Bill Viola is considered a pioneer in the medium of video art and is internationally recognized as one of today’s leading artists. He has been instrumental in the establishment of video as a vital form of contemporary art, and in so doing has helped to greatly expand its scope in terms of technology, content, and historical reach. For over 35 years he has created videotapes, architectural video installations, sound environments, electronic music performances, flat panel video pieces, and works for television broadcast. Viola’s video installations—total environments that envelop the viewer in image and sound—employ state-of-the-art technologies and are distinguished by their precision and direct simplicity. They are shown in museums and galleries worldwide and are found in many distinguished collections. His single channel videotapes have been widely broadcast and presented cinematically, while his writings have been extensively published, and translated for international readers. Viola uses video to explore the phenomena of sense perception as an avenue to self-knowledge. His works focus on universal human experiences—birth, death, the unfolding of consciousness—and have roots in both Eastern and Western art as well as spiritual traditions, including Zen Buddhism, Islamic Sufism, and Christian mysticism. Using the inner language of subjective thoughts and collective memories, his videos communicate to a wide audience, allowing viewers to experience the work directly, and in their own personal way.
Bill Viola received his BFA in Experimental Studios from Syracuse University in 1973 where he studied visual art with Jack Nelson and electronic music with Franklin Morris. During the 1970s he lived for 18 months in Florence, Italy, as technical director of production for Art/Tapes/22, one of the first video art studios in Europe, and then traveled widely to study and record traditional performing arts in the Solomon Islands, Java, Bali, and Japan. Viola was invited to be artist-in-residence at the WNET Channel 13 Television Laboratory in New York from 1976-1980 where he created a series of works, many of which were premiered on television. In 1977 Viola was invited to show his videotapes at La Trobe University (Melbourne, Australia) by cultural arts director Kira Perov who, a year later, joined him in New York where they married and began a lifelong collaboration working and traveling together.
In 1979 Viola and Perov traveled to the Sahara desert, Tunisia to record mirages. The following year Viola was awarded a U.S./Japan Creative Artist Fellowship and they lived in Japan for a year and a half where they studied Zen Buddhism with Master Daien Tanaka, and Viola became the first artist-in-residence at Sony Corporation’s Atsugi research laboratories. Viola and Perov returned to the U. S. at the end of 1981 and settled in Long Beach, California, initiating projects to create art works based on medical imaging technologies of the human body at a local hospital, animal consciousness at the San Diego Zoo, and fire walking rituals among the Hindu communities in Fiji. In 1987 they traveled for five months throughout the American Southwest photographing Native American rock art sites, and recording nocturnal desert landscapes with a series of specialized video cameras. More recently, at the end of 2005, they journeyed with their two sons to
Dharamsala, India to record a prayer blessing with the Dalai Lama.
Music has always been an important part of Viola’s life and work. From 1973-1980 he performed with avant-garde composer David Tudor as a member of his Rainforest ensemble, later called Composers Inside Electronics. Viola has also created videos to accompany music compositions including 20th century composer Edgard Varèse’ Déserts in 1994 with the Ensemble Modern, and, in 2000, a three-song video suite for the rock group Nine Inch Nails’ world tour. In 2004 Viola began collaborating with director Peter Sellars and conductor Esa-Pekka Salonen to create a new production of Richard Wagner’s opera, Tristan und Isolde, which was presented in project form by the Los Angeles Philharmonic in December 2004, and later at the Lincoln Center for the Performing Arts, New York (2007). The complete opera received its world premiere at the Opéra National de Paris, Bastille in April 2005.
Since the early 1970s Viola’s video art works have been seen all over the world. Exhibitions include Bill Viola: Installations and Videotapes, Museum of Modern Art, New York, 1987; Bill Viola: Unseen Images, seven installations toured six venues in Europe, 1992-1994, organized by the Kunsthalle Düsseldorf and Kira Perov. Viola represented the U.S. at the 46th Venice Biennale in 1995 with Buried Secrets, a series of five new installation works. In 1997 the Whitney Museum of American Art organized Bill Viola: A 25-Year Survey that included over 35 installations and videotapes and traveled for two years to six museums in the United States and Europe. In 2002 Viola completed his most ambitious project, Going Forth By Day, a five part projected digital “fresco” cycle, his first work in High-Definition video, commissioned by the Deutsche Guggenheim Berlin and the Guggenheim Museum, New York. Bill Viola: The Passions, a new series inspired by late medieval and early Renaissance art, was exhibited at the J. Paul Getty Museum, Los Angeles in 2003 then traveled to the National Gallery, London, the Fondación “La Caixa” in Madrid and the National Gallery of Australia, Canberra. One of the largest exhibitions of Viola’s installations to date, Bill Viola: Hatsu-Yume (First Dream) (2006-2007), drew over 340,000 visitors to the Mori Art Museum in Tokyo. In 2007 nine installations were shown at the Zahenta National Gallery of Art, Warsaw; and Ocean Without a shore was created for the 15th century Church of San Gallo during the Venice Biennale. In 2008 Bill Viola: Visioni interiori, a survey exhibition organized by Kira Perov, was presented in Rome at the Palazzo delle Esposizioni.
Viola is the recipient of numerous awards and honors, including a John D. and Catherine T. MacArthur Foundation Fellowship in 1989, and the first Medienkunstpreis in 1993, presented jointly by Zentrum für Kunst und Medientechnologie, Karlsruhe, and Siemens Kulturprogramm, in Germany. He holds honorary doctorates from Syracuse University (1995), The School of the Art Institute of Chicago (1997), California Institute of the Arts (2000), and Royal College of Art, London (2004) among others, and was inducted into the American Academy of Arts and Sciences in 2000. In 1998 Viola was invited to be a Scholar at the Getty Research Institute, Los Angeles and in 2009 received the Eugene McDermott Award in the Arts, MIT. In 2006 he was awarded Commander of the Order of Arts and Letters by the French Government. Bill Viola and Kira Perov, his wife and long-time collaborator, live and work in Long Beach, California.

KIRA PEROV
Kira Perov is executive director of Bill Viola Studio. She has worked closely with Bill Viola, her husband and partner since 1978, managing, guiding and assisting with the production of all of his videotapes and installations. With her knowledge of photography and video, she has also documented their working process on location and in the studio and amassed a large archive of images from their experiences together. The finished works have also been extensively documented, as objects as well as in digital form. She has worked on the cutting edge with printers to translate the moving images of video onto paper in stills and frame grabs, encouraging experimentation of printing techniques. She edits all Bill Viola publications, working closely with curators and designers. Perov also organizes and coordinates exhibitions of the work worldwide.
Before meeting Viola, Kira Perov was director of cultural activities at La Trobe University, Melbourne, Australia, curating exhibitions and producing concerts. Later, at the Long Beach Museum of Art in California, Perov compiled a ten-year history of video art exhibitions and documented the video collection at the museum. Her photographs, including those documenting Viola’s work, have been widely published.

Education
1973 Graduated, BFA, Experimental Studios, College of Visual and Performing Arts, Syracuse University, New York
1995 Receives honorary degree of Doctor of Fine Arts, Syracuse University, New York

Career
1960 Captain of the “TV Squad,” 5th grade, P.S. 20, Queens, New York
1973 Independent artist
1976-81Artist-in-residence, WNET Thirteen Television Laboratory, New York,
1980-81 Lived in Japan on cultural exchange fellowship. Studied with Zen priest/painter Daien Tanaka
1981 Artist-in-residence at Sony Corporation's Atsugi Laboratories
1983 Instructor, Advanced Video, California Institute of the Arts, Valencia, California
1995 Represented the United States at the 46th Venice Biennale in the US Pavilion
1998 Getty Scholar-in-residence at The Getty Research Institute for the History of Art and the Humanities, Los Angeles,
2000 Elected to American Academy of Arts and Sciences, United States
2006 Commander of the Order of Arts and Letters, France

Awards
1984 Polaroid Video Art Award for outstanding achievement, USA
1987 Maya Deren Award, American Film Institute, USA
1989 John D. and Catherine T. MacArthur Foundation Award, USA
1993 Skowhegan Medal (Video Installation), USA
1993 Medienkunstpreis, Zentrum für Kunst und Medientechnologie, Karlsruhe, and Siemens
Kulturprogramm, Germany
2003 Cultural Leadership Award, American Federal of Arts, USA
2006 NORD/LB Art Prize, Bremen, Germany
2009 Eugene McDermott Award in the Arts, MIT, Cambridge, MA
2009 Catalonia International Prize, Barcelona, Spain

Honorary Degrees
1995 Degree of Doctor of Fine Arts, Syracuse University, New York, USA
1997 Degree of Doctor of Fine Arts, The Art Institute of Chicago, Illinois, USA
1998 Degree of Doctor of Fine Arts, California College of Arts and Crafts, Oakland, California,
USA
1999 Degree of Doctor of Fine Arts, Massachusetts College of Art, Boston, Massachusetts, USA
2000 Degree of Doctor of Fine Arts, California Institute of the Arts, Valencia, California, USA
2000 Degree of Doctor of Fine Arts, University of Sunderland, Sunderland, England
2004 Degree of Doctor of Fine Arts, Royal College of Art, London, England
2005 Degree of Doctor of Fine Arts, Columbia College, Chicago, Illinois, USA
2006 Degree of Doctor of Fine Arts, Otis College of Art and Design, Los Angeles, California,
USA

Selected Solo Exhibitions
2008 “Bill Viola: Visioni interior,” Palazzo delle Esposizioni, Rome, Italy
“Tristan et Isolde,” Opera National de Paris, France
“Bill Viola: Transfigurations.” Kukje Gallery, Seoul, Korea
“Ocean Without a Shore,” National Gallery of Victoria, Australia
“Bill Viola: The Tristan Project,” Art Gallery of New South Wales, and St Saviour’s
Church, Sydney, Australia
2007 “Bill Viola,” Galeria Zacheta, Warsaw, Poland
“Bill Viola: Works from The Tristan Project,” James Cohan Gallery, New York, NY
“Ocean Without a Shore,” Church of San Gallo, Venice, Italy
“Bill Viola: Las Horas Invisibles,” Museo de Bellas Artes de Granada, Palacio de Carlos V
(Alhambra), Spain
2006 “Bodies of Light”, New Crowned Hope Visual Arts, Künstlerhaus, Vienna, Austria
New Acquisitions: Video Work by Bill Viola, Oakland Museum of California, Oakland, CA
"LOVE/DEATH The Tristan Project," Haunch of Venison, and St. Olave’s College (two venues), London, UK
“Bill Viola: Night Journey,” Church of St. Domingo, Pollensa, Mallorca, Spain
2006 Ascension, Locked Garden, Observance, Anima in “Bill Viola, Artist,” Kunsthalle Bremen,
NORD/LB Art Prize (April 16 - June 25, 2006)
One night screening of Déserts (1994), David Robertson Young Artists Concert, Zankel
Hall, Weil Music Institute at Carnegie Hall, New York, NY (February 25)
“Bill Viola: Hatsu-Yume (First Dream),” Mori Art Museum, Tokyo, Japan
"Bill Viola – Video", 2006 Recipient of the NORD/LB Art Prize, Kunsthalle Bremen, Bremen, Germany
2005 “Bill Viola,” James Cohan Gallery, New York, NY
“The Tristan Project,” fully staged première at the Opéra National de Paris, France; returning to Los Angeles in March 2007; traveling to Lincoln Center, New York, NY in April 2007.
“Bill Viola: The Passions,” Fundación ‘la Caixa,’ Madrid, Spain
“Bill Viola: Visions,” ARoS Aarhus Kunstmuseum, Århus C, Denmark (catalogue)
"Tristan und Isolde," fully staged opera premiere at the Opéra National de Paris, France
2004 “The Tristan Project,” presented in concert form at Los Angeles Philharmonic’s Walt
Disney Concert Hall; conducted by Esa Pekka Salonen, directed by Peter Sellars, video by Bill Viola.
“Bill Viola: Observance,” The Walker Art Gallery, Liverpool, England
“Five Angels for the Millennium,” Whitney Museum of American Art, New York, NY (through March 2005)
“Six Heads”, University of Virginia Art Museum, Charlottesville, VA
“Hall of Whispers”, De Pont Foundation for Contemporary Art, Tilburg, Netherlands (through January 9, 2005)
“Bill Viola: Temporality and Transcendence,” Guggenheim Bilbao, Spain (in
conjunction with Aarhus Kunstmuseum, Denmark) (through January 9, 2005)
2003 “Bill Viola: The Passions,” The J. Paul Getty Museum, Los Angeles, California
Travels to the National Gallery, London and the Pinakotheks of the Bayerische Staatsgemäldesammlungen, Munich, Germany (Spring 2004)
“Bill Viola: The World of Appearances”, James Cohan Gallery, New York
“Bill Viola” Kukje Gallery, South Korea
“Bill Viola: Five Angels for the Millennium,” Ruhrtriennale, Gasometer, Oberhausen, Germany
2002 “Going Forth By Day”, Solomon R. Guggenheim Museum, New York
2001 “Bill Viola: Five Angels for the Millennium,” Anthony d’Offay Gallery, London
2000 “The World of Appearances,” (catalogue) Helaba Main Tower, Frankfurt, Germany
(permanent installation)
1997 “Bill Viola: A 25-Year Survey” organized by the Whitney Museum of American Art
(catalogue). Traveled to Los Angeles County Museum of Art; In 1998: Whitney Museum of American Art, New York; Stedelijk Museum, Amsterdam; In 1999: Museum für Moderne Kunst, Frankfurt, Germany; San Francisco Museum of Modern Art, San Francisco; Art Institute of Chicago, Illinois
“Bill Viola: Fire, Water, Breath,” (catalogue) Guggenheim Museum (SoHo), New York
1996 "Bill Viola: The Messenger," (catalogue) Durham Cathedral, Visual Arts UK 1996,
Durh
am, England. Traveled to South London Gallery, London; Video Positiva-Moviola, Liverpool, England; The Fruitmarket Gallery, Edinburgh, Scotland; Oriel Mostyn, Gwynedd, Wales; In 1997: The Douglas Hyde Gallery, Trinity College, Dublin, Ireland
“Bill Viola: New Work,” Savannah College of Art and Design, Savannah, GA
“Bill Viola,” Festival d’Automne à Paris, Chapelle Saint-Louis de la Salpêtrière, Paris
1995 "Buried Secrets," (catalogue) United States Pavilion, 46th Venice Biennale, Venice, Italy.
Traveled to Kestner-Gesellschaft, Hannover, Germany. In 1996: Arizona State University Art Museum, Tempe, Arizona; Institute of Contemporary Art, Boston
1994 "Bill Viola: Território do Invisível/Site of the Unseen," (catalogue) Centro Cultural/Banco
do Brazil, Rio de Janeiro, Brazil
“Bill Viola: Stations,” American Center, Paris, France
1993 "Bill Viola," (catalogue) Musée d'Art Contemporain de Montréal, Canada
1992 "Bill Viola: Nantes Triptych," Chapelle de l'Oratoire, Musée des Beaux-Arts, Nantes,
France
"Bill Viola," Donald Young Gallery, Seattle, Washington
"Bill Viola: Two Installations," Anthony d'Offay Gallery, London
"Bill Viola. Unseen Images," (catalogue) Stadtische Kunsthalle Düsseldorf, Germany.
Traveled to: In 1993: Moderna Museet, Stockholm, Sweden; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Musée Cantonal des Beaux-Arts, Lausanne, Switzerland; Whitechapel Art Gallery, London; In 1994: Tel Aviv Museum of Art, Israel
1990 "Bill Viola: The Sleep of Reason," (catalogue) Fondation Cartier pour l'Art Contemporain,
Jouy-en-Josas, France
1989 "Bill Viola," (catalogue) Fukui Prefectural Museum of Art, Fukui City, Japan, part of The
3rd Fukui International Video Biennale.
1988 “Bill Viola: Survey of a Decade,” Contemporary Arts Museum, Houston, TX
1987 "Bill Viola: Installations and Videotapes," (catalogue) The Museum of Modern Art, New
York
1985 "Bill Viola," Moderna Museet, Stockholm, Sweden
1985 “Summer 1985,” Museum of Contemporary Art, Los Angeles, CA
1983 "Bill Viola," ARC, Musée d'Art Moderne de la Ville de Paris, France (catalogue)
1979 "Projects: Bill Viola," The Museum of Modern Art, New York
1974 "Bill Viola: Video and Sound Installations," The Kitchen Center, New York
1973 "New Video Work," Everson Museum of Art, Syracuse, New York

Selected Group Exhibitions
2009 Tears of Eros, Museo Thyssen-Bornemisza, Madrid, Spain (October 20 2009 – January 31,
2010)
2009 I Sing the Body Electric, Palazzo Sant’Agostino, Palazzo dei Musei and the Palazzo dei Pio,
Modena, Italy (May 22 – June 21, 2009)
The Third Mind: American Artists Contemplate Asia, 1860-1989, Guggenheim Museum,
New York, NY
Installations/Screenings, Haunch of Venison, Berlin, Germany
Three: The Triptych in Modern Art, Kunstmuseum, Stuttgart, Germany
Artist Rooms, The Pier Art Centre, Stromness, Scotland
2008 Dans la Nuit des Images, Nef du Grand Palais, Paris, France
Conceptual Art from California, Neuer Berliner Kunstverein, Berlin, Germany
Eros, Richard L. Feigen & Co., New York, NY
Traces de Sacré, Centre Pompidou, Paris, France (May 7 – August 11, 2008)
2007 Il Settimo Splendore: La Modernità della Malinconia, Galleria d'Arte Moderna, Verona,
Italy (catalogue)
2006 The Missing Peace: Artists Consider the Dalai Lama, Loyala University Musem of Art,
Chicago, IL (October 28, 2006 – January 15, 2007)
The Invisible Landscape: Revealing Our Place in the World, Museum of Contemporary
Canadian Art, Toronto, Canada
Stations in “Out of Time: Contemporary Art from the Collection,” Museum of Modern Art, New York, NY
The Reflecting Pool in “La Video s'installe à Mortagne,” Charentes Maritimes, France
The Greeting in “Acting the Part: Photography as Theater,” National Gallery of Canada, Ottawa,Ontario, Canada
The Reflecting Pool in “Video Masters: Classics from the 70s,” The Armory at One Colorado, Old Pasadena, CA
Dissolution in “Slow Tech,” Museum of Contemporary Art Taipei, Taipei, Taiwan
“The Missing Piece: Artists Consider the Dalai Lama,” UCLA Fowler Museum, Los Angeles, CA (June 11 – September 10)
Déserts in “Edgard Varese 1883 – 1965,” Museum Tinguely, Basel, Germany (April 28 - August 27)
Chott el-Djerid (1979) in “Landscape/Inscape,” St Paul St Gallery @ Auckland Univ. of Tech, New Zealand (April 26 - May 28)
Becoming Light in “Sublime Embrace,” Art Gallery of Hamilton, Canada
2006 The Raft (May 2004) in “Sip My Ocean International Video Art from Louisiana's
Collection,” Louisiana Museum of Modern Art, Denmark (April 6 - August 8)
Silent Mountain (2001) in “Ecce Uomo,” Spazio Oberdan, Milan, Italy (March 22 - May 21)
Anthem (1983) in “Los Angeles-Paris,” Centre Pompidou, Paris, France (March 7 - July 26)
Surrender (2001) in “Without Boundary: Seventeen Ways of Looking,” Museum of
Modern Art, New York, NY (February 26 through May 22)
Surrender (2001) in “To the Human Future: Flight from the Dark Side,” curated by Eriko Osaka, ATM Contemporary Gallery, Ibaraki-ken, Japan (through May 7)
The Sleepers (1992) in “Dormir, rêver…et autres nuits,” Musee d’art contemporain,
2006 Bordeaux, France (February 3 – May 21)
2005 The Lovers (1994) in “Intramoenia/Exit Art,” Castel del Monte, Andria, Bari, Italy
(December 18, 2005 - February 26, 2006)
The Quintet of the Unseen (2000), MADRE Museo d'Arte Contemporanea Donna Regina,
Naples, Italy (December 12, 2006 - end of 2007)
Memoria (2000) in “La peau est ce qu’il y a de plus profound,” Musée des Beaux-Arts de Valenciennes, Valenciennes, France (through March 13, 2006)
Quintet of the Silent (2001) in “Sights of War,” The Light Factory, Charlotte, NC
Unspoken (Silver and Gold) (2001) “Changes of Mind: Belief and Transformation,” Haunch of Venison, London, UK
Mary (2000) in “Video Installations,” Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE
The Greeting (1995) in “Marking Time: Moving Images,” Miami Art Museum, FL
The Greeting (1995) in “Bill Viola: The Greeting,” The Mary and Leigh Block Museum of Art, Northwestern University, Evanston, IL
Surrender (2001) in “Getting Emotional,” Institute of Contemporary Art, Boston
Mary (2000) in “Video II: Allegorie,” NRW- Forum Kultur und Wirtschaft Düsseldorf, Germany (catalogue) (through January 15, 2006)
“On the Other Hand: Bill Viola and Classic Photographs of Hands,” George Eastman House, Rochester, NY
The Greeting (1995) in the “Moscow Biennial of Contemporary Art,” Pushkin State Museum of Fine Arts, Russia
“Suddenly Older,” Clifford Art Gallery, Little Hall, Colgate University, Hamilton, NY
The Quintet of Remembrance (2000) in “Introspection: Toshikatsu Endo, Bill Viola,
Kimsooja,” The National Museum of Modern Art, Tokyo, Japan
Five Angels for the Millenium (2001) in “Big Bang: Creation and Destruction in 20th Century Art”, Centre Pompidou, Musée national d’art moderne-Centre de creation industrielle, Paris (catalogue) (through February 22, 2006)
Six Heads (2000) in “LivePictures: The Digital World Animates Contemporary Art,”
Jamaica Center for Arts and Learning, Jamaica, NY (catalogue)
Quintet of the Silent (2001) in “Transcending Time: Recent Work by Bill Viola and Lorna Simpson,” Hood Museum of Art, Dartmouth College, Hanover, NH
2004 The Greeting (1995) in “Pontormo, Bronzino and the Medici: The Transformation of the
Renaissance Portrait,” Philadelphia Museum of Art, PA (through February 13, 2005)
The Silent Sea (2002) & Mary (2000) in “Visions of America,” Sammlung Essl, Klosterneuburg, Austria (through March 6, 2005)
Surrender (2001) in “Laocoon devoured: Arte y Violencia Politica," Artium, Granada, Spain (through January 23, 2005)
Il Vapore (1975) in “Realm of the Senses,” James Cohan Gallery, New York, NY
(through January 22, 2005)
Hallway Nodes (1973) in “Sons & Lumières: Une histoire du son dans l’art du Xxe siècle,” Centre Pompidou, Paris (through January 3, 2005)
2004 Tristan und Isolde (2004) in “Tristan Project,” Los Angeles Philharmonic, CA
The Raft (2004) in “Transcultures,” National Museum of Contemporary Art (EMST), Athens, Greece (catalogue)
Memoria (2000) in “The Disembodied Spirit” (traveling show organized by the Bowdoin College), Austin Museum of Art, Austin, TX
Science of the Heart (1983) in "In Bed," Toyota Municipal Museum of Art, Toyota City, Japan
Unspoken (Silver & Gold) (2001) in “The ARKEN Collection – New Acquisitions,” Arken Museum for Modern Kunst, Skovvej, Denmark
Vegetable Memory (1978-80), The Reflecting Pool (1979), Anthem (1983) and Six Heads (2000) in “Virginia Film Festival: Extreme Time,” University of Virginia Art Museum, Charlottesville, VA
The Messenger (1996) in “Presence: Images of Christ for the Third Millennium,” St. Paul’s Cathedral, London, UK
“Secret Postcard,” Royal College of Art, London
Ascension (2000) in “Shanghai Biennale,” Shanghai Art Museum, Shanghai, China
The Passing (1991) in “Isle of Dreams,” Gallery Noass, Riga, Latvia
I Do Not Know What It Is I Am Like (1986) in “Animals: 17 Artists Explore the Otherness of Animals,” Haunch of Venison, London (catalogue)
Catherine’s Dream (2004) in “Between The Lines,” James Cohan Gallery, New
York, NY
2003 “Painting Pictures,” Kunstmuseum Wolfsburg, Germany
Anthem (1983) in “Uneasy Space”, SITE Santa Fe, NM
The World of Appearances (2000) in "The Body Transformed", National Gallery of Canada, Ottawa, Canada
Memoria (2000) in “The Disembodied Spirit”, Bowdoin College Museum of Art, Brunswick, Maine
"Bill Viola: Five Angels for the Millennium,” Ruhr Triennale, Gasometer Oberhausen, Germany
“Process: Encounters in Live Situations / Changing Spaces”, Kiasma Museum of Contemporary Art, Helsinki, Finland
2002 “Verweite doch… Gerhard Richter, Roman Opalka…,” Stadtische Galerie, Lenbachhaus,
and Kunstbau Munchen, Munich, Germany
“The Nude in 20th Century Art,” Grosse Kirche, Emden, Germany
“Real Life,” Tate St. Ives, Cornwall, United Kingdom
“Synopsis II: Theologies the National Museum of Contemporary Art,” National Museum of Contemporary Art, Athens, Greece
“Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust,” PS1, MoMA, Long Island, New York
Six Heads in “Extreme Existence,” Pratt Manhattan Gallery, New York
“Like Painting,” Royal Hibernian Academy, Gallagher Gallery, Dublin, Ireland
2001 “Artcité: When Montreal Turns into a Museum,” (catalogue) Musée d’Art Contemporain de
2001 Montréal, Canada
“Hieronymous Bosch,” (catalogue) Museum Boijmans Van Beuningen, Rotterdam, The Netherlands
"Plateau of Humankind: 49th Venice Biennale," (catalogue) Venice, Italy
2000 “Encounters: New Art from Old,” (catalogue) National Gallery, London
“Spectacular Bodies,” (catalogue) Hayward Gallery, London
1999 “The American Century: Art and Culture 1950-2000,” (catalogue) Whitney Museum of
American Art, New York
1998 "Changing Spaces," organized by the Fabric Workshop and Museum, Philadelphia,
Pennsylvania. Traveled to: Miami Art Museum, Florida; Arts
1997 Festival of Atlanta, Georgia; Detroit Institute of Arts, Michigan; In 1998: Vancouver Art
Muse
um, Canada
1996 “The Messenger,” Durham Cathedral, Visual Arts UK 1996, Durham. Traveled
to: (1997) South London Gallery, London; Video Positive 97, Liverpool; The Fruitmarket Gallery, Edinburgh (shown with The Crossing); Oriel Mostyn, Llandudno, Gwynedd, Wales (catalogue)
1996 “Being and Time: The Emergence of Video Projection,” (catalogue) Albright-Knox Art
Gallery, Buffalo, New York. Traveled to Cranbrook Art Museum, Bloomfield Hills, Michigan; Portland Art Museum, Oregon; Contemporary Arts Museum, Houston, Texas
"Along the Frontier," Organized by the International Center of Photography, New York. Traveled to: The State Russian Museum, St. Petersburg; Galerie Rudolfinum,
Prague Czech Republic; National Gallery of Contemporary Art, Zacheta, Warsaw, Poland; In 1997: Soros Center for Contemporary Art, Kiev, Ukraine
1995 "Video Spaces: Eight Installations," (catalogue) The Museum of Modern Art, New York
"Rites of Passage," Tate Gallery, London
"3e Biennale d'art contemporain de Lyon," (catalogue) Musée d'Art Contemporain, Lyon, France
1994 Bill Viola: Stations,” American Center, Paris
"Visions of America: Landscape as Metaphor in the Late Twentieth Century," (catalogue)
Denver Art Museum and Columbus Museum of Art, Columbus, Ohio
1993 "American Art in the 20th Century," (catalogue) Martin-Gropius-Bau, Berlin and The
Royal Academy, London
1992 "Documenta IX," (catalogue) Kassel, Germany
1991 "Opening Exhibition," Museum für Moderne Kunst, Frankfurt, Germany
1990 "Passages de l'Image," (catalogue) Musée National d'Art Moderne, Centre Georges
Pompidou, Paris. In 1991, traveled to: Centre Culturel Fondation Caixa de Pensions, Barcelona, Spain; Wexner Art Center, Columbus, Ohio; In 1992: San Francisco Museum of Modern Art, San Francisco
1989 "Image World: Art and Media Culture," (catalogue) Whitney Museum of American Art,
New York
1988 "American Landscape Video, The Electronic Grove," (catalogue) The Carnegie Museum of
Art, Pittsburgh, Pennsylvania
1987 "Avant-Garde in the Eighties," (catalogue) Los Angeles County Museum of Art, Los
Angeles
1984 "The Luminous Image,” (catalogue) Stedelijk Museum, Amsterdam
1983 “Video Culture, Canada/International Video Festival,” The Art Gallery at Harbourfront,
Toronto [Marly Chu at the Art Gallery is researching title: 416.973.3000]
1977 "Documenta VI,” Friedericianum, Kassel, Germany
1975-87 "Biennial Exhibition," (catalogue) Whitney Museum of American and 1993 Art, New
York
1974 "Projekt '74," Kunstverein, Cologne, Germany
SELECTED PRESENTATIONS OF Déserts, (a film)
2001 “Perth International Arts Festival 2001,” Perth Concert Hall, performed by the Western Australia Symphony, conducted by Roger Smalley, Perth, Australia
Carnegie Hall, performed by American Composers Orchestra, conducted by Paul Lustig Dunkem, New York, New York
2000 “Fire Crossing Water,” Barbican Centre, performed by BBC Symphony Orchestra, conducted by Pierre Andre Valade, London
1999 “Fantastic Odyssey: Déserts at Hollywood Bowl,” Hollywood Bowl, performed by the Los Angeles Philharmonic, conducted by Esa-Pekka Salonen, Los Angeles, California
1994 “Wien Modern,” Konzerthaus, performed by Ensemble Modern, conducted by Peter Eötvös, Vienna, Austria (premiere). Other performances in 1995: at
Konzerthaus, Karlsruhe, Semper-Oper, Dresden, Palazzetto dello Sport, Venice, Hallein/Perner-Insel, Salzburg, Philharmonie, Cologne, Alte Oper, Frankfurt, Konzerthaus, Berlin, Concertgebouw, Amsterdam. In 1996: at Royal Festival Hall, London, Globe Arena, Stockholm, KB-Hallen, Copenhagen, Théatre des Champs-Élysées, Paris

Selected Artist Writings
1995 Reasons for Knocking at an Empty House: Writings 1973-1994. Edited by Robert Violette with Bill Viola, The MIT Press, Cambridge, Massachusetts, and Thames & Hudson, London, in association with Anthony d’Offay, Gallery, London, 1995.
1985 Bill Viola: Statements by the Artist, exhibition catalogue with introduction by Julia Brown, The Museum of Contemporary Art, Los Angeles, 1985.

Selected Books and Catalogues
Organized Alphabetically
Bélisle, Josée, ed. Bill Viola (exhibition catalogue). Montreal: Musée d'art contemporain de Montréal, 1993. Texts by Josée Bélisle and Bill Viola. (English and French)
Big Bang: Creation and Destruction in 20th Century Art (exhibition catalogue). Paris: Centre Pompidou, Musée national d’art moderne-Centre de creation industrielle, 2005. Texts by Catherine Grenier, Chantal Béret, Nicole Chapon-Coustère, Marianne Alphant, Érik Bullot, Alain Badiou, Brigitte Leal, Agnes de la Beaumelle, Camille Morineau and Alice Fleury. (French and English)
Bill Viola: Going Forth By Day (exhibition catalogue). New York: The Solomon R. Guggenheim Foundation, 2002. All texts and images by Bill Viola.
Bill Viola: Hatsu-Yume (exhibition catalogue). Tokyo: Mori Art Museum, 2006. Texts by David Elliot, Akio Obigane, David A. Ross and John Walsh.
Bill Viola (exhibition catalogue). Paris: Musée d’Art Moderne de la Ville de Paris, France, 1983. Texts by Anne-Marie Duguet, John G. Hanhardt, Kathy Huffman, Suzanne Page, Bill Viola; interview with the artist by Deirdre Boyle. (French)
Bill Viola: A 25 Year Survey (exhibition catalogue). New York: Whitney Museum of American Art, 1997, in association with Flammarion, Paris, New York; German Language edition, Cantz Verlag, 1999. Contributions by Lewis Hyde, Kira Perov, David A. Ross, and Bill Viola.
Stations: Bill Viola (exhibition catalogue). Karlsruhe, Germany: Museum für Neue Kunst/ZKM, 2000. With an introduction by Götz Adriani, and texts by Reto Krüger, Ralph Melcher, Bill Viola, and Dörte Zbikowski. (German)
Bill Viola: Território do Invisível/Site of the Unseen (exhibition catalogue). Rio de Janeiro: Centro Cultural Banco do Brasil, 1994. Texts by Ivana Bentes, Marcello Dantas, and Kathy Huffman; interview with the artist by Jörg Zutter. (English and Portuguese)
Bloch, Dany, ed. Bill Viola (exhibition catalogue). Paris: ARC, Musée d'Art Moderne de la Ville de Paris. Texts by Anne-Marie Duguet, Deirdre Boyle, John Hanhardt, and Bill Viola. (English and French)
Baume, Nicholas, ed. Getting Emotional (exhibition catalogue). Boston: Institute of Contemporary Art, 2005. Texts by Jennifer Doyle, Wayne Koestenbaum and Jill Medvedow.
Desmond, Michael. “Interval.” In Kate Davidson and Michael Desmond, Islands: Contemporary Installations from Australia, Asia, Europe and America (exhibition catalogue). Canberra: National Gallery of Australia, 1996: 71-75.
Duguet, Anne-Marie. “Bill Viola.” In Passages de l’image (exhibition catalogue). Paris: Musée National d’Art Moderne, Centre Georges Pompidou, 1990: 207-209. (French)
_______. In Het lumineuze beeld/The Luminous Image (exhibition catalogue). Amsterdam: Stedelijk Museum, 1984: 168-171. (Dutch and English)
Feldman, Melissa and H. Ashley Kistler, eds. Bill Viola: Slowly Turning Narrative (exhibition catalogue). Philadelphia: Institute of Contemporary Art, University of Pennsylvania; Richmond: Virginia Museum of Fine Arts, 1992.
Francis, Richard, “Bill Viola.” In Richard Francis, Negotiating Rapture: The Power of Art to Transform Lives (exhibition catalogue). Chicago: Museum of Contemporary Art, 1996: 64-73.
Furlong, Lucinda. “Bill Viola.” In Martin Friedman et al., Visions of America: Landscape as Metaphor in the Late Twentieth Century (exhibition catalogue). Denver: Denver Art Museum; Columbus, Ohio: The Columbus Museum of Art, 1994: 236-38.
Hanhardt, John. "Cartografando il visible: l'arte di Bill Viola." In Ritratti: Greenaway, Martinis, Pirri, Viola, edited by Valentina Valentini (Taormina Arte 1987, Rassegna Internazionale del Video d'Autore), 39–42. Taormina, Italy: De Luca Editore, 1987. (Italian)
_______. Bill Viola: Fire, Water Breath (exhibition catalogue). New York: Guggenheim Museum (SoHo), 1997.
Heiferman, Marvin and Lisa Phillips, with John G. Hanhardt, curators. Image World: Art and Media Culture (exhibition catalogue). New York: Whitney Museum of American Art, 1989.
Kafetsi, Anna, ed. Transcultures (exhibition catalogue). National Museum of Contemporary Art (EMST), Athens, Greece, 2004. Text by Anna Kafetsi (English and Greek)
Katz, Freiman, Tami, “Nir Hod: An Acrobat of Emotion in the Circus of Illusions,” in Nir Hod: FOREVER (exhibition catalogue). Tel Aviv: Tel Aviv Museum of Art, 2005: 22. (English and Hebrew)
Krogh, Anna and Jens Erik Sørensen. Bill Viola: Visions (exhibition catalogue). Denmark: ARos Aarhus Kunstmuseum, 2005.
Landau, Susanne, ed. Life-Size: A Sense of the Real in Recent Art (exhibition catalogue). Jerusalem: The Israel Museum, 1990: 176-177.
Live Pictures: The Digital World Animates Contemporary Art (exhibition catalogue). New York: Jamaica Center for Arts & Learning, 2005.
Livingstone, Marco. “Bill Viola.” In Richard Morphet, Encounters: New Art from Old (exhibition catalogue). London: National Gallery, 2000: 309-323.
de Loisy, Jean, ed. Bill Viola: The Sleep of Reason (exhibition catalogue). Jouy-en-Josas, France: Fondation Cartier pour l'Art Contemporain, 1990. (French)
London, Barbara, ed. Bill Viola: Installations and Videotapes (exhibition catalogue). New York: The Museum of Modern Art, 1987. Texts by J. Hoberman, Donald Kuspit, Barbara London and Bill Viola.
Mayer, Marc. Being and Time: The Emergence of Video Projection (exhibition catalogue). Buffalo, New York: Albright-Knox Art Gallery, 1996: 66-73.
Nusser, Uta, ed. Bill Viola: Stations (exhibition catalogue). Stuttgart: Württembergischen Kunstverein Stuttgart; Los Angeles: Lannan Foundation, 1996. Texts by Martin Hentschel, Hannelore Paflik-Huber, and Bill Viola. (English and German)
Pühringer, Alexander, ed. Bill Viola (exhibition catalogue). Salzburg: Salzburger Kunstverein, 1994: Texts by Freidemann Malsch, Celia Montolió, Otto Neumaier, and Bill Viola; interview with the artist by Otto Neumaier and Alexander Pühringer. (English and German)
Robertson, Jean and Craig McDaniel. Themes of Contemporary Art: Visual Art After 1980. New York: Oxford University Press, 2005.
Sparrow, Felicity, ed. Bill Viola: The Messenger (exhibition catalogue). Durham: Chaplaincy to the Arts and Recreation in North East England, 1996. Preface by Canon Bill Hall; texts by David Jasper and Stuart Morgan.
Syring, Marie Luise, ed. Bill Viola: Unseen Images/Nie gesehene Bilder/Images jamais vues (exhibition catalogue). Düsseldorf: Kunsthalle Düsseldorf, 1992. Texts by Rolf Lauter, Marie Luise Syring; interview with the artist by Jörg Zutter. (English, French and German). Reprinted in expanded version as Bill Viola: Más allá de la mirada (imágenes no vistas). Madrid: Museo Nacional Centro de Arte Reina Sofía, 1993. (Spanish)
Théberge, Pierre. The Body Transformed (exhibition catalogue). National Gallery of Canada, Ottawa, 2003. In collaboration with Mayo Graham.
To the Human Future – Flight From the Dark Side, Contemporary Art Center, Art Tower Mito, Ibaraki, Japan
Twenty Years of the Schirn. Frankfurt: Schirn Kunstalle, 2006. Interview by Stefanie Bickel. pg 199-207 (German and English)
Richard Wagner: Tristan und Isolde. Opéra National de Paris, France, 2004-2005. Texts by Bill Viola, Oswald Georg Bauer, Vaclav Jamek, Makis Solomos, Vincent Borel, Nicolas Southon, Timothée Picard (French, English and German)
Valentini, Valentina, ed. Taormina Arte 1993: Bill Viola: Vedere con la mente e con il cuore. Rome: Gangemi Editore, 1993. Text by Valentina Valentini and Bill Viola; interviews with the artist by Jörg Zutter and with David A. Ross by Gianfranco Mantegna. (English and Italian)
Video II: Allegorie (exhibition catalogue). Düsseldorf: NRW- Forum Kultur und Wirtschaft, 2005. Forward by Petra Wenzel and Werner Lippert; texts by Silke Walther, Jennifer Blessing, Werner Lippert and Alexander Braun. (German)
Visions of America: Contemporary Art from the Essl Collection and the Sonnabend Collection, New York (exhibition catalogue). Vienna: Sammlung Essl, 2004. Forward by Karlheinz Essl; introduction by Barbara Steffen; texts by Barbara Steffen, Patrick Werkner, Sonja Traar, Mary Anne Redding and Gerhard Eckel. (German and English)
Yapelli, Tina, with Toby Kamps. Bill Viola: Images and Spaces (exhibition catalogue). Madison, Wisconsin: Madison Art Center, 1994. Texts by Tina Yapelli and Bill Viola.
Zeitlin, Marilyn A., ed. Bill Viola: Buried Secrets/Segreti sepolti (exhibition catalogue). Tempe: Arizona State University Art Museum, 1995. Reprinted in expanded form as Bill Viola: Buried Secrets/Vergrabene Geheimnisse. Hannover, Germany: Kestner-Gesellschaft, 1995. (German and English). Texts by Carl Haenlein, Susie Kalil, Bill Viola, and Marilyn Zeitlin. (English and Italian)
Zeitlin, Marilyn A., ed. Bill Viola: Survey of a Decade (exhibition catalogue). Houston: Contemporary Arts Museum, 1988. Texts by Deirdre Boyle, Kathy Rae Huffman, Christopher Knight, Michael Nash, Joan Seeman Robinson, Gene Youngblood, and Marilyn A. Zeitlin.
Walsh, John, ed. Bill Viola: The Passions (exhibition catalogue). Los Angeles: The J. Paul Getty Museum, 2003. Texts by Peter Sellars and John Walsh; interview with Hans Belting.

Selected  Periodicals
Organized Alphabetically
______. “Video Works by Bill Viola and Lorna Simpson,” ArtDaily.com, January, 2005
______. “Bill Viola’s Five Angels For The Millenium,” ArtDaily.com, December 1, 2004
______. “Bill Viola: Hall of Whispers at De Pont Museum,” ArtDaily.com, December 1, 2004
______.”Bill Viola’s X-Ray Vision,” The Art Newspaper, June 22, 2006
SELECTED PERIODICALS cont.
______. “Un, deux, trois: l’equipée magique,” Ligne 8 (Le journal de l’ opéra national de Paris), No. 4, March-April 2005: 8.
______. “Art exhibition kicks off that focuses on the aesthetic of slowness,” Taiwan Headlines, June 23, 2006
______. “Viola’s Video Passion,” Australian Art Review, July 22, 2005
Albertini, Rosanna. “Bill Viola: l’oeil de la séparation (The Dividing Eye).” Art Press, no. 233 (March 1998): 20-25. (English and French)
Anderson-Bazzoli, Christopher, “Bill Viola, Peter Sellars, and Esa-Pekka Salonen on the Tristan Project,” Performances Magazine, December 2004.
Artner, Alan G. “Time Traveler.” Chicago Tribune, 31 October 1999: 1, 12.
Aspden, Peter, “ Pioneer of opera on a different plane,” Financial Times, Arts & Ideas, Monday, April 11, 2005: 12 (interview)
Banks, Elena, “Every Man is an Island of Dreams”, The Baltic Times, July 22, 2004
Bellour, Raymond. "An Interview with Bill Viola." October, no. 34 (Fall 1985): 91–119. Also published as "Entretien avec Bill Viola: L'espace à pleine dent" in Cahiers du cinéma, no. 379
(January 1986): 35–42 and Cahiers du cinéma, special issue edited by Jean-Paul Fargier, Où va la Vidéo, no. 14 (1986): 64–73. (English and French)
Benedictus, Leo, “Tomorrow’s World,” The Guardian, July 12, 2006
Bloch, Dany. "Les Vidéo-paysages de Bill Viola." Art Press, no. 80 (April 1984): 24–26. (English and French)
Boyle, Deirdre. “Post-Traumatic Shock: Bill Viola’s Recent Work.” Afterimage, no. 24 (September-October 1996): 9-11.
Buck, Louisa. “Bill Viola: hall of whispers at Haunch of Venison.” The Art Newspaper, London Reviews, Commercial Galleries, No. 140, October 2003: 13.
Buck, Louisa. “Bill Viola: The Passions at The National Gallery.” The Art Newspaper, London Reviews, Museums and Galleries, No. 140, October 2003, p. 12.
Campbell, Clayton. “Bill Viola: The Domain of The Human Condition.” Flash Art, vol. xxxvi, no. 229 (March – April 2003): 88 – 91.
de Cecco, Emanuela. "Bill Viola: Tra fisica e metafisica." Flash Art 26, no. 179 (November 1993): 31–34.
Chavez, Brenda, “Arte y Parte,” El Pais, October 14, 2007
Cumming, Laura. “A Rembrandt for the video age.” The Observer [London], 6 May 2001: 11.
Daniels, Dieter. "Bill Viola: Installations and Videotapes." Kunstforum, no. 92 (December 1987–January 1988): 247–50. (German)
Danto, Arthur C. “TV and Video.” The Nation, 11 September 1995: 248-253.
Dea, Cynthia, “A Spiritual ‘Peace’ of Mind,” The Los Angeles Times, June 15, 2006
Denny, Ned. “Viola bodies.” New Statesman [London], 28 May 2001: 45-46.
Douglas, Sarah. “Interview: Bill Viola.” Artinfo.com, 2 November 2005.
Drohojowska-Philp, Hunter. “His Camera Never Blinks.” Los Angeles Times (Calendar Section), 26 October 1997: 3, 69.
Dronhojowska-Philip, Hunter, “The Tristan Project,” Artnet, January 2005
_______. “The Self-Discovery Channel.” ARTnews, November 1997: 206-209.
_______. “First the Sountrack, Now the Film.” Los Angeles Times, (Calendar Section), 22 August 1999: 52, 73-74.
Duncan, Michael. “Bill Viola: Altered Perceptions.” Art in America, March 1998: 62-69.
Duguet, Anne-Marie. "Immersive Images: Bill Viola’s Passions." Art Press, (April 2003) no. 289: cover, 30–35 (French and English).
Duguet, Anne-Marie. "Les vidéos de Bill Viola: une poétique de l'espace-temps." Parachute, no. 45 (December 1986–February 1987): 10–15 (French), 50–53 (English). Also published in abridged
form in Expansion and Transformation: The Third Fukui International Video Biennale, organized by Yoshitomo Morioko. Fukui, Japan: Fukui International Video Biennale Executive Committee, 1989.
Emerling, Susan. “Interview with Bill Viola.” THE: Santa Fe’s Monthly Magazine of the Arts, April 2003: 14-15 (cover).
Falconer, Morgan. “Immersion Therapy.” Art Review, April 2001: 40-43.
Fernández, Olga, “Fundación “la Caixa,” The Passions, Bill Viola,” arco 05, Contemporary Art, Arco Special, A retrospective, Madrid, 2005.
Finkel, Jori. “Striking Chords.” ARTNews, March 2005: 29
Frankel, David. “Bill Viola: James Cohan Gallery.” ArtForum, December 2000
Gallegos, Carina. “The Passions at the National Gallery, London.” Art Nexus, no. 52, vol. 3, 2004.
Gayford, Martin, “Time Bending Backwards – and a 50 ft wall of fire,” Telegraph.co.uk, June 17, 2006
Grant, Simon. “This work would make the angels weep.” The Independent on Sunday [London]. 6 May 2001: 1, 4.
Harvey, Doug, “The Dalai Museum: Gaze navelly, paint globally,” LA Weekly, June 21, 2006
Harvey, Doug. “The Video Passions of Bill Viola.” LA Weekly, January 24 – 30, 2003
Herbert, Martin. “Bill Viola: Anthony d’Offay Gallery, London.” Tema Celeste, 87/2002
Hierholzer, Michael. “Berührung der Gegensätze im dunklen Raum.” Frankfurter Allgemeine Sonntagszeitung, 7 February 1999: 25.
Higson, Rosalie, “New Light on Ageless Passions,” The Australian, July 22, 2005
Hohmeyer, Jürgen. "Flimmern im Brunnen." Der Spiegel, no. 53 (December 1992): 170–71.
Holland, Bernard. “A ‘Tristan’ Served Up In Digestible Helpings.” The
New York Times, December 7, 2004
Huffman, Kathy Rae, “The Passing,” DVD.nl, June 21, 2006
Hutchinson, Carrie, “Sound and Vision”, Vogue Living, January/February 2005
Januszczak, Waldemar. “Magical, mystical, magnificent.” The Sunday Times [London], (Section 11), 26 April 1998: 8-9.
Kaufman, Jason Edward, “Metropolitan Embraces Contemporary Art”, The Art Newspaper, No. 149, July-August 2004
Knight, Christopher, “Viola’s Passions tackles life’s eternal questions on video,” Los Angeles Times, January 28, 2003: E1-E10.
Kuspit, Donald, “Bill Viola’s Via Negativa,” Artforum, May 1995
Kuspit, Donald, "The Passing." Artforum 32, September 1993: 145, 204.
Larson, Kay, “The Dalai Lama’s Many Auras, at the Fowler Museum in Los Angeles,”
The New York Times, June 11, 2006
“Lincoln Center Shifts Tristan Project Performances From Park Ave. Armory to Avery Fisher Hall,” Opera News Online, June 15, 2006
London, Barbara. "Bill Viola: Entropy and Disorder." Image Forum 116, (December 1986): 42–52.
Mattison, Ben, “Lincoln Center Drops Plans to Stage Sellars-Salonen Tristan in Armory,” Playbill Arts, June 15, 2006
Mejias, Jordan. “Bill Viola. Die kunst, der tod, und das teetrinken.” Frankfurter Allgemeine Magazin, 5 February 1999: cover page, 10-19.
Moran, Darin, “The Light Enters You: Bill Viola captures not just image but experience and shows us what video art can be”, Shambala Sun, November 2004 (interview)
Morgan, Joyce, “Tears of a Modern Mystic,” The Age (Australia), July 27, 2005
Murphy, James, “Bill Viola Meets the Old Masters at the Graves Art Gallery in
Sheffield,” 24 Hour Museum, June 5, 2006
Muthnic, Suzanne. “Bill Viola: The Passions.” ArtNews, National Reviews, June 2003: 120.
Muthnic, Suzanne. “A Moving Stillness.” Los Angeles Times, January 26, 2003.
Nash, Michael. "Bill Viola." Journal of Contemporary Art 3, no. 2 (Fall–Winter 1990): 63–73.
Neumaier, Otto and Alexander Pühringer. "Buried Secrets. Bill Viola im Gespräch mit Otto Neumaier und Alexander Pühringer." Noëma, no. 40 (Winter 1995-1996): 20-35.
Plagens, Peter. “The Video Vibes of Venice.” Newsweek, 17 July 1995: 59.
Richard, Emmanuelle, “Tristan, d’amour fou” (interview with Peter Sellars and Esa-Pekka Salonen), Ligne 8 (Le journal de l’ opéra national de Paris), No. 4, March-April 2005: 4-7
Rifkin, Alan. “Doubt, dry spells and days in the desert,” Los Angeles Times, January 28, 2007
Rosen, Nancy. “Eye of the Beholder, Video artist Bill Viola’s singluar vision.” Video, May 1998: 36-41.
Ross, Alex, “The Waves: ‘Tristan’ in Paris and ‘Cyrano’ at the Met,” The New Yorker, May 30, 2005: 94, 95.
Ross, David A., “Bill Viola Time”, Shambala Sun, November 2004.
Roux, Marie-Aude, “Sellars, Viola, Salonen, trio de feu à l’Opéra Bastille,” Le Monde, Culture, Musique, Tuesday, April 12, 2005: 28
Rutledge, Virginia. “Art at the End of the Optical Age.” Art in America, March 1998: 70, 77.
Santi, Floriano de. “Bill Viola: un’arte digitale che racconta l’uomo e la vita.” Telèma, Winter 1997/1998: 133-136. (Italian)
Scott, Andrea K., “Heaven and Hell: Bill Viola’s Angels never take flight, but James Lee Byars’ soar”, Time Out NY, December 16-29, 2004: 99-100.
Solomon, Andrew. “Bill Viola’s Video Arcade.” The News York Times Magazine, 8 February 1998: 34-37.
Stevens, David, “In Paris, Wagner’s Love Story in the Video Age,” International Herald Tribune (online edition), April 20, 2005
Stevens, Mark. “Themelessness.” New York, November 18, 2002: 48, 49.
Sturgis, Alexander, “De Profundis,” Art Review, International Edition V1, N11, October 2003: 34-39.
Swed, Mark, “Silence at LACMA would be a sour note for everyone,” Los Angeles Times, Critic’s notebook, June 15, 2005
Turner, Elisa, “Art on a grand scale,” The Miami Herald, June 19, 2005
Vetrocq, Marcia E. “The Venice Biennale, all’americana.” Art in America, Sept. 2007.
Vanhala, Jari-Pekka. “Six-Heads at Kiasma.” In Kiasma Museum of Contemporary Art newsletter, Sept. 2003.
Viola, Bill, “Transcendentale video,” Ligne 8 (Le journal de l’ opéra national de Paris), No. 4, March-April 2005: 9.
Vogel, Carol. “Met Gets Its First Video.” The New York Times, July 27, 2001
von Flemming, Viktoria, “Im Wechselbad von Tod und Erneuerung.” Art Cas Kunstmagazin, February 1999: 26-37.
Wakin, Daniel J., “Armory’s Opera Debut Delayed by Lincoln Center,” The New York Times, June 15, 2006
Wolgamott, Kent L., “Bill Viola is the Best –Known Video Artist in the World,” Journal Star, June 5, 2005
Young, Clara, “Real Time Players,” Modern Painters, May 2005: 56-61.
Youngblood, Gene. "Metaphysical Structuralism: The Videotapes of Bill Viola." Millennium Film Journal 20/21 (Fall–Winter 1988–89): 80–114. First published under same title for the laser disc edition of Bill Viola: Selected Works. Los Angeles: Voyager Press, 1987.
Zonkel, Phillip. “Poignantly Moving: The Getty Focuses on Bill Viola’s Images.” Press Telegram, Long Beach, CA, Thursday, January 23, 2003: 6-7.