Call for Artists; LA General Hospital, Vermont Corridor, Site 2

Briefly describe your artistic practice and your method of developing high quality, innovative and meaningful artwork.

Over nearly three decades of professional experience, I have completed a wide range of long-term, interdisciplinary projects that bridge art, design, and research. As a research-based artist, my process aligns more closely with that of a designer than a traditional fine artist—it is iterative, methodical, and grounded in inquiry. Articulating the rationale behind creative decisions is essential to earning the trust of collaborators and stakeholders.

My workflow cycles through research, prototyping, implementation, and evaluation, allowing me to move from development to production with confidence. While I value structure and clarity, I also remain responsive to new insights that may shift a project’s direction or meaning.

By applying my expertise in narrative architecture, I create emotionally evocative environments—whether building multisensory virtual worlds for cultural training, employing spatial editing of video archives to represent a path to enlightenment, or collaging elements from 11th–14th century illustrated manuscripts to teach 20th-century history. These works are innovative and impactful because they engage both intellect and emotion, making learning and retention more intuitive and memorable.

Briefly describe why this project interests you and how your artwork aligns with the themes of the project, site, and community.* 10 images

This project interests me because it brings art into the public sphere as an instrument of care, connection, and civic imagination. My artistic practice has long been socially engaged — from projects responding to Iran’s struggle for freedom to collaborative works addressing community resilience here in Los Angeles. Across these efforts, I’ve learned that art can serve as both witness and bridge: it can make complex social realities visible, and in doing so, help people feel less alone within them.

The Vermont Corridor building, which unites departments of health and family services, embodies the same impulse toward empathy and healing. I’m drawn to how a mural here could humanize a civic space — transforming it from a site of bureaucracy into one of welcome and recognition. Having worked in cross-cultural and community contexts, I approach each project as a dialogue: listening first, then building visual narratives that reflect shared experience.

In Koreatown, a neighborhood defined by endurance and diversity, I see an opportunity to honor the resilience that sustains Los Angeles itself. For me, public art is not just expression — it is an act of solidarity, a visible affirmation of care within the urban fabric.

Resume (2 pages)

10 images. List the date of completion, project budget, artist collaboration (if applicable), client/agency (if applicable), medium, location (if applicable), brief description of the project.

1.

Completed: 2012 HD version for PC & Mac , 2018 4K version for Sony Playstation

Budget: $3K USC Grants
Collaborator: Peter Brinson and USC Student
Medium: Documentary Videogame
Description: The Cat and the Coup is an eccentric historiography of Dr. Mohammad Mosaddeq and the 1953 Iranian coup.
Videogame Walkthrough with voice over description: https://vimeo.com/75619156

For more info:https://kuroshv.blogspot.com/2013/09/the-cat-and-coup.html

2.

Same as Image 1

3. 

Proposal completed: 2019
Description: This was my unsuccessful proposal to the Farhang Foundation's mural competition.

4.

Completed: 1996
Budget: $1500
Client: City of Aspen,Commercial Core Commission
Medium: Digital Photography, Offset print on vinyl
Location: Downtown, Aspen, Colorado
Description: Ashen Aspen is part of the Bani Adam series and is Inspired by a 13th-century Persian poem by Saadi The poem calls humans limbs of one body, all created equal, and when one limb is hurt, the whole body shall be in unease. It therefore concludes that one not touched by the pain of others cannot be called a human
About Bani Adam series: https://kuroshv.blogspot.com/2017/08/bani-adam.html

5.

Completed: 1999
Medium: 3D Computer Animation
Description: When Summer Falls is part of the Bani Adam series and is Inspired by a 13th-century Persian poem by Saadi.
Link to Animation: https://youtu.be/Ti_48yRkvMg?si=gI3lHk_jFwRngvqM
About Bani Adam series: https://kuroshv.blogspot.com/2017/08/bani-adam.html

6.

Completed 1992
Budget: ~ $75K
Collaboration: under the supervision of contractor Jack LaCroix, a team of craftsmen built it.
Client: Pamela Joseph
Medium: 3D computer model, Staircase is Walnut, Oak, and Redwood, with steel and leather handrail
Location: Private residence in Aspen, Colorado
Description: A spiral staircase features an inlaid lower landing that echoes the curve of the staircase, creating the illusion of ever descending space.

7.

Completed: 2013
Collaborators: Coding by Todd Furmanski
Medium: Interactive Installation
Description: Debuted at Vision and Voices, an Art and Humanities initiative at USC, then acquired by The Strong National Museum of Play, Rochester New York
Lego, was the first of a series of filters made for the Body Scrub device, a camera I made which spacializes animation by correlating time (the frames of an animation) with space (the 12 feet in front of the camera.)
Video capture of Lego at Visions and Voices: https://youtu.be/Qs0nvBB7liY?si=ilTsDxb1Zbuqcoj2
About the Body Scrub device: https://kuroshv.blogspot.com/2017/02/the-body-scrub-device.html

8.

Completed in 2018
Collaborators: Performance by Stephen Hues, Coding by Todd Furmanski, Music by Trent Reznor
Description: Live performance with interactive projections controlled by performer
Sample scene: https://www.youtube.com/watch?v=0H1l5ChdgdQ

The performance: https://kuroshv.blogspot.com/2018/09/red-cat-studio-work-samples.html

9.

Completed: 2017
Medium: Digital Collage
Description: I made this image for my essay "The Hegimonic Bias of DJ Lance Rock"- later expanding its scope to an analysius of Yo Gabba Gabba, the phenominal kids program which he hosts. 

Analysis Vignettes: https://kuroshv.blogspot.com/2017/11/the-hegemonic-bias-of-dj-lance-rock.html

10.

Completed: 2016
Medium: Multimedia
Description: Self portrait to mark the anniversary of my 50th lap around the Sun.

PAiD Artist Council Application

The Public Artists in Development (PAiD) program’s Artist Council is an eight-member group of artists selected to provide recommendations to help shape the future of Los Angeles County's public art policy and processes.

 CV (2 pages) 

PORTFOLIO (10) 

1. In Memory of Bill Viola - description

2. In Memory of Bill Viola - documentation

3. The Islamic Republic of Nazis - description

4.The Islamic Republic of Nazis - documentation

5. Freedom, Revisited Series - description

6. Freedom, Revisited; Goodbye Parviz - documentation

7. The Cat and the Coup - description

8. The Cat and the Coup - documentation

9. Bani Adam Series - description

10.  Bani Adam Series, When Summer Fall 

Artist at Work, My Application

   Artists At Work is produced and administered by THE OFFICE performing arts + film,

with support from the Mellon Foundation.

Led by THE OFFICE and implemented in partnership with the Los Angeles County Department of Arts and Culture, this new opportunity will provide salaried employment for four artists for an 18 month term (June 1, 2025 - November 30, 2026) to support them in their artistic practice and in working collaboratively with community members and organizational partners to address local needs in Los Angeles County. Selected artists will be part of a national cohort of 24 artists across 6 cities in the United States.

In Los Angeles County, artists will focus on the impact area: Recovery and Resilience. Two artists will partner with local nonprofit organizations in areas recovering from the devastating 2025 wildfires, where they will focus on supporting and strengthening community identity, cultural preservation, and civic memory. One artist will partner with a local nonprofit to explore arts-based environmental sustainability practices that contribute to community climate resiliency. And, one artist will partner with a local nonprofit to explore the role of the arts in health and wellbeing at the individual and community level.

 MY APPLICATION ___________________________________________________

Do you live, work, and/or have historic ties to Los Angeles County?

Yes

Please elaborate on the above.

1996-99 Lived in Glendale; Student, Gnomon Visual Effects, Hollywood 2000-01 Lived in Mar Vista; Work, Fulltime, Sony Pictures Imageworks 2001-06 Work, Fulltime, Artist/Art Director, USC ICT, Marina del Rey 2006      Moved to Mid City where I currently live. 2006-16 Work, Fulltime, Art Director, Game Innovation Lab, USC 2016-18 MFA, Animation & Digital Art, USC School of Cinematic Arts 2019      Took a break. Life priorities changed by pandemic 2020-25 Amplify the voice of women in Iran to the largest concentration               of Iranians living outside of Iran-  living in Los Angeles.

 IDENTITY SHAPED BY LIFE-EXPERIENCE ____________________________________

I am an Iranian-American who was born an American-Iranian—in Tehran in 1966, to an Iranian father and an American mother. The love and mutual respect within my bi-cultural family is a shield to the overt biases of the wider community—biases that were fueled in 1979 for 444+ days on the nightly news.  I was one of the lucky ones, while Iranians in America were vilified, I was just ‘othered.'    There is a strange kind of freedom in being overlooked.  Its like being handed a invisibility cloak.  With the resilience of a child, and later the naïve optimism of a teenager, I survived—and eventually thrived—by choosing alternative paths. These choices grew from my admiration for the communities I encountered—invisible communities made of people whose convictions were earned through perseverance and quiet resilience. It is within these unseen circles that I discovered the profound value of listening to voices that often go unheard. In doing so, I learned not to fear change, as it is inevitable—and often an opening for transformation. A researcher I met early in my career once told me I’m like the canary in the coal mine. I’ve come to understand that challenging social norms often comes at a personal cost. But I’ve also learned that the communities willing to embrace diversity and protect independent thinking are the ones most capable of transformation—and ultimately, of becoming stronger.

____________

Perhaps this drawing, a gift from my friend Bill Viola, sums up how my life-experience has shaped my identity.  The Bird of Vision exists at once in both the darkness and the light. But if your glance becomes a gaze, you’ll see what Bill knows. The bird's beak is turned towards the light.

The Bird of Vision with closeup, Bill Viola                                             
pencil & ink on paper, 14 x 11 inches, 2007                                             

BIOGRAPHY _______________________________________________________

My artistic practice has always questioned societal norms, rooted in my experience navigating the cultural dissonance between my expectations of America—formed while living in Iran—and what I’ve witnessed since moving here. In my twenties, I lived in Aspen, Colorado, where it was easy to engage with a thoughtful and curious community. A series of pranks I pulled there (1989-96), later titled On Irreverence in Paradise, tested the boundaries of free speech and equal protection under the law—core American ideals. To my surprise and delight, they held up. That experience reinforced my idealistic view of America and encouraged me to embrace my inalienable rights while dreaming of a secure, creative future.

In 1996 I moved to California to update my skills in 3D computer graphics, which opened doors into emerging sub-fields of special effects for film, experimental animation, virtual reality, artificial intellegence, interactive media, and video games.  From 2001 to 2016, I worked as a lead artist and art director on emotionally evocative virtual environments at the University of Southern California (USC), contributing to research in remote learning and "impact media" (a.k.a. serious games) on topics ranging from politics to spiritual enlightenment.

As cinematic and performing arts began to converge, I returned to school and developed the Body Scrub device, a tool that spatializes animation by correlating space and time. Its first application, LEGO, was acquired by The Strong National Museum of Play. The 30th, titled Gender ID, was my MFA thesis at the USC School of Cinematic Arts (2018), exploring identity through embodied animation.

Now in the final chapter of my career, I’m turning toward art and activism. My interventions at the Freedom Sculpture address human rights—another American-branded ideal —which originated 2500 years ago in Iran. It influenced the founding fathers who centered  the US Constitution on Religious and Individual freedoms.

 

Maybe American democracy can work in Iran.

 PORTFOLIO __________________________________________________________ 2018- 2024 

2020-2024  Freedom, Revisited

Freedom, Revisited is an on-going series of interventions of/at the Freedom Sculpture.

Freedom Sculpture by Cecil Balmond OBE, 2017

Los Angeles, CA, Stainless Steel, 15 x 20 x 9 ft

 

The Freedom Sculpture, is an Iranian-American led, widely crowd-supported public monumental gift, inspired by the humanitarian ideals of freedom, respect for cultural diversity and inclusiveness that originated with Cyrus the Great of Persia 2,500 years ago.- Farhang Foundation

Set on rings, the Freedom Sculpture looks like an enormous wedding ring. It functions like one too, as this monumental gift by hyphenated Iranians is also a proposition of fidelity to our newly adopted countries, With no mention of the lack of freedom in Iran, have we also divorced ourselves from our birth country?

2024 Freedom Revisited": Goodbye Parviz

I met Nadereh at a dinner party where we were both a plus one guest. Feeling out of place we gravitated towards the garden, away from the all the activity. Reaching for the same seat, we bump hands, and I noticed crudely written words tattooed on her arm. Attempting to break the ice, I asked: "Who is Parviz?" as I slide into the next seat. Nadereh's answer shatters the ice.: "He was my husband and he was executed in Iran in 1988." <In 1988 with the end of the Iran-Iraq war and fearing assassination, Ayatollah Khomeini ordered the execution of thousands of political prisoners.> Nadereh doesn't know how Parviz was executed, or where he is buried. She was fleeing Iran and never got to say goodbye. Without any form of closure she is still mourning. So I asked her to meet me the Freedom Sculpture the following night. This photo sequence by Amir Soltani documents what happened that night.
.

 

2022 Freedom, Revisited: Say My Name, Be My Voice

A few simple acts have transformed this iconic Los Angeles landmark into a living symbol of solidarity with the Iranian people who are fighting for their freedom in Iran. It started with Los Angeles-based artist and activist Kurosh ValaNejad who pasted decals on the base of the Freedom Sculpture that read “SAY MY NAME: MAHSA AMINI, BE MY VOICE.”  His act became the seed for an ongoing movement around the monument, when Los Angeles artist Nushin Sabet tied a veil to the monument near the decals. Since then hundreds of Angelinos have tied more veils, scarves and ribbons on the Freedom Sculpture, organically reshaping it as it stands on busy Santa Monica Blvd in Century City. With every veil the monument becomes a more lively and vibrant reflection of support for the people of Iran, helping build public awareness and a sense of community for all who pass by.  - FAD Magazine

    

"I had been forced to wear this veil in Iran, due to the compulsory hijab laws over there. So, tying it to the Freedom Sculpture and seeing my veil blowing freely in the wind was a way of sending my hopes and wishes to the courageous women and people of Iran as they fight for these basic freedoms that we take for granted here in America." - Nushin Sabet, Artist, Activist, Entrepreneur

2020 Freedom, Revisited: Free Nasrin

In support of the International Society of Human Rights' Free Nasrin campaign, Kurosh,  protesting as the jailed human rights lawyer Nasrin Sotoudeh, attaches the names of political prisoners to the outer silver cylinder. And on the inner gold cylinder, he adds the names of those who lost their lives in the pursuit of a free Iran, starting with Navid Afkary.

 

2023 The Islamic Republic of Nazis 

"As Jews we cannot but compare Iran to Nazi Germany." Shimon Peres, Prime Minister, Israel  

"He (Ali Khamenei) makes Hitler look good."  Mohammed bin Salman, Crown Prince, Saudi Arabia

Ali Khamenei, the Supreme Leader of the Islamic Republic of Iran, purports to be God's representative on Earth. Yet his actions are often more devilish than divine.

Adhesive Vinyl, Perimeter Fence of Los Angeles County Museums, 4 ft. x 16 ft.

2022  The Mullah's Prayer Beads are Made of Skulls.

During the eight-year war with Iraq, more than 33,000 Iranian high school students were killed, 2,853 were injured and 2,433 were taken prisoner. Boys as young as nine were reportedly used in human wave attacks and to serve as mine sweepers in the war with Iraq.”  

 The Lost Youth of Iran's Child Soldiers,

Iran Wire, Aida Ghajar, July 21 2017

Zaman Zamani's  painting is a memorial to the lost boys of  the Iran-Iraq war.  His painting inspired me to make prayer beads with skulls. 

Inset photo: Zaman and me, Laguna Niguel, CA, 2016

2011-2018 The Cat and the Coup

The Cat and the Coup is a documentary videogame about Dr. Mohammed Mossadegh, the Prime Minister of Iran, who nationalized his countries oil industry in 1951. Soon after he was overthrown by a CIA engineered coup d'état.  In the videogame you play as his cat.

The Cat and the Coup presents the complicated story of a covert American intervention through allegorical game mechanics and metaphoric imagery. It encourages personal interpretation and inspires players to think about the cost of democracy.

RESUME/CV  ____________________________________________________________________

 SOCIAL IMPACT _________________________________________________________ 

Which employment position(s) would you like to be considered for? Select all that apply.

Climate Resilience and Adaptation (1 position) Arts, Health, and Wellbeing (1 position)

1. CLIMATE RESILLIENCE AND ADAPTATION

I would like to be assigned to the community organization focused of climate resilience and adaptation as all other issues are dwarfed if we don't change the course of environmental degradation.  Already a factor in war refuges, The UN estimates that by 2050, the climate crisis could displace over 200 million people.  Regarding Iran,  the over-extraction of groundwater and resource mismanagement has created a water shortage crisis with severe repercussions pushing the country to the brink of widespread hunger.  But its the tragic death of Perouz, an Asiatic cheetah cub that has made the fight for freedom feel futile, as Perouz was a symbol of hope.  The lessons learned in convincing Angelinos to adopt a new way of living and to adapt to the new normal are likely transferable to other communities.  In fact, our success is dependent on convincing the rest of the state, the country and in fact the world to also adopt to adapt.  

2.  ARTS, HEALTH AND WELLBEING

My current project is in sync with this initiative. Goodbye Parviz is an adaptation of a real event into short film of romantic realism. The project is currently in the hybrid form of a story outline as it is being fleshed out into a screenplay. It will teach by example a generation of Iranian women how to resolve the trauma of life-long religious oppression.  Like Nadereh they can find closure and reclaim control of their lives. 

. 

Are you currently involved in working with any local social impact or community-based organizations?
No. not currently.  When my activism regarding Iran became political, I withdrew, without explanation from any involvement to honor their mission to be non-political. 

share a bit about the organization and your involvement.
Farhang's Mission:   Farhang Foundation (FF) is a member-supported, non-religious, non-political, not-for-profit organization established in 2008 to celebrate and promote Iranian art and culture for the benefit of the community-at-large.

Highlights of my formal association with Farhang Foundation are documented in their 2016 publication, Iranian Studies at USC, A Celebration of a Journey.

2012 Organized "An Afternoon with Noureddin ZarrinKelk: The Father of Iranian Animation"
2014 Guest speaker at their Visiting Professors lecture series
2015  Panelist, Iranian Diaspora & the Networked Culture, Iranian Studies Initiative Conference. Produced and directed Arash the Archer

2016 Guest Author, Iran Through Book, LA Times Book Fair, The Cat and the Coup

2018 Bilingual countdown kicking off the FF Short film Awards ceremony

    

Arash the Archer                                         Bilingual Countdown

My ongoing work at the Freedom Sculpture is done independently and is not supported by the foundation trustees, management, advisors, or contributors.

2020 I secretly started adding the names of political prisoners to FF Freedom Sculpture (FS)
2022 My intervention sparks a movement transforming FS into the living symbol of solidarity with the Iranian people
2024 My intervention has a profound impact on one member of our community.
 

What does it mean to you to be an effective community advocate and/or community-oriented arts practitioner? How would you imagine incorporating members of the community into your work and process?
I would like to develop a YouTube channel for the community based organization. I would tap into their build in audience, to quickly get 1000 supporters , qualifying their channel to benefit from a pro status and to monetize based on viewership.    I would work with them to identify recording opportunities that can be incorporated into tasks they already perform, without breaking work flow or pandering to egos.   Overtime audience size could grow and the channel could be a source of revenue to cover production costs and more.  If the channel continue after my tenure then I could say I was effective.


 PROGRAM STRUCTURE __________________________________________________
Please describe your capacity to achieve long term projects, including your ability to collaborate, communicate effectively, and meet deadlines. If possible please offer past examples of long-term projects you have completed. For example, implementing arts programming, designing a public installation, or a past fellowship.

Over nearly three decades of professional experience—as detailed in my resume—I’ve successfully completed a wide range of long-term projects, both independently and as part of large and small teams across diverse disciplines. As a research-based artist, my process aligns more closely with that of a designer than a traditional fine artist: it is iterative, methodical, and rooted in clear communication. Articulating the rationale behind creative decisions is key to earning the trust of collaborators and stakeholders.

I track progress through cycles of research, prototyping, implementation, and evaluation—allowing teams to forecast timelines realistically and transition smoothly from development to production. While I value structure, I remain open to shifts in direction when new ideas or unexpected insights arise.

Over time, I’ve also learned to distinguish between collaboration and cooperation. Collaborative projects often create interdependencies—meaning a project can stall if one team member falls behind. In cooperative models, however, once core objectives are clearly defined, individuals can work independently toward a shared goal. I’ve found this latter approach particularly effective when working with community-based organizations or multidisciplinary teams.

One example is The Cat and the Coup, a political video game I co-created. During its development, I took a three-month break from my research lab at USC for a residency at Anderson Ranch Arts Center in Colorado. With uninterrupted time and focus, I was surprised by how quickly I could produce high-quality work—affirming my ability to deliver under both structured and independent conditions.

What would you hope to get out of this Artists At Work program? *

In compiling my recent activism for Iran as part of this application, I’ve noticed a consistent tone of gravity in my work. Stepping back, I want to better understand the impact of that approach. Your program, with its wide-ranging support for artists addressing diverse and urgent issues, feels like the ideal environment for such reflection—and I would genuinely welcome your critical perspective.

Recently, I came across an idea that stuck with me: megalomaniacs hate not being taken seriously. It made me wonder—could my own seriousness be inadvertently empowering the very forces I seek to undermine? I’m now considering shifting the tone of my activism toward something more humorous and satirical, using wit to deflate inflated egos rather than dignify them with solemnity.

To explore this, I’ve revisited some of my earlier, irreverent interventions. These works used humor to provoke thought and spark conversation, and I’m interested in returning to that mode.

Through the Artists At Work program, I hope to test new approaches to activism, gain feedback from peers and mentors, and reflect critically on tone, efficacy, and impact. More than anything, I want to ensure that my work continues to challenge power—not reinforce it.

1996 F
Blue Masking Tape, 6" x 4"
Team: Thomas Mooney

"Art, I'll pass. That's the sentiment espoused by a less-than-vicious vandal who altered a sign over the entrance to the Aspen Art Museum using plastic blue tape. Museum employees awoke Thursday to find that someone had changed the sign to "Aspen Fart Museum." drawing chuckles from passers-by and staffers alike."

Kent Smith, Aspen Daily News

1992 BBB, BB
Black Ink, Silkscreen on Cotton T-shirt

"ValaNejad's image came as a response to the scathing New York Times Article last month that slammed not only Aspen and the IDCA, but designers in general for losing the sense of social mission the Aspen conference once stood for."

Jane Wilson, Aspen Times

1990 DADAA
Toilet Paper, B&W Xerox on paper, Wire Hanger, variable size 

"Elvis may be dead, but Pablo Picasso and Salvador Dali apparently are alive and in good humor in Aspen. The self-titled group DADAA, Dead Artists who Dislike Aspen Art, have claimed responsibility for the hoof-to-helmet draping of the massive artwork. After a successful career in painting, it seems that Picasso and Dali have taken up rhyming verse. "Prompt removal is suggested, for tacky Aspen art can no longer be ingested. So Consider this fair warning, Or we'll steal him piece by piece 'til he's missing one morning." , the note read."

Greg Trinker, Aspen Daily News

 REQUESTED RESOURCES 
It is hard to know until assigned to a participating organizations but a laptop with an AI capable GPU would be a smart purchase.

In Memory of Bill Viola

14 JULY 2024

"Artist Bill Viola has died. The trailblazing creator of monumental video works died Friday (July 12) at his home in Long Beach, Calif., of complications related to Alzheimer’s disease. He was 73."       - Chloe Veltman, NPR Obituaries 

28 OCT 2024
Los Angeles, CA

I arrived promptly at 3pm on Tuesday, October 29th

14 NOV 2024

Los Angeles, CA

As a way of paying my last respects, I added a quote by #billviola to this water feature at the ‪@gettymuseum‬

Bill would always refer to the Night Journey team as his dream team.  The more I learned about Bill and his work, the more I grew to appreciate what an honor it was that he thought of us that way.

MAY 2007

Culver City, CA
A month after we finished the exhibits-only version of The Night Journey, and a month before its inaugural exhibition at the SIGGRAPH Art Gallery, we gathered at the home of Scott Fisher, the chair of the USC Cinema's, Interactive Media Division.  Bill asked for the meeting. He explained that on the Summer solstice he made a drawing for each of us.

I added Tracy Fullerton and Scott Fisher to the group picture but carving (with photoshop) their names into the chairs.

 

This is his gift to me. 

The Bird of Vision with closeup, Bill Viola                                              
pencil & ink on paper, 14 x 11 inches, 2007                                             

The bird is drawn over the landscape that I built for the videogame. 

The Bird of Vision exists at once in both the darkness and the light. But if your glance becomes a gaze, you’ll know what Bill sees. The bird's beak is turned towards the light.

I now see the drawing as the souvenir of his real gift - optimism.  Whenever I find myself in darkness I reflect on that moment.

11 AUG 2010   

Snowmass Village, CO

I demo The Night Journey video-game as a part of Bill's lecture at Anderson Ranch Arts Center 



JULY 2013

Aspen, CO

Pam Joseph gives the Anderson Ranch National Artist Award to Bill Viola and Kira Perov

2013

Aspen, CO

31 JULY 2013

Snowmass Village, CO

During a lecture at Anderson Ranch Arts Center, Bill gives advice to young people.

17 SEPT 2013

Los Angeles, CA

After a design meeting at the Game Innovation lab, lab director Tracy Fullerton shows Bill, Kira and their son Blake an example of a red-hearing in Walden, a game.

 

JULY 2018
The Night Journey is released on Sony PlayStation 

1995

New York City, NY

Interview with Charlie Rose:  "Who are those artists that have influenced you?"