The traffic moved swiftly on the West Side Highway past the busy shipping lanes of the Hudson River on a bright day in November 2009. The memory of commerce and trade once dependent on the port traffic, hangs on in the refurbished warehouses and lofts, which now house the Chelsea Galleries and remind one of New York’s vital history. The Bill Viola exhibition “Bodies of Light” on display at the James Cohan Gallery in the heart of the Chelsea gallery district included a collection of works from different periods during the previous eight years. I went to the exhibition on a recommendation from a professor friend, charged to evaluate the exhibition in the light of the critical acclaim that Viola enjoys. Much of what is written about his work is positive and Viola is often interviewed with the caveat that his work is assumed to be worthy of his postscriptive comments. The wide range of works presented offered an opportunity to view his recent corpus and perhaps gather insights about the reasons for Viola’s favorable notices from the art world, the public and even religious intuitions. I entered the gallery unfamiliar with his work, but not unfamiliar with the realm of the Chelsea galleries, or so I thought. I offer here my thoughts and experiences as I recorded them subsequent to that first visit when I stepped into the gallery from the cold brightness of a winter day.
Bill Viola, Bodies of Light, installation at James Cohan Gallery.
