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Bill Viola: The Passions
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An important aspect of all the works is they repeat on a loop. All works are lent by the artist unless otherwise noted.

The Quintet of the Astonished / Viola
The Quintet of the Astonished, 2000
Color video rear projection on screen mounted on wall in dark room
Projected image size: 4 ft. 6 in. (h) x 8 ft. (w); room dimensions variable.

Dolorosa / Viola
Dolorosa, 2000
Color video diptych in two freestanding hinged LCD flat panels
16 in. (h) x 24 1/2 in. (w) x 5 3/4 in. (d)

The Locked Garden / Viola
The Locked Garden, 2000
Color video diptych in two freestanding hinged LCD flat panels
16 in. (h) x 25 3/4 in. (w) x 5 1/2 in. (d)

Man of Sorrows / Viola
Man of Sorrows, 2001
Color video on freestanding LCD flat panel
19 3/8 in. (h) x 15 in. (w) x 6 in. (d)

Anima / Viola
Anima, 2000
Color video triptych on three LCD flat panels mounted on wall
16 1/4 in. (h) x 6ft. 3 in. (w) x 2 in. (d) overall

Six Heads / Viola
Six Heads, 2000
Color video on plasma display mounted on wall
40 3/16 in. (h) x 24 in. (w) x 3 1/2 in. (d)

Silent Mountain / Viola
Silent Mountain, 2001
Color video diptych on two plasma displays mounted side-by-side on wall
40 3/16 in. (h) x 4 ft. (w) x 3 1/2 in. (d)

Four Hands / Viola
Four Hands, 2001
Black-and-white video polyptych on four LCD flat panels mounted on shelf
9 in. (h) x 4 ft. 3 in. (w) x 8 in. (d)

Catherine's Room / Viola
Catherine's Room, 2001
Color video polyptych on five LCD flat panels mounted on wall
15 in. (h) x 8 ft. 1 in. (w) x 2 1/4 in. (d)

Surrender / Viola
Surrender, 2001
Color video diptych on two plasma displays mounted vertically on wall
6 ft. 6 3/8 in. (h) x 24 in. (w) x 3 1/2 in. (d)
Private Collection, New York

Emergence / Viola
Emergence, 2002
Color High-Definition video rear projection on screen mounted on wall in dark room
Projected image size: 6 ft. 6 in. (h) x 6 ft. 6 in. (w); room dimensions variable
Commissioned by the J. Paul Getty Museum and the Getty Research Institute, Los Angeles, CA

Observance / Viola
Observance, 2002
Color High-Definition video on plasma display mounted on wall
47 1/2 in. (h) x 28 1/2 in. (w) x 4 in. (d)

Five Angels for the Millennium / Viola
Five Angels for the Millennium, 2001
Five channels of color video projection on walls in large, dark room with five channels of stereo sound
Projected image size: 7 ft. 10 1/2 in. (h) x 10 ft. 6 in. (w) each; room dimensions variable


If the artist of The Passions has an ancestor among the old masters, it is Rubens. Rubens had to be a producer, an organizer, and a supervisor of a team of assistants, a collaborator with other specialist painters and printmakers, and a manager of an ambitious enterprise for picture-making—in short, a virtuoso. The Passions couldn't have been made without a rare ability to mobilize and inspire a lot of other people, understand their specialties, organize their work, and delegate authority. With those listed below, Viola managed to preserve the curiosity and serenity that let him conceive the works in the first place.

The Passions and Five Angels for the Millennium

Bill Viola wishes to thank the members of his production team:

Kira Perov, Executive Producer
Bettina Jablonski, Bill Viola Studio Director
S. Tobin Kirk, Producer
Karin Stellwagen, Producer
Harry Dawson, Director of Photography
Joey Alvarado, Gaffer
Bobby Wotherspoon, Gaffer
Wendy Samuels, Art Director
Laurie Ellwood, Wardrobe
Christina Wright, Wardrobe
Deborah Green, Make-up
Randy Lowder, Editor, Riot
Gino Panaro, Colorist, Riot
Brian Pete, Editor, Laser Pacific Media Corporation

(in order of appearance)

ANIMA—Page Leong, John Fleck, Henriette Brouwers


DOLOROSA—Natasha Basley, Shishir Kurup

FOUR HANDS—Blake Viola, Kira Perov, Bill Viola, Lois Stark

THE LOCKED GARDEN—Paul O'Connor, Weba Garretson


THE QUINTET OF THE ASTONISHED—John Malpede, Weba Garretson, Tom Fitzpatrick, John Fleck, Dan Gerrity

SILENT MOUNTAIN—Nathalie Canessa, Ken Roht

SIX HEADS—Tom Fitzpatrick

SURRENDER—John Fleck, Weba Garretson

Josh Coxx (panels 1-4)
Andrew Tritz (panel 5)

EMERGENCE—Weba Garretson, John Hay, Sarah Steben

OBSERVANCE—Valerie Spencer, Alan Clark, Alan Abelew, Tanya Little, Carol Cetrone, Richard Stobie, Michael Irby, Susan Matus, Ernie Charles, Sheryl Arenson, Paul O'Connor, JD Cullum, Frank Bruynbroek, Cathy Chang, Kate Noonan, Ellis Williams, Lois Stark, Michael Eric Strickland

Production Crew
Genevieve Anderson, Production Coordinator
Sharon Berman, Production Coordinator
Chad Bickley, Production Coordinator
Steven Schindler, Production Coordinator
Doug Lay, Line Producer
Brian Garbellini, 1st Camera Assistant
Greg Madigow, 2nd Camera Assistant
David Thomas, 2nd Camera Assistant
Dan Venti, 2nd Camera Assistant
Paulie DiCocco, Best Boy Electrician
Henry Ciccone, Best Boy Electrician
Paul Cowdin, Best Boy Electrician
Rick Petretti, Key Grip
Kevin Anderson, Best Boy Electrician
Darrin Langer, Electrician
Warren Moore, Electrician/Board Operator
Terry Wimmer, Key Grip
Gary Louzon, Best Boy Grip
Ken Wheeland, Grip
Mike Conners, Best Boy Electrician
Kevin Erb, Key Grip
Brent Jones, Best Boy Grip
Steve Simmons, Hot Head Technician
Tracy Mills, VTR Operator
Rob Abbey, Video Assistant
John Gibson, Shader
David Warren, Art Director
Derek Scouler, Art Swing
Lisa Watson, Muralist, Scenic
Timothy Thomas, Water Special Effects Supervisor
Drew Kennedy, Water Special Effects
Steven Auernhammer, Water Special Effects
Heather Lamkins, Wardrobe
Lisa Grosso, Wardrobe
Jataunia Blackburn, Makeup
Rose-Marie Gelert, Makeup
Janine Jordae, Makeup Assistant
Josh Lawson, Key Production Assistant
Manny Michael, Key Production Assistant

Underwater Crew (Five Angels)
Patrick Campbell, Camera Operator
Emil DeMillo, Camera Operator
Pat Murray, Gaffer
Mike Guthrie, Key Grip
Chip Matheson, Electrician/Grip
Greg Tash, Safety Diver

Thanks to James Cohan Gallery, New York and Anthony d'Offay, London for their support of the production of many of these works.


Bill Viola also wishes to thank the Getty staff and Bill Viola Studio staff for their contributions in the making of this exhibition.

Organized by the J. Paul Getty Museum, the exhibition will travel to the National Gallery, London, and to Fundació "laCaixa" in Madrid.

Special thanks to:
Bill Viola and Kira Perov
Staff of Bill Viola studio

Photo credits:
All photographs of Bill Viola's work © Kira Perov except: A bookshelf in Viola's study, photograph by John Walsh

Images of Workshop of Dieric Bouts' Mater Dolorosa and Christ Crowned with Thorns (diptych), and Hieronymus Bosch's Christ Mocked, courtesy of the National Gallery, London

Image of Antonio de Pereda's Study of Heads, courtesy the Instituto de Valencia de Don Juan, Madrid

Image of Jacopo Palma il Giovane's Saint Sebastian, as reproduced in Stefania Mason Rinaldi, Palma il Giovane: L'opera Completa. Photo: Electa Archive, Milan

Image of Masolino's Pietà, © Scala/Art Resource, New York

Image of "Astonishment Mixed with Fright" after Charles Le Brun, courtesy of the Research Library, Getty Research Institute, Los Angeles

All images and excerpts from Viola's notebook © Bill Viola

Text Sources
All text entries and quotations in The Art section of this site are excerpted from the following sources:

Bill Viola: The Passions, exhibition catalogue, edited by John Walsh with essays by John Walsh and Peter Sellars, a conversation between Hans Belting and Bill Viola, and descriptions and documentation by Bill Viola and Kira Perov. J. Paul Getty Museum; Los Angeles, 2003

Bill Viola, Reasons for Knocking at an Empty House: Writings 1973–1994. The MIT Press, Cambridge, Massachusetts, in association with the Anthony d'Offay Gallery, London, 1995

Bill Viola, Artist's description of various works in the exhibition

Conversations between Getty staff and Bill Viola on site at the Getty Center

Saint John of the Cross poem from "A sketch of Mt. Carmel by St. John of the Cross" reproduced in The Collected Works of St. John of the Cross. Transl. Kieran Kavanaugh, O.C.D. and Otilio Rodriguez, O.C.D., ICS Publications, Institute for Carmelite Studies, Washington, D.C., 1979

This Web site was made possible by the following:

Production: Mark Stone, Vicki Porter
Writing/Editing: Susan Edwards, Fiona Maxwell
Design: Christopher Dye, Kathleen Evanoff
Video: Steven Swimmer, Rick Duim, Brian Alvarez
Technical: Jay Baker, Paula Carlson, Kathie Han

Additional thanks to Nathan Smith and Kevin Shepela.

The Web team would also like to thank the following Getty staff for their help in making this Web site possible:
John Walsh, Curator and Director Emeritus
Quincy Houghton, Head of Exhibitions
Amber Keller, Sr. Exhibitions Coordinator
Tim McNeil and Christopher Muniz, Exhibition Designers
Getty Publications team: Catherine Comeau, Elizabeth Kahn, Cecily Gardner, Mark Greenberg, and Karen Schmidt
Michael Smith and Brenda Smith, Digital Imaging Specialists
Maureen Whalen, Associate General Counsel

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