Bill Viola’s figures of submersion as techniques of transindividual affect
This article seeks to establish a fundamental continuity between distinctive periods in Bill Viola’s work. Examining two relatively early works—The Reflecting Pool (1977–79) and The Passing (1991)—and the more recent piece Self Portrait, Submerged (2013), I consider the artist’s physical presence as...
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| Format: | Article |
| Language: | English |
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University College Cork
2022-07-01
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| Series: | Alphaville: Journal of Film and Screen Media |
| Online Access: | http://www.alphavillejournal.com/Issue23/HTML/ArticledelRio.html |