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Artists Bill Viola
Bill Viola Photo

Bill Viola

American Video Artist

Movements and Styles: Video Art, Installation Art

Born: January 25, 1951 - Queens, NY

Bill Viola Timeline

Quotes

"The honesty of that presence inside you will determine the quality of your work--not ego, filling a market or filling a niche. There is something higher than art."
Bill Viola
"Video treats light like water - it becomes fluid on the video tube. Water supports the fish like light supports man. Land is the death of the fish - darkness is the death of man."
Bill Viola
"We must take time back into ourselves to let our consciousness breathe and our cluttered minds be still and silent. This is what art can do and what museums can be in today's world."
Bill Viola
"What digital technology is giving us is the ability to represent invisible things as well as visible things."
Bill Viola
"Simple facts of life become the way to find a bridge and shared vision with people from different cultures, races, history, and religion,"
Bill Viola
"That's a real important part of human beings, whether it happens in the secular context of a museum or it happens in the religious context of a church or a temple. A communal experience, in the sense of sitting together in silence or standing together in silence is a very special thing. It's people just quietly absorbing a presence in the space. That's part and parcel of what art has been, whether it's used for religious or secular purposes."
Bill Viola
"When you think about eternity, it doesn't mean thinking about being here 1,000 years from now. It means thinking about what you're doing now, because what you do matters. It's part of the fabric of the present moment and always will be."
Bill Viola
"I think that any time you are making something that touches the inner self of the human being, anything that emerges out of ourselves from a genuine, unguarded place is ultimately a sacred act, no matter whether you follow a religion or not."
Bill Viola
"So in today's world, where our lives are filled with so many messages floating all around us and affecting us, art museums are a special place where you can be quiet and still and focus on another person's dreams".
Bill Viola
"We can see the seeds of what some have described as the ultimate recording technology: total spatial storage, with the viewer wandering through some three-dimensional, possibly life-sized field of pre-recorded or simulated scenes and events evolving in time."
Bill Viola
"I realized that my video work as an artist and my private life at that time were the same. It changed my life dramatically."
Bill Viola

"Birth is not a beginning, death is not an end."

Bill Viola Signature

Synopsis

Bill Viola has been referred to as "the Rembrandt of the video age" and, indeed, his work pays homage not only to the famous Dutch master but to the tradition of creating large-scale works of art that draw the viewer into beautifully painted images and compelling narratives. There is often a spiritual component to his work, with elements of Zen Buddhism, Islamic Sufism, and Christian mysticism underpinning themes considered universal: birth, death, love, sex, grief, and redemption. Viola considers the "phenomena of sense perception" as a path to self-awareness; therefore, his work is a blend of experimental video art and sound, including avant-garde music performance. He was one of the earliest artists to explore the potential of the video camera, which in its most basic form in the 1970s only vaguely resembles the sophisticated devices of today. As one of the pioneers of the medium, he has consistently exploited its rapidly changing technology to create over 150 artworks over the last 40 years.

Key Ideas

For Viola, the video camera functions as a "microscope for being" with which events, from milestones to minutiae, may be fixed in time without the gaps that result from sleep or memory loss or even conscious alteration. With video it is even possible to slow down the otherwise inexorable and rapid progression of time, thus his use of extreme slow motion is a kind of response to the anxiety of being aware of our mortality.
More than simply creating a video that is shown on a screen, Viola created environments that were highly immersive. For instance, his installations almost always incorporate sound, including experimental music, and are typically created and presented in an either darkened or at least otherwise barren exhibition space in order to eliminate any distractions that would prevent the viewer from fully engaging with the work.
Viola's videos are usually sparsely populated and furnished. Including fewer figures and objects shifts the attention to the narrative, which is often the artist's goal: giving visual form to experiences that we cannot normally see or experience.
When he first began producing videos, Viola was intent on "proving something, much like a scientist." He approached the creative process with video art like a "controlled experiment" in which he used the camera to record carefully devised images and narratives. As the technology improved, however, he realized that his approach should basically be the opposite: that he would adapt to the new possibilities presented by technological progress of the medium and be spontaneous, capturing life experiences rather than choreographing them. Rather than creating videos in the controlled environment of the studio, Viola began what would be a career-spanning practice of going out of the studio, turning on his camera, and opening his work to the spontaneity - and routine - of real life.

Biography

Bill Viola Photo

Early Years

William "Bill" Viola was born and grew up in Queens, New York. He was a very shy, introverted child and found his internal world far more interesting and engaging than his external world of friends and family. He spent a lot of time drawing and by the age of three, with the help of his mother, he had perfected drawing motorboats. Once in school, the budding young artist received encouragement and validation. He recounted the story later in his life of his kindergarten teacher praising him for a finger painting he had made, holding it up and showing it to the class. Evidently, in response, Bill hid under the table in embarrassment. The teacher put the painting on the wall for everyone to admire and Viola, probably only half seriously, later identified that incident as his first "show." That small gesture of encouragement had a tremendous impact on the shy child, encouraging him to regard himself from that point onward as an artist.

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Bill Viola Biography Continues

Important Art by Bill Viola

The below artworks are the most important by Bill Viola - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Hatsu-Yume (First Dream) (1981)
Artwork Images

Hatsu-Yume (First Dream) (1981)

Artwork description & Analysis: Hatsu-Yume (First Dream) was produced on a single-channel videotape in color and features stereo sound. It is a 56-minute-long video work, which is comprised of day-to-day recordings made during Viola's travels through the largest, main Japanese island, called Honshu. His journey took him both to densely populated spaces such as Tokyo as well as remote regions like the Osorezan or "Mountain of Souls" region.

Hatsu-Yume has been described as "dreamlike" or reminiscent of the experience of being in a trance. In the piece, the artist melds his own observations about the culture of Japan with a highly personal, spiritual contemplation of nature, life, and death by exploration the relationship of his medium, video, to light and to reflection. Viola mused about the video's symbolism, "Water supports the fish like light supports man. Land is the death of the fish - darkness is the death of man."

Hatsu-Yume refers to Japanese folklore, which regards the first day of the new year as extremely significant. Viola explores that idea as a metaphor for the creation of the world. The video seems to progress from darkness to light, stillness to motion, silence to sound, simplicity to complexity, and nature to civilization. Indeed, Viola's work typically employs the concept of dualities that seem to have universal significance, including light and dark, the ancient and the modern, nature and civilization, object and subject, and rational thought and intuition. Viola wrote about this piece, "I was thinking about light and its relation to water and to life, and also to its opposite - darkness or the night and death. Video," he explained, "treats light like water - it becomes fluid on the video tube."

While he has been criticized for relying on standard symbolism, arguably, Viola tries to subvert the obvious conclusions by playing with duality. For instance, in the work, an enormous rock on the side of a mountain, surely a recognizable symbol of immobility and endurance, seems to change in scale and size as the light changes and time passes. A scene from the city, which should be illuminated with countless lights, instead is lighted by a lone match and on a dark, nighttime sea, fishermen haul in a luminous squid with light as their bait. The video becomes a haunting epic as Viola exploits fully his method of maintaining extreme focus and attention on his subjects, utilizing slow motion to emphasize an extension or compression of time and space.

HD Video (Color, Sound)

Room for St. John of the Cross (1983)
Artwork Images

Room for St. John of the Cross (1983)

Artwork description & Analysis: For this video and sound installation, Viola created a small black cubicle with a window through which viewers can peer to regard a miniature color monitor sitting on a wooden table alongside a metal pitcher and a glass of water. The screen displays a color image of a snow-covered mountain while a recorded voice quietly recites poetry, which speaks of love, ecstasy, flying and escape through the night. The poems Viola used for this piece were written in 1577 by the Spanish mystic St. John of the Cross while he was held prisoner in a small, dark, and windowless cell and intermittently tortured for nine months during the Spanish Inquisition. Outside of the black cubicle is a large projection on the gallery wall of snow-covered mountains moving chaotically as if caught in a storm. A roaring sound accompanies these moving images.

Viola's interest in the mysticism of various religious traditions led him to the story of St. John of the Cross, whose disturbing prognostications via poetry he found both deeply unsettling and inspiring. This work marks a decisive moment in Viola's career when he introduced his most enduring goal: to restructure the audience's perceptions of time and space with the use of technology and new media. His contention that sleep and memory both create the impression that there are gaps in the experience of time and that video seems to undermine that perception in its seeming ability to capture the passage of time in an uninterrupted way. By separating the aural and different aspects of the visual in the work - both compartmentalizing and rendering epic the latter, Viola attempts to create the conditions for restructuring memory. All of the input the viewer receives is coming in simultaneously but also separately in this fascinating conceptualization of sense experience.

Video/Sound Installation

Heaven and Earth (1992)
Artwork Images

Heaven and Earth (1992)

Artwork description & Analysis: This installation resembles a pillar that extends from floor to ceiling in the exhibition space, ostensibly as a structural support. The structure is actually comprised of wood, the stripped down tubes of a pair of black-and-white video monitors, and metal brackets that support the screens and connect them to the wood.

The top screen, which is suspended from the portion of the pillar connected with the ceiling - or "Heaven," as the title implies - displays a close-up image of an old woman, the artist's mother, who lies in a coma and in the last week of her life. Her face is blank and her half-closed eyes seem lifeless. The lower screen, which is anchored to the earth via the wooden column constitutes the "Earth" component of the work, the counterpart or opposite of the other screen. This video features a newborn baby, Viola's son, looking around curiously, albeit with the limited vision of a neonate.

Heaven and Earth was produced in the midst of a profound existential crisis in Viola's life: his mother died shortly before his son was born. The close proximity of the screens suggests that the birth of the infant and the death of the elderly woman are inextricably linked as the images of each figure are reflected on the opposing screen, merging in a sense. The glass of the monitors creates the illusion that the images on the screens are conjoined, at least tenuously, a concept that relates to Buddhist philosophy, which sees birth and death as one rather than as separate experiences and also as cyclical. Indeed, the theme of continuity plays a critical role in the work as the pillar is meant to be perceived as continuous. However, Viola's emphasis on duality emerges here as well in the slight gap between the two screens.

Video Installation (Monitors, Wood Column, Black & White Video) - 9 1/2 x 16 1/8 x 18 ft

More Bill Viola Artwork and Analysis:

The Crossing (1996) Going Forth By Day (2002) Martyrs (Earth, Air, Fire, Water) (2014)


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Influences and Connections

Influences on Artist
Artists, Friends, Movements
Influenced by Artist
Artists, Friends, Movements
Bill Viola
Interactive chart with Bill Viola's main influences, and the people and ideas that the artist influenced in turn.
View Influences Chart

Artists

Nam June PaikNam June Paik
Joseph BeuysJoseph Beuys
Mark RothkoMark Rothko
Alberto GiacomettiAlberto Giacometti
Bruce NaumanBruce Nauman

Personal Contacts

David TudorDavid Tudor

Movements

RenaissanceRenaissance
The BaroqueThe Baroque

Influences on Artist
Bill Viola
Bill Viola
Years Worked: 1970s - present
Influenced by Artist

Artists

Matthew BarneyMatthew Barney
Janet BiggsJanet Biggs
Gary HillGary Hill

Personal Contacts

David RossDavid Ross

Movements

Video ArtVideo Art
Installation ArtInstallation Art

Useful Resources on Bill Viola

Books

Websites

Articles

Videos

More

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

biography

Bill Viola

By John G. Hanhardt

written by artist

Reasons for Knocking at an Empty House: Writings 1973-1994

By Bill Viola

More Interesting Books about Bill Viola
Bill Viola

By Alan Rifkin
Los Angeles Times
January 28, 2007

Liberation of the Senses

By Gerard Wright
The Sydney Morning Herald
April 5, 2008

Timeless Themes Suddenly Timely

By Grace Glueck
The New York Times
September 27, 2002

Art Review: Themelessness

By Mark Stevens
New York Magazine
November 2002

More Interesting Articles about Bill Viola

interviews

Inside Story: Bill Viola

By Laura Gascoigne
June, 2014

Interview with Bill Viola

By Ashley Rawlings
Novermeber, 11, 2006

Bill Viola in Conversation with Michael Nash

June 30, 1990

Bill Viola Interview

By Nate Archer
November 7, 2007

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Edited and published by The Art Story Contributors

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