setting appears un-interpretable at first. But I believe I understand the message, and part of the message is given away in the title itself. Acceptance, as the name implies, has a psychological implication. It involves adaptation of a fact or a trajectory, and often because there is no other alternative. The female subject emerges from darkness, out of focus, and into the light. The beginning and end points of her movement signify a path which symbolizes moving from something undesirable to something worth struggling for, in this case, from darkness to light. Falling water symbolizes a barrier, an obstacle that needs to be defeated, and there is no alternate path around it. Water also symbolizes vulnerability – a cold and unpredictable force that makes the passage both uncomfortable and dangerous. The culmination is reached as the subject emerges into the light, resulting in both a relief and a realization that a milestone has been reached. Take a look at this installation and see if this work solicits a similar feeling in you.

Direct Link: Acceptance (2008)

Frustration

I can't recall the last time I was so frustrated. Perhaps it is because my MFA is nearing its completion, or perhaps because completing my MFA opened up a series of questions regarding my future activities that I did not have to deal with before. UTSA was and is an adventure. Most students I know take a slight brake between bachelor's and master's degrees. For me, the entire experience turned into a 9-year long marathon....

With physical and mental exhaustion aside, I’m actually glad that my race is approaching a finish line. After constantly chasing perfection and aesthetic balance, as well as never repeating the same technique twice in any two projects – necessitating starting from ground zero each and every time, I look forward to reevaluating my accomplishments, analyzing areas for improvement, and converging on the elements that will directly couple to my aspirations, interests and future career growth.

Completing bachelor’s degree certainly made a certain directional input, but graduate school was truly the time of experimentation and personal development. The image that began to shape up when I started the program is much clearer now. Taking approach to art and recombining multiple techniques opened up a lot of philosophically unexplored topics that I did not know existed. These topics never relied on any one technique, and gave rise to many readings. The success of my path was not always directly evident from the feedback I was receiving, but the response of the art community was without a doubt – a testament to my trials and errors.

Farewell Chuck Ramirez

For those of you who are still unaware, the San Antonio Art community was shaken up by the passing of Chuck Ramirez. Chuck was a contemporary artist, and was best known for his avant-garde large-scale photography. His work has been featured at Luminaria and many other public places throughout San Antonio.

He was also a long-time member of the Blue Star Contemporary Art Center's board, and a very close friend Bill FitzGibbons, executive director of Blue Star. In his recent interview, Bill commented that “Chuck was one of the most innovative artists that [he has] ever known. His medium was photography and he brought a creativeness to photography that [he has] never really seen before, and [feels] that he was just in the midst of his career. He had great things ahead, and obviously was cut too short."

Among his friends, many of whom referred to him as Tía Chuck, he was known for his generosity and nurturing spirit. Also known for his "portraits" of purses, Ramirez last year wanted to do something similar with suitcases for an exhibit at the San Antonio International Airport. When interviewed by San Antonio Express-News, he mentioned that at first, he tried to photograph unclaimed luggage, but he ran into so much red tape that he opted to create his own suitcases for imaginary passengers.


Chuck was a very well established artist in San Antonio, but his biggest accomplishment was his love the for the art community. You will be missed Chuck.

A Rhapsody at Blue 2: Arts & Eats 2010

Past Thursday was a really exciting day, primarily because of the opening of A Rhapsody at Blue 2: Arts & Eats 2010 in Blue Star. Bigger and better than last year’s Rhapsody, this event truly raised itself to be a benchmark of how exhibits should all be organized! Bringing the best in art with some of the top chefs in the greater San Antonio made for one incredibly memorable experience. Nothing, of course, is more gratifying and uplifting than seeing old friends and familiar faces. Simply brilliant!

I try not being bias toward any one artist, but Gary Sweeney creates work that is truly unique in style and content. Those unfamiliar with his style of work will discover that Gary combines common materials with very untraditional humor, resulting in engaging and mind-stimulating work. But one unique piece of information that few know is Gary’s long history of postcards that he has been known to send to his close friends and acquaintances over the last twenty years. Over 20,000 humorous hand-written postcards have been addressed to people across the world, and they contain hilarious stories, apparently to-the point remarks, with intricately inlayed insults – each individually tailored toward the destined recipient. If you are fortunate to catch him in a conversation, he will gladly share the responses he has been getting from his friends, even the cases where folks are upset that his commentary is not insulting enough.

Recently, however, a large collection of such cards has been discovered by the family of one of Gary’s recipients, dating back to 1970’s. Look for it in Gary’s next exhibit – it’s truly unique and historic. Or better yet, pick one of his books with reprinted photographs of selected post-cards.

Investigations of Anamorphosis

The photograph of Robert Lazzarini's Skulls caught my eye, as I was struggling to recall where else I saw similar distorted scull. I then recalled that the famous painting of Hans Holbein, The Ambassadors, shared the same perspective distorted view several centuries back. Close examination of topic revealed that other known 20th century artists explore elements of anamorphosis and projections in their work. Most notably Pablo Picasso and Kurt Wenner.

The Thought Process - Added September 15, 2010

Recollection of seeing the distorted scull in other unrelated work certainly drew my initial attention and curiosity, but was not the sole reason why I chose to pursue anamorphosis and projections. As I explored the topic, I came more and more to realization that projections play a silent yet integral part in our perception, relating the phenomenon to the way objects are reflected on the surface of the water on a tranquil day, the shadows projected by buildings as the sun sets, and how these shadows distort when they are cast on non-linear surfaces. Regardless of their magnitude, projections take place autonomously and contribute to the synergy and awareness of the 'real' (Descartes would probably argue here).

This was clearly not the case with works of Lazzarini, Wenner, Dali and Holbein. The modality and the varying degree to which anamorphosis was presented was unconventional at the very least. Lazzarini, for example, chose a very realistic silhouette-like projection. All its contours were perceived as anatomically correct. Yet it was not perceived as real because the setting in which the work was presented lacked references that would support the projection.

Wenner's presentation was very different. He created a very complex scheme with finite detail, and if one were to omit everything outside of it, the work would most certainly go right pass the radar. It's macro-assessment says otherwise, however, and just like Lazzarini's Skulls, reveals a conflict of perception. It is depicted on a flat surface that is meant to be walked on, and despite its realistic internal climate, triggers a massive visual turmoil.

Holbein's Ambassadors is different altogether. The anamorphic projection of the skull is a literal distraction and perhaps explains why I immediately recalled seeing it several years back - it's just not something one could easily forget. The intrinsic difference between Ambassadors and earlier cited works lies in the fact that the painting must be viewed in stages. If the viewer approaches the painting in side motion, the skull registers with the visual cortex while it is still in the peripheral vision. It is also the only object in the painting that is seen at that time. Once the movement stops, the rest of the painting becomes apparent and the skull temporarily vanishes from the register - an instant change of scenery.

Dali's Persistence of Memory may initially be perceived as unrelated to any of the three works described so far, but such conclusion would not be accurate. Anamorphosis is synonymous with distortion, but unlike previously observed spatial distortions of tangible objects, Dali distorts the only dimensional medium that lacks substance - the time itself.

Skulls (Robert Lazzarini, 2000)

Dies Irae (Kurt Wenner, 1995?)

Persistence of Memory (Salvador Dali, 1929)

The Ambassadors (Hans Holbein the Younger, 1533)

Privet! Hello! Bonjour!

My name is Sojourn, and this blog will by my temporary stopover for an indeterminate amount of time. I often get asked what Sojourn means. I can only say that the word defines my stereotype, and incidentally, is a direct translation of my name.

I am always challenged when writing about myself since it involves a certain sense of objectivity and unbiased self-critique, but I will certainly give it my best effort. If I were to list things that I enjoy, the top of that list would definitely include watching. I like to observe, listen, think and analyze. I am not very outspoken and almost always avoid arguing. Over the years I slowly came to realization that everything one says is complemented by that which is not said out-loud. I like to link events, study and identify causes and their effects, and see how my silent opinions compare to those around me. I consider myself fairly open to ‘new’. I can easily spot a talent and share enormous sense of gratification when those around me become successful – be it family, close friends or my students.

I don’t push my theories and techniques and don’t force anyone to adopt my views. I like people that are independent and are not afraid to speak with conviction about what they believe – I perceive it as a trait of leadership.

As far as this class goes, I view it as an opportunity to reflect on my lifestyle. We live within a very dynamic environment, surrounded by a multitude of stimuli such as sound, colors, and movement. I would like to exploit these stimuli in a digital setting, not only because they are particularly important to me, but because I can be in direct control of them…