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In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.

Bill Viola

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Bill Viola
Age: 73
Born: 1951
Born: January 1
Artist
Cinematographer
Composer
Film Director
Installation Artist
Multimedia Artist
Musician
Screenwriter
Television Producer
Video Artist
New York City
New York
William Viola
Art
Change
Made
Thinking
Student
Majors
Major
Students
Late

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Because we live in an industrialized, fast-paced world that prefers that the soul remain asleep.
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Revolution is something that actually starts in individual hearts.
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When I make my work, I am making what I hope to be something functional - a space for individual contemplation and reflection. I want my art to be useful.
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I would prefer to be forgotten, then rediscovered in a different age.
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Live your Art. Don't think about it.
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My works really begin in a very simple way. Sometimes it's an image, and sometimes it's words I might write, like a fragment of a poem.
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You are just as qualified as any expert to make a judgment and have a feeling or a response to any work of art.
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There's another world out there just beyond the world we're in. It's just on the other side of that translucent, semitransparent surface.
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I don't believe in originality in art. I think we exist on this earth to inspire each other, through our actions, through our deeds, and through who we are. We're always borrowing.
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A lot of what making art is, is just being open, and empty. And putting yourself in the right place for things to, literally, come together.
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I hope we'll be able to see that in our lifetime: the end of the camera! When I'm in Paris, I'll buy a big bottle of champagne and I'll save it for that day, for the day when they'll be no more camera.
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Video artists being at the low end of the totem pole economically, one of the ways we survive is to go around showing work and giving these talks.
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I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.
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There is an invisible world out there, and we are living in it.
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A doctor once told me that with crying you aren't sure what its derivation is. If someone comes at you with a knife, you don't cry: you scream, you try to run. When it's over and you're OK, that's when you cry.
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