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Viola, Bill

Viola, Bill

▪ American artist
in full  William Viola 
born Jan. 25, 1951, New York, N.Y., U.S.

      American video and sound artist who was one of the pioneering figures of a generation of artists in the 1970s employing video art and sound technologies. Known for his room-sized environments (installations) that envelop viewers with sound and feature many screens of moving images, Viola created sublimely romantic imagery in the tradition of painting but within the radically new video medium.

      From 1969 to 1973 Viola attended Syracuse University in New York (B.F.A., 1973), where he first began to work with video. In the early 1970s he was a video preparator at Syracuse's Everson Museum of Art and in that capacity worked with such figures as Nam June Paik (Paik, Nam June) and Peter Campus. From 1974 to 1976 he was in Florence, working at an independent art video production facility, Art/Tapes/22. The Renaissance art that he was exposed to while living there became a major source of visual material for some of his later video productions. Another significant early influence on his work was the experimental musician David Tudor. Viola went to Japan in 1976, and thereafter he traveled widely. His study of non-Western art and cultures, particularly Eastern cultures, informs much of his aesthetic sensibility, and many of his works reflect on the role of art in prayer, meditation, and healing.

      Viola's video installations commonly involve a figure wrestling with nature: drowning in a pool of water, being engulfed in flames, grieving in slow motion, or giving birth, for example. These vignettes are transformed into romantic spectacles—ruminations on life and death, mind/body dialectics, the nature of perception, and the achieving of transcendence. His work can be found around the world, often in sites outside of the museum context, such as churches and temples. In 1995 he represented the United States at the 46th Venice Biennale. In 1997 the Whitney Museum of American Art presented a large retrospective of Viola's work. Among his better-known videos are Hatsu-Yume (First Dream) (1981), I Do Not Know What It Is I Am Like (1986), The Passing (1991), Déserts (1994), and Going Forth By Day (2002). He worked with his wife, executive producer Kira Perov; avant-garde director Peter Sellars; and conductor Esa-Pekka Salonen on a new production of Richard Wagner's Tristan and Isolde, which premiered in 2005.

Additional Reading
Marilyn Zeitlin (ed.), Bill Viola: Survey of a Decade (1988), an exhibition catalogue; Bill Viola, Reasons for Knocking at an Empty House: Writings, 1973–1994, ed. by Robert Violette and Bill Viola (1995); David A. Ross and Peter Sellars (ed.), Bill Viola (1997), an exhibition catalogue; Chris Townsend (ed.), The Art of Bill Viola (2004).

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Universalium. 2010.

  
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