David Kordansky Gallery

  • Model Workers, 2014, (still) high-definition, sequence of digital files, color, silent, 12:16 minutes, looped
  • Model Workers, 2014, (still) high-definition, sequence of digital files, color, silent, 12:16 minutes, looped
  • Model Workers, 2014, (still) high-definition, sequence of digital files, color, silent, 12:16 minutes, looped
  • Psychic Driving, 2014, (still) sequence of digital files, color, sound, 14:30 minutes
  • Psychic Driving, 2014, (still) sequence of digital files, color, sound, 14:30 minutes
  • Imitation of Christ, 2013, Houseguest, Hammer Museum, Los Angeles, CA, Installation view
  • Imitation of Christ, 2013, Houseguest, Hammer Museum, Los Angeles, CA, Installation view
  • Actual TV Picture, 2013, (still) sequence of digital files, color, sound, 7:09 minutes
  • Actual TV Picture, 2013, (still) sequence of digital files, color, sound, 7:09 minutes
  • Allegorical Figure (Home Insurance Company), 2013, hand coated pigment print, 85 x 48 inches (215.9 x 121.9 cm), framed: 86.5 x 49.5 x 2 inches (219.7 x 125.7 x 5.1 cm), Edition of 3, with 2 AP
  • Les Dérives de l'imaginaire, 2012, Palais de Tokyo, Paris, France, Installation view
  • Les Dérives de l'imaginaire, 2012, Palais de Tokyo, Paris, France, Installation view
  • Bay of Pigs, 2012, (still) sequence of digital files, black and white, sound, 45 minutes, looped
  • Bay of Pigs, 2012, (still) sequence of digital files, black and white, sound, 45 minutes, looped
  • Color Coordinated Currency, 2012, hand coated pigment prints, 7 prints, each: 9.75 x 15.5 inches (24.8 x 39.4 cm), installation: 20.5 x 168 x 1.5 inches (52.1 x 426.7 x 3.8 cm), Edition of 3, with 2 AP
  • Color Coordinated Currency, 2012, (detail) hand coated pigment prints, 7 prints, each: 9.75 x 15.5 inches (24.8 x 39.4 cm), installation: 20.5 x 168 x 1.5 inches (52.1 x 426.7 x 3.8 cm), Edition of 3, with 2 AP
  • Color Coordinated Currency, 2012, (detail) hand coated pigment prints, 7 prints, each: 9.75 x 15.5 inches (24.8 x 39.4 cm), installation: 20.5 x 168 x 1.5 inches (52.1 x 426.7 x 3.8 cm), Edition of 3, with 2 AP
  • Color Coordinated Currency, 2012, (detail) hand coated pigment prints, 7 prints, each: 9.75 x 15.5 inches (24.8 x 39.4 cm), installation: 20.5 x 168 x 1.5 inches (52.1 x 426.7 x 3.8 cm), Edition of 3, with 2 AP
  • Shoot Don’t Shoot, 2012, (still) sequence of digital files, color, sound, 4:33 minutes
  • Shoot Don’t Shoot, 2012, (still) sequence of digital files, color, sound, 4:33 minutes
  • The Gold Panic, 2012, archival pigment print, 59.5 x 68.25 inches (151.1 x 173.4 cm), framed: 60.5 x 69.25 inches (153.7 x 175.9 cm), Edition of 3, with 2 AP
  • The Gold Panic, 2012, (detail) archival pigment print, 59.5 x 68.25 inches (151.1 x 173.4 cm), framed: 60.5 x 69.25 inches (153.7 x 175.9 cm), Edition of 3, with 2 AP
  • VHS Athletes, 2012, (still) sequence of digital files, color, silent, 7:36 minutes, looped
  • VHS Athletes, 2012, (still) sequence of digital files, color, silent, 7:36 minutes, looped
  • Untitled (Death by Gun), 12th Istanbul Biennial, curated by Jens Hoffmann and Adriano Pedrosa, 2011, Istanbul, Turkey
  • Untitled (Death by Gun), 12th Istanbul Biennial, curated by Jens Hoffmann and Adriano Pedrosa, 2011, Istanbul, Turkey
  • More American Photographs, curated by Jens Hoffmann, 2011, CCA Wattis Institute for Contemporary Arts, San Francisco, CA, Installation view
  • Time Again, curated by Fionn Meade, 2011, SculptureCenter, New York, NY, Installation view
  • Building for Sale, Massillon, Ohio, 2011, hand coated pigment print, 9 x 13.5 inches (22.9 x 34.3 cm), Edition of 3
  • Eyelines, 2011, (still) sequence of digital files, color, silent, 1 hour, 52 minutes, looped
  • Eyelines, 2011, (still) sequence of digital files, color, silent, 1 hour, 52 minutes, looped
  • Hercules Engines, Abandoned, Canton, Ohio, 2011, hand coated pigment print, 13.5 x 9 inches (34.3 x 22.9 cm), Edition of 3
  • Vacant Lot, Canton, Ohio, 2011, hand coated pigment print, 13.5 x 9 inches (34.3 x 22.9 cm), Edition of 3
  • Forum 65: Jones, Koester, Nashashibi/Skaer: Reanimation, curated by Daniel Byers, 2010, Carnegie Museum, Pittsburgh, PA, Installation view
  • The Artist's Museum, 2010, MOCA, Los Angeles, CA, Installation view
  • Coup d'état, 2010, (still) sequence of digital files, color, silent, 2:25 minutes, looped
  • Coup d'état, 2010, (still) sequence of digital files, color, silent, 2:25 minutes, looped
  • Punctured, 2010, (still) sequence of digital files, black & white, silent, 4:56 minutes
  • Punctured, 2010, (still) sequence of digital files, black & white, silent, 4:56 minutes
  • Punctured, 2010, (still) sequence of digital files, black & white, silent, 4:56 minutes
  • Contraband, 2010, (still) sequence of digital files, color, silent, 3:59 minutes, looped
  • Contraband, 2010, (still) sequence of digital files, color, silent, 3:59 minutes, looped
  • Contraband, 2010, (still) sequence of digital files, color, silent, 3:59 minutes, looped
  • William E. Jones, 2009, ar/ge kunst Galerie Museum, Bolzano, Italy, Installation view
  • William E. Jones, 2009, ar/ge kunst Galerie Museum, Bolzano, Italy, Installation view
  • Algernon Charles Swinburne's Sonnets on English Dramatic Poets (1590-1650), Automatically Illustrated, 2009, suite of 21 Chromogenic prints, 11.5 x 17.75 inches (29.2 x 45.1 cm), Edition of 3, with 1 AP
  • Algernon Charles Swinburne's Sonnets on English Dramatic Poets (1590-1650), Automatically Illustrated, 2009, (detail) suite of 21 Chromogenic prints, 11.5 x 17.75 inches (29.2 x 45.1 cm), Edition of 3, with 1 AP
  • Algernon Charles Swinburne's Sonnets on English Dramatic Poets (1590-1650), Automatically Illustrated, 2009, (detail) suite of 21 Chromogenic prints, 11.5 x 17.75 inches (29.2 x 45.1 cm), Edition of 3, with 1 AP
  • Discrepancy (A New All Around Leap Forward Situation Is Emerging), 2009, (still) video, color, sound, 9:30 minutes
  • Discrepancy (A New All Around Leap Forward Situation Is Emerging), 2009, (still) video, color, sound, 9:30 minutes
  • Discrepancy (A New All Around Leap Forward Situation Is Emerging), 2009, (still) video, color, sound, 9:30 minutes
  • Discrepancy (Americans Will Die If They Don't Give Up the Bombings), 2009, (still) video, black & white, sound, 9:30 minutes
  • Discrepancy (Americans Will Die If They Don't Give Up the Bombings), 2009, (still) video, black & white, sound, 9:30 minutes
  • Discrepancy (Americans Will Die If They Don't Give Up the Bombings), 2009, (still) video, black & white, sound, 9:30 minutes
  • Discrepancy (Countdown), 2009, (still) video, color, sound, 9:30 minutes
  • Discrepancy (Countdown), 2009, (still) video, color, sound, 9:30 minutes
  • Discrepancy (Countdown), 2009, (still) video, color, sound, 9:30 minutes
  • Discrepancy (Feedback), 2009, video, color, sound, 9:30 minutes
  • Discrepancy (Visualized), 2009, video, color, sound, 9:30 minutes
  • Stéphane Mallarmé’s «Un coup de dés jamais n’abolira le hasard» Automatically Illustrated, 2009, C-print, 12 parts, Part 1: 11.66 x 8.33 inches (29.6 x 21.2 cm), Part 2: 11.66 x 16.66 inches (29.6 x 42.3 cm), Part 3: 11.66 x 33.33 inches (29.6 x 84.7 cm), Edition of 3, with 1 AP
  • Stéphane Mallarmé’s «Un coup de dés jamais n’abolira le hasard» Automatically Illustrated, 2009, (detail) C-print, 12 parts, Part 1: 11.66 x 8.33 inches (29.6 x 21.2 cm), Part 2: 11.66 x 16.66 inches (29.6 x 42.3 cm), Part 3: 11.66 x 33.33 inches (29.6 x 84.7 cm), Edition of 3, with 1 AP
  • Stéphane Mallarmé’s «Un coup de dés jamais n’abolira le hasard» Automatically Illustrated, 2009, (detail) C-print, 12 parts, Part 1: 11.66 x 8.33 inches (29.6 x 21.2 cm), Part 2: 11.66 x 16.66 inches (29.6 x 42.3 cm), Part 3: 11.66 x 33.33 inches (29.6 x 84.7 cm), Edition of 3, with 1 AP
  • Stéphane Mallarmé’s «Un coup de dés jamais n’abolira le hasard» Automatically Illustrated, 2009, (detail) C-print, 12 parts, Part 1: 11.66 x 8.33 inches (29.6 x 21.2 cm), Part 2: 11.66 x 16.66 inches (29.6 x 42.3 cm), Part 3: 11.66 x 33.33 inches (29.6 x 84.7 cm), Edition of 3, with 1 AP
  • Stéphane Mallarmé’s «Un coup de dés jamais n’abolira le hasard» Automatically Illustrated, 2009, (detail) C-print, 12 parts, Part 1: 11.66 x 8.33 inches (29.6 x 21.2 cm), Part 2: 11.66 x 16.66 inches (29.6 x 42.3 cm), Part 3: 11.66 x 33.33 inches (29.6 x 84.7 cm), Edition of 3, with 1 AP
  • Swindlers, 2009, C-print, 16 x 9.75 inches (40.64 x 24.77 cm)
  • Discrepancy, 2008 - 2010, (still) video, color, sound single channel projection 9:30 minutes, Edition of 5, with 2 AP
  • Discrepancy (D.P.R.K.), 2008, (still) video, color, sound, 9:30 minutes, looped
  • Discrepancy (D.P.R.K.), 2008, (still) video, color, sound, 9:30 minutes, looped
  • Discrepancy (D.P.R.K.), 2008, (still) video, color, sound, 9:30 minutes, looped
  • Discrepancy (Ecstasy), 2008, (still) video, color, sound, 9:30 minutes, looped
  • Discrepancy (Ecstasy), 2008, (still) video, color, sound, 9:30 minutes, looped
  • Discrepancy (Rewind), 2008, (still) video, color, sound, 9:30 minutes, looped
  • Discrepancy (Rewind), 2008, (still) video, color, sound, 9:30 minutes, looped
  • Discrepancy (Rewind), 2008, (still) video, color, sound, 9:30 minutes, looped
  • Sailors, Pan, Orpheus (Frances Benjamin Johnston and F. Holland Day), 2008, Piezo pigment print, installation dimensions: 24.75 x 93 inches (62.9 x 236.2 cm), unique
  • Sailors, Pan, Orpheus (Frances Benjamin Johnston and F. Holland Day), 2008, (detail) Piezo pigment print, installation dimensions: 24.75 x 93 inches (62.9 x 236.2 cm), unique
  • Sailors, Pan, Orpheus (Frances Benjamin Johnston and F. Holland Day), 2008, (detail) Piezo pigment print, installation dimensions: 24.75 x 93 inches (62.9 x 236.2 cm), unique
  • Sailors, Pan, Orpheus (Frances Benjamin Johnston and F. Holland Day), 2008, (detail) Piezo pigment print, installation dimensions: 24.75 x 93 inches (62.9 x 236.2 cm), unique
  • Three Male Nudes (Gordon Parks, John Vachon, Jack Delano), 2008, Piezo pigment print, each: 15 x 11.63 inches (38.1 x 29.5 cm), Edition of 4, with 1 AP
  • Film Montages (for Peter Roehr), 2006, (still) video, color, sound, 10 minutes, Edition of 4, with 1 AP
  • Film Montages (for Peter Roehr), 2006, (still) video, color, sound, 10 minutes, Edition of 4, with 1 AP
  • Mansfield 1962, 2006, (still) video, black & white, silent, 9:30 minutes, looped
  • Mansfield 1962, 2006, (still) video, black & white, silent, 9:30 minutes, looped
  • More British Sounds, 2006, (still) video, color, sound, 8 minutes
  • More British Sounds, 2006, (still) video, color, sound, 8 minutes
  • More British Sounds, 2006, (still) video, color, sound, 8 minutes
  • The Fall of Communism as Seen in Gay Pornography, 1998, (still) video, color, sound, 20 minutes
  • The Fall of Communism as Seen in Gay Pornography, 1998, (still) video, color, sound, 20 minutes
  • The Fall of Communism as Seen in Gay Pornography, 1998, (still) video, color, sound, 20 minutes

Biography

born 1962, Canton, OH
lives and works in Los Angeles, CA


EDUCATION

1990
MFA, California Institute of the Arts, Valencia, CA

1985
BA, Yale University, New Haven, CT


SELECTED SOLO / TWO PERSON EXHIBITIONS, ART
(* indicates a publication)

2018
Galleria Raffaella Cortese, Milan, Italy, 2018

2017
David Kordansky Gallery, Los Angeles, CA
The Modern Institute, Glasgow, Scotland

2016
The Long Take, curated by Suzy Halajian, Los Angeles Contemporary Archive, Los Angeles, CA

2015
*Model Workers, Wexner Center for the Arts, Columbus, OH
Galleria Raffaella Cortese, Milan, Italy

2014
*Heraclitus Fragment 124, Automatically Illustrated, David Kordansky Gallery, Los Angeles, CA

2013
The Modern Institute, Glasgow, Scotland
William E. Jones: “Killed,” Saint Louis Art Museum, St. Louis, MO
*Midcentury, Wexner Center for the Arts, Columbus, OH
Two Explosions, 80WSE Gallery, New York, NY

2012
*Inside the White Cube, White Cube, London, England

2011
Upstairs at The Modern Institute, Glasgow, Scotland
David Kordansky Gallery, Los Angeles, CA

2010
Galleria Raffaella Cortese, Milan, Italy
Andrew Roth Gallery, New York, NY
Discrepancies, Veneklasen/Werner, Berlin, Germany

2009
Swallow Street, London, England
*“Killed,” Wexner Center for the Arts, Columbus, OH
ar/ge kunst Galerie Museum, Bolzano, Italy

2006
*Is It Really So Strange?, Beursschouwburg, Brussels, Belgium
There should be a new word for happiness, David Kordansky Gallery, Los Angeles, CA

2004
*Is It Really So Strange?, David Kordansky Gallery, Los Angeles, CA



SELECTED GROUP EXHIBITIONS, ART

(* indicates a publication)

2017
Remastered – Die Kunst der Aneignung (The Art of Appropriation), Kunsthalle Krems, Donau, Austria
*The Work of Love, The Queer of Labor, curated by Yevgeniy Fiks and Olga Kopenkina, Franklin Street Works, Stamford, CT
Past is Not Post, Edith-Russ-Haus, Oldenburg, Germany
IHME Contemporary Art Festival, curated by Olaf Möller, Helsinki, Finland
Un Reino de las Horas, curated by Robert Leckie and Miguel A. López, TEOR/éTica, San Jose, Costa Rica
1000 m2 of Desire, Center of Contemporary Culture of Barcelona, Barcelona, Spain
This is Not a Love Song, Gertrude Contemporary, Melbourne, Australia

2016
Projection Series #5: Once more – but different, curated by Marc Glöde, Govett-Brewster Art Gallery, Len Lye Centre, New Zealand
Un Reino de las Horas, curated by Robert Leckie and Miguel A. López, TEOR/éTica, San Jose, Costa Rica
New Slideshow, FotoFocus Biennial 2016, Contemporary Arts Center, Cincinnati, OH
A Thousand and X Little Actions, curated by Jörg Koopmann in cooperation with Lene Harbo Pedersen, Lothringer13 Halle, Munich, Germany
*Moving Tales. Video works from the La Gaia Collection, curated by Eva Brioschi, Complesso Monumentale di San Francesco, Cuneo, Italy
A Kingdom of Hours, Gasworks, London, England; TEOR/éTica, San Jose, Costa Rica
*On Limits: Estrangement in the Everyday, The Kitchen, New York, NY
*1000 m2 of Desire: Architecture and Sexuality, curated by Adélaïde de Caters and Rosa Ferré, Centre de Cultura Contemporània de Barcelona (CCCB), Spain
*Ordinary Pictures, curated by Eric Crosby, Walker Art Center, Minneapolis, MN
13th International Signs of the Night Festival, various locations, Paris, France

2015
A to 12: The Task of the Curator, Hopkins Hall Gallery, Ohio State University, Columbus, OH
*Rewriting Histories, Fotografisk Center, Copenhagen, Denmark
*Arles 2015: Les Rencontres de la Photographie, Arles, France
Silent Cinema, Staatsgalerie Stuttgart, Stuttgart, Germany
The Heart Is the Frame, Los Angeles Contemporary Exhibitions, Los Angeles, CA

2014
Rear Window Treatment, Louis B. James, New York, NY
*In __ We Trust: Art and Money, Columbus Museum of Art, Columbus, OH
*Elements of Architecture, directed by Rem Koolhaas, 14th International Architecture Exhibition, Venice, Italy
La Disparition des Lucioles (The Disappearance of the Fireflies), Sainte-Anne Prison, curated by Éric Mézil and Lorenzo Paini, Prison Sainte-Anne, Avignon, France
Para Site, Hong Kong, China
Postales Desde Lugares Familiares y Otros Sitios No Comunes (Postcards From Familiar Places and Other Uncommon Sites), University of Dayton, curated by Jimena Sarno and Deanna Erdmann, University of Dayton, Dayton, OH

2013
*Entropy, curated by Vassilios Doupas, Galeri Zilberman, Istanbul, Turkey
Attachments and Assignations, Cubitt Gallery, London, England
The Past Is Present, curated by Jens Hoffmann, Museum of Contemporary Art Detroit, Detroit, MI
Sister Sara’s Theme, curated by Gigiotto del Vecchio and Stefania Palumbo, PRISM Gallery, West Hollywood, CA
Postales Desde Lugares Familiares y Otros Sitios No Comunes (Postcards From Familiar Places and Other Uncommon Sites), curated by Jimena Sarno and Deanna Erdmann, POPA Galería de Arte, La Boca, Buenos Aires, Argentina
Not only this, but ‘New language beckons us.’, organized by Andrew Blackley for Visual AIDS, Fales Library and Special Collections, New York University, New York, NY
La nuit des images, Musée de l’Elysée, Lausanne, Switzerland
American Cities, curated by Camilla Boemio, Casa dell’Architettura, Rome, Italy
*Beg, Borrow and Steal, Palm Springs Art Museum, Palm Springs, CA
Start Making Sense, LiveInYourHead, HEAD haute école d’art et de design, Geneva University of Art and Design, Geneva, Switzerland
Rare and Raw, Leslie/Lohman Museum of Gay and Lesbian Art, New York, NY
*More American Photographs, curated by Jens Hoffmann, Wexner Center for the Arts, Columbus, OH; California Museum of Photography, University of California, Riverside, CA

2012
Les Dérives de l’imaginaire, Palais de Tokyo, Paris, France
beyond the rim, Arts & Jobs, London, England
*after image: the photographic process(ed), Cerritos College Art Gallery, Norwalk, CA
*RAY 2012 Fotografieprojekte Frankfurt/RheinMain, Museum für Moderne Kunst, Frankfurt, Germany
*Desire, Bergen Kunstmuseum, Bergen, Norway
*Nothing is forgotten, some things considered, curated by Shoghig Halajian and Suzy M. Halajian, Unge Kunstneres Samfund, Oslo, Norway
No Person May Carry a Fish into a Bar, curated by Julian Hoeber and Alix Lambert, Blum & Poe, Los Angeles, CA
*More American Photographs, curated by Jens Hoffmann, Museum of Contemporary Art, Denver, CO
*The Spectacular of Vernacular, curated by Darsie Alexander, Ackland Art Museum, The University of North Carolina, Chapel Hill, NC
*Attitude Cinema, curated by Camilla Boemio, Pesaro Film Festival, Chiesa della Maddalena, Pesaro, Italy and Zoe Gallery, Rome, Italy

2011
*American Exuberance, Rubell Family Collection, Miami, FL
*More American Photographs, curated by Jens Hoffmann, CCA Wattis Institute for Contemporary Arts, San Francisco, CA
*“Untitled” (Death by Gun), 12th Istanbul Biennial, curated by Jens Hoffmann and Adriano Pedrosa, Istanbul, Turkey
*Politics Is Personal, curated by Thea Westreich, Stonescape, Napa, CA
*Greg Wilken, Torbjorn Vejvi, Lynton Talbot, Cauleen Smith, SEACA, Mark Roeder, Andrea Robbins and Max Becher, D’Ette Nogle, Brian Mann, Dylan Marcus, Tory Lowitz, Fred Lonidier, Amy Laughlin, Lisa Lapinski, William E. Jones, Daniel Ingroff, Katie Herzog, Kevin Hanley, Aaron GM, Erik Frydenborg, Rachel Foullon, Travis Farmen, Tom Ellis, Lucy Dodd, Michele Di Menna, Jesse Benson, Will Benedict, Merwin Belin, Las Cienegas Projects, Los Angeles, CA
On Forgery: Is One Thing Better Than Another?, LAXART, Los Angeles, CA
*Time Again, curated by Fionn Meade, SculptureCenter, New York, NY
*After Images, curated by Fionn Meade, Jewish Museum, Brussels, Belgium
Fax, curated by João Ribas, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA
101 Collection: Route 2 Undisclosed Destination, curated by Sharon Lerner, CCA Wattis Institute for Contemporary Arts, San Francisco, CA
Magical Consciousness, curated by Runa Islam, Arnolfini, Bristol, England
*The Spectacular of Vernacular, curated by Darsie Alexander, Walker Art Center, Minneapolis, MN
*Serious Games: War – Media – Art, curated by Antje Ehmann and Harun Farocki, Mathildenhöhe, Darmstadt, Germany

2010
The Artist’s Museum, MOCA, Los Angeles, CA
*The Image in Question: War – Media – Art, curated by Antje Ehmann and Harun Farocki, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA
Antiphotojournalism, curated by Carles Guerra and Thomas Keenan, La Virreina Centre de la Imatge, Barcelona, Spain
Forum 65: Jones, Koester, Nashashibi/Skaer: Reanimation, curated by Daniel Byers, Carnegie Museum, Pittsburgh, PA
*Nachleben, curated by Fionn Meade and Lucy Raven, Goethe Institut Wyoming Building, New York, NY
Film Matters, Beton7 Centre for the Arts, Athens, Greece

2009
*Beg, Borrow and Steal, Rubell Family Collection, Miami, FL
The Man Who Wasn’t There, The Barber Shop, Lisbon, Portugal
Is a Show, Is a Shop, Is a Book, Latvian Centre for Contemporary Art, Riga, Latvia
The Show Continues Upstairs, Supportico Lopez, Berlin, Germany
Smell it!, Kunsthalle Exnergasse, Vienna, Austria
The Collectors, curated by Michael Elmgreen and Ingar Dragset, Nordic Pavilion, 53rd Venice Biennale, Venice, Italy
The Pain Game, curated by Ellen Blumenstein, Nosbaum & Reding, Luxembourg, Luxembourg
Matthew Brannon, Marcel Broodthaers, James Lee Byars, William E. Jones, David Kordansky Gallery, Los Angeles, CA
Screwball Asses, curated by Hedi El Kholti and David Jones, The Company, Los Angeles, CA
The Porn Identity: Expeditions into the Dark Zone, Kunsthalle Wien, Vienna, Austria

2008
Formal Issues, curated by Jeffrey Rosen, Community Center AKTA, Tokyo, Japan
Pruesspress@Rental, Rental Gallery, New York, NY
History Keeps Me Awake at Night: A Genealogy of Wojnarowicz, P.P.O.W., New York, NY
The Dulcet Clime of the Bedchamber, curated by Nicholas Weist, Goff + Rosenthal, Berlin, Germany
The House That Lust Built, Trinity Square Video, Toronto, Ontario, Canada
Records Played Backward, curated by Daniel Baumann, The Modern Institute, Glasgow, Scotland
Biennial Exhibition, Whitney Museum of American Art, New York, NY
You, Whose Beauty Was Famous in Rome, Andrew Berardini and Sarah Lehrer-Graiwer, Mandarin Gallery, Los Angeles, CA

2007
Virtuosic Siblings: Berlin/Los Angeles Festival of Film/Art, curated by Ariane Beyn, Goethe-Institut, Los Angeles, CA
BodyPolitcX, Witte de With Center for Contemporary Art, Rotterdam, The Netherlands
NeoIntegrity, Derek Eller Gallery, New York, NY
Modes of Disclosure, Form + Content Gallery, Minneapolis, MN
Good Morning, Midnight, curated by Bruce Hainley, Casey Kaplan Gallery, New York, NY
The Backroon, Kadist Art Foundation, Paris, France
The California Files: Re-viewing Side Effects of Cultural Memory, curated by Ariane Beyn, CCA Wattis Institute for Contemporary Arts, San Francisco, CA
Otra de Vaqueros, The Backroom, Celda Contemporánea, Mexico City, Mexico

2006
many, many guys and girls, all real beauties, Circus of Books, West Hollywood, CA
The Backroom, New Langdon Arts, San Francisco, CA
Having Been Described in Words, Orchard, New York, NY

2005
Bebe le Strange, D’Amelio Terras Gallery, New York, NY
Sugartown, Elizabeth Dee Gallery, New York, NY

2004
The Art Chicago International Invitational, Golinko Kordansky Gallery Booth, Chicago, IL

2003
Inaugural Exhibition, Golinko Kordansky Gallery, Los Angeles, CA

2002
*A Show That Will Show That a Show Is Not Only a Show, curated by Jens Hoffmann, The Project, Los Angeles, CA

2001
Ars Moralis, Galerie für Gegenwartskunst Barbara Claassen-Schmal, Bremen, Germany
Urban Pornography, Artists Space, New York, NY


FILM AND VIDEO

2017
Fall into Ruin (high-resolution video, 30:00 min., loop)

2015
Propaganda (high-definition, sequence of digital files, color, sound, 1 min., loop)
Albania (high-definition, sequence of digital files, color, silent, 6 min., 20 sec., loop)
A Great Way of Life (high-definition, sequence of digital files, color, sound, 7 min., 2 sec.)
America, Hail Satan (3-screen digital video projection with audio, screen 1: 10 min., 36 sec., screen 2: 13 min., 24 sec., screen 3: 9 min., 12 sec.)

2014
Model Workers (high-definition, sequence of digital files, color, silent, 12 min., 16 sec., loop)
Psychic Driving (sequence of digital files, color, sound, 14 min., 30 sec.)

2013
Actual TV Picture (sequence of digital files, color, sound, 7 min., 9 sec.)
Wrestler (sequence of digital files, color, silent, 23 min., 21 sec., loop)

2012
Antiquities (sequence of digital files, color, silent, 12 min., 35 sec., loop)
Bay of Pigs (sequence of digital files, black and white, sound, 3 min., 55 sec., loop)
Into the Night (sequence of digital files, black and white, silent, 6 min., 58 sec., loop)
Midcentury (video, color, sound, 30 min.)
Mission Mind Control (sequence of digital files, color, silent, 41 min., 38 sec., loop)
Shaping Up (sequence of digital files, color, silent, 21 sec., loop)
Shoot Don’t Shoot (sequence of digital files, color, sound, 4 min., 33 sec.)
Street Scene (sequence of digital files, color, silent, 3 min., 7 sec., loop)
VHS Athletes (sequence of digital files, color, silent, 7 min., 36 sec., loop)
VHS Interview (sequence of digital files, color, silent, 3 min., 53 sec., loop)

2011
Counterfeit (video, black and white, silent, 7 min., 25 sec.)
Eyelines (sequence of digital files, color, silent, 1 hr., 52 min., loop)
Inanimate (sequence of digital files, black and white, silent, 8 min., loop)
Industry (sequence of digital files, black and white, silent, 1 min., 34 sec., loop)
Maneuver (sequence of digital files, color, silent, 12 min., 29 sec., loop)
Monument (sequence of digital files, black and white, silent, 7 min., 52 sec., loop)
The Soviet Army Prepares for Action in Afghanistan (sequence of digital files, color, sound, 2 min., 55 sec.)
War Planes (sequence of digital files, black and white, silent, 4 minute and 29 seconds, loop)

2010
Aggressive Child (sequence of digital files, color, silent, 3 min., 12 sec., loop)
Berlin Flash Frames 
(sequence of digital files, black and white, silent, 9 min., 18 sec., loop)
Contraband (sequence of digital files, color, silent, 3 min., 59 sec., loop)
Coup d’état (sequence of digital files, color, silent, 2 min., 25 sec., loop)
Discrepancy (Feedback) (video, color, sound, 9.5 min., loop)
Discrepancy (Visualized) (video, color, sound, 9.5 min., loop)
In Mathew Brady’s Studio (sequence of digital files in a 3 screen projection, black and white, silent, 3 hour, 21 min., loop)
Magenta Rolls (sequence of digital files, color, silent, 2 min., 30 sec., loop)
The National Anthem (sequence of digital files, color, silent, 3 min., 1 sec., loop)
No Product, #1 (Fluffy) (sequence of digital files, color, silent, 1 min., 10 sec., loop)
No Product, #2 (Shower) (sequence of digital files, color, silent, 1 min., 12 sec., loop)
No Product, #3 (Dogs) (sequence of digital files, color, silent, 1 min., 3 sec., loop)
No Product, #4 (Diapers) (sequence of digital files, color, silent, 1 min., loop)
No Product, #5 (Steam Room) (sequence of digital files, color, silent, 1 min., 27 sec., loop)
No Product, #6 (Tires) (sequence of digital files, color, silent, 2 min., 14 sec., loop)
No Product, #7 (Dentures) (sequence of digital files, color, silent, 1 min., 11 sec., loop)
Punctured (sequence of digital files, black and white, silent, 4 min., 56 sec., loop)
Spatial Disorientation (sequence of digital files, color, silent, 4 min., 45 sec., loop)

2009
“Killed” (sequence of digital files, black and white, silent, 1 min. 44 sec., loop)
Discrepancy (Americans Will Die If They Don’t Give Up the Bombings) (video, black and white, sound, 9.5 min., loop)
Discrepancy (Countdown) (video, color, sound, 9.5 min., loop)
Discrepancy (A New All Around Leap Forward Situation Is Emerging) (video, color, sound, 9.5 min., loop)

2008
Youngstown (video, black and white, sound, 6 min., loop)
Steel Town (video, color, sound, 6 min., loop)
Discrepancy (Ecstasy) (video, color, sound, 9.5 min., loop)
Discrepancy (D. P. R. K.) (video, black and white, sound, 9.5 min., loop)
Discrepancy (Rewind) (video, black and white, sound, 9.5 min., loop)
A True Cross Section (DVD, black and white, sound, random play, length variable)

2007
Tearoom (video, color, silent, 56 min.)

2006
More British Sounds (video, color, sound, 8 min.)
150 Films (video, black and white, sound, 12 min.)
Film Montages (for Peter Roehr) (video, color, sound, 11 min.)
All Male Mash Up (video, color, sound, 29 min.)
v. o. (video, color, sound, 59 min.)

2005
Mansfield 1962(video, black and white, silent, 9.5 min., loop)

2004
Is It Really So Strange? (video, color, sound, 80 min.)

1999
Fluff (video, black and white, sound, 4 min.)

1998
The Fall of Communism as Seen in Gay Pornography (video, color, sound, 20 min.)

1997
Finished (16mm film, color, sound, 75 min.)

1991
Massillon (16mm film, color, sound, 70 min.)


SELECTED SOLO / TWO PERSON EXHIBITIONS, FILM AND VIDEO
(* indicates a publication)

2014
The Fall of Communism as Seen in Gay Pornography, Light Industry, New York, NY
The General Secretary is Trapped in a Snow Globe: William E. Jones on Peter Roehr, Los Angeles Filmforum at MOCA, Los Angeles, CA

2012
OFFoff, Ghent, Belgium
Artists’ Film Club: William E. Jones, Institute of Contemporary Arts, London, England

2011
“Killed” and Resurrected, Austrian Film Museum, Vienna, Austria

2010
Modern Monday, The Museum of Modern Art, New York, NY
Retrospective, Anthology Film Archives, New York, NY

2009
Le Grand Mash Up, REDCAT, Los Angeles, CA

2008
COMA, Berlin, Germany
Filmforum, Los Angeles, CA
White Light Cinema, Chicago, IL
Eyedrum, Atlanta, GA

2007
Andy Warhol Museum, Pittsburgh, PA
Yerba Buena Center for the Arts, San Francisco, CA
Atelier Frankfurt, Frankfurt, Germany
Extracted: Recent Films by William Jones, Walker Art Center, Minneapolis, MN
List Visual Arts Center, Cambridge, MA

2006
Filmforum, Los Angeles, CA
San Francisco Museum of Modern Art, San Francisco, CA

2005
Tate Modern, London, England

2001
Rice Media Center, Houston, TX

1999
Blinding Light Cinema, Vancouver, British Columbia, Canada

1998
Scratch Projections, Cinéma L’Entrepôt, Paris, France

1997
Wexner Center for the Arts, Columbus, OH
Filmforum, Los Angeles, CA

1992
Chicago Filmmakers, Chicago, IL
Pacific Film Archive, Berkeley, CA

1991
Film in the Cities, Saint Paul, MN
Filmforum, Los Angeles, CA


SELECTED GROUP EXHIBITIONS, FILM AND VIDEO
(* indicates a publication)

2017
The Blood of a Poet, curated by Maxa Zoller, Art Basel, Basel, Switzerland
Black and Blue, curated by Maxa Zoller, Art Basel, Basel, Switzerland
Queensland Film Festival, Queensland, Australia
Cambridge Film Festival, Cambridge, England
*63rd International Short Film Festival Oberhausen, Oberhausen, Germany
Color My World, Troubling the Image: New + Restored Experimental Cinema, The University of Chicago Film Studies Center, Chicago, IL

2016
New Slideshow, FotoFocus Biennial 2016, Contemporary Arts Center, Cincinnati, OH
Viennale, Vienna Internation Film Festival, Vienna, Austria
INFRARED VII: New Visions from the Queer Underground, Seattle Queer Film Festival, Seattle, WA
International Film Festival Message to Man, Saint-Petersburg, Russia
The Winnipeg Underground Film Festival, Winnipeg, Canada
62nd International Short Film Festival Oberhausen, Oberhausen, Germany
Curtas Vila do Conde, Teatro Municipal, Vila do Conde, Portugal
27th Onion City Experimental Film and Video Festival, Chicago, IL

2015
New Works Salon XXIX: Bahto/Wada, Fogel, Iannazzi, Jenkins, Jones, O’Connell, Ravelo, Echo Park Film Center, Echo Park, CA
Reclamation Works: New and recent films by William E. Jones and Thom Andersen, Los Angeles Filmforum, Los Angeles, CA
Fronteira Festival Internacional Do Filme Documentario E Experimental, Goiânia, Brazil
Kino Otok, Isola Cinema International Film Festival, Ljubljana, Slovenia

2014
The Obituary Project, organized by David Dinnell and Ted Kennedy with Anthology Film Archives, Dispatch: Flaherty, New York, NY
Migrating Forms, Brooklyn Academy of Music Cinématek, Brooklyn, New York
*Elements of Architecture, directed by Rem Koolhaas, 14th International Architecture Exhibition, Venice, Italy
*Viennale, Vienna International Film Festival, Vienna, Austria
Troika, Echo Park Film Center, Los Angeles, California
New Works Salon, Echo Park Film Center, Los Angeles, California
Documentary Fortnight, Museum of Modern Art, New York, NY

2013
Winter Screening, Almanac, London, England
Our Darkness, curated by Viktor Neumann, Grassomania-Festival, Kolonia Artystów, Gdansk, Poland
25th Onion City Experimental Film and Video Festival, Chicago Filmmakers, Chicago, IL
*21st Curtas Vila do Conde International Film Festival, Vila do Conde, Portugal
New Works Salon, Echo Park Film Center, Los Angeles, CA
Queer Sex Works: Money Power Sex, REDCAT, Los Angeles, CA

2012
*25th New York Queer Experimental Film Festival, MIX NYC, Brooklyn, NY
BOZAR, Brussels, Belgium
Dirty Looks Selects: The First 25 Years of the MIX Film Festival: Living Through Oblivion, MIX NYC, New York, NY
*Fascinations, 16th Jihlava International Documentary Film Festival, Jihlava, Czech Republic
*Viennale, Vienna International Film Festival, Vienna, Austria
*Wavelengths, Toronto International Film Festival, Toronto, Ontario, Canada
Interactions: Filme im Dialog, Galerie Max Mayer, Dusseldorf, Germany
*Attitude Cinema, Pesaro Film Festival, curated by Camilla Boemio, Chiesa della Maddalena, Pesaro, Italy and Zoe Gallery, Rome, Italy
Regensburger Kurzfilmwoche, Regensburg, Germany

2011
Les marques aveugles, Centre d’Art Contemporain Genève, Geneva, Switzerland
Queer Lisboa 15 – Festival de Cinema Gay e Lésbico de Lisboa, Lisbon, Portugal
Kontrolle des urbanen Raums: Akteure. Strategien. Topographien., Jacob-und-Wilhelm Grimm-Zentrum, Humboldt-Universität, Berlin, Germany
Our Darkness, Künstlerhaus Stuttgart, Stuttgart, Germany
*William E. Jones Presents…, Oberhausen International Short Film Festival, Oberhausen, Germany
*Istanbul Film Festival, Istanbul, Turkey
Queer Cinema from the Collection: Today and Yesterday, Museum of Modern Art, New York, NY
We Are a Camera: Films Selected by Mark Flores, UCLA Hammer Museum, Los Angeles, CA
Exposed on Film, SFMOMA and San Francisco Cinematheque, San Francisco, CA
Dirty Looks: The Sex Garage / Finished, Participant Inc., New York, NY

2010
Surveillance II: To Be Is To Be Perceived, Tate Modern, London, England
Oberhausen International Short Film Festival, Oberhausen, Germany

2009
Summer Knowledge, Artists Space, New York, NY
Cinema Politica, Montreal, Quebec, Canada
Nottingham Contemporary, Nottingham, England
Chisenhale Gallery, London, England
CPH:DOX, Copenhagen, Denmark
A Million Different Loves, Lodz, Poland
Quito Erotic Film Festival, Quito, Ecuador
Elective Affinities, Hammer Museum, Los Angeles, CA
The Young and Evil, REDCAT and Los Angeles County Museum of Art, Los Angeles, CA

2008
Musée du Louvre, Paris, France
États généraux du documentaire, Lussas, France
Home Works IV, Beirut, Lebanon
Pornfilmfestival, Berlin, Germany
Aurora Picture Show, Houston, TX
Fruit Farm Film Festival, McMinnville, OR
The Young and Evil, tank.tv & Tate Modern, London, England
Mai 68 International, Cinémathèque française, Paris, France
Transitional Objects, Art in General, New York, NY
É claro que você sabe sobre o que estou falando?, Galeria Vermelho, São Paulo, Brazil

2007
14th Barcelona Independent Film Festival, Spain
20th Mix Festival, Sun Factory, New York, NY
15˚ Mix Festival Brazil, São Paulo, touring to Grarulhos, Porto Alegre, Rio de Janeiro, Niterói and Brasília
Reeling Film Festival, Chicago, IL
Pink Screens Alternative Gender Film Festival, Brussels, Belgium
Pornfilmfestival, Berlin, Germany
QFest Houston, Angelika Film Center, Houston, TX
Split Film Festival, Split, Croatia
The Dangerous Hours of the Peeping Race, InDPanda International Short Film Festival, Hong Kong
Outfest, Los Angeles, CA
Identities Queer Film Festival, Vienna, Austria
New Festival, New York, NY
InsideOut, Toronto, Ontario, Canada
Little Rock Film Festival, AR
53rd Oberhausen International Short Film Festival, Oberhausen, Germany
Indie Lisboa International Independent Film Festival, Lisbon, Portugal
9th Buenos Aires Festival Internacional de Cine Independiente, Argentina
London Lesbian and Gay Film Festival, National Film Theatre, London, England
Festival Internacional de Cine de Mar del Plata, Mar del Plata, Argentina
Aurora Picture Show, Houston, TX
Alternative Visions, Pacific Film Archive, Berkeley, CA
Chicago Filmmakers, IL
ADA Gallery, Richmond, VA

2006
IFC Center, New York, NY
Butt Magazine Screening, Tate Modern, London, England and Stedelijk Museum, Amsterdam, The Netherlands
Viennale, Vienna International Film Festival, Austria
Flanders International Film Festival, Ghent, Belgium
Antwerp Film Museum, Belgium
Cinematexas, Austin, TX
Vela, Copenhagen, Denmark
Izola Film Festival, Izola, Slovenia
Tomorrowland, The Museum of Modern Art, New York, NY
Scanners: The 2006 New York Video Festival, New York, NY
Indie Lisboa International Independent Film Festival, Lisbon, Portugal
7 Inch Cinema, Birmingham, England
Anthology Film Archives, New York, NY
Singapore International Film Festival
UCSB Multicultural Center, Santa Barbara, CA

2005
Aurora Picture Show, Houston, TX
Wexner Center for the Arts, Columbus, OH
Viennale, Vienna International Film Festival, Austria
City of Los Angeles (COLA) Exhibition, Los Angeles Municipal Art Gallery, CA
13˚ Mix Brasil, Rio de Janeiro, Porto Alegre, Brasilia and São Paolo, Brazil
thefilmworks, Manchester, England
San Francisco Gay and Lesbian Film Festival, CA
The Queen’s Theatre, Belfast, Northern Ireland
Antwerp Film Museum, Belgium
Fusion Festival, Los Angeles, CA

2004
FACT, Liverpool, England

2003
DV8 Identities, Vienna, Austria
Andy Warhol Museum, Pittsburgh, PA

2002
Les Yeux de l’Ouïe, Vandoeuvre-les-Nancy, France

2001
Tucson Sex Worker Film and Video Festival, Tucson, AZ
Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain
Gallery 825, Los Angeles, CA

2000
OVNI 2000, Centre de Cultura Contemporània de Barcelona, Spain
New York Underground Film Festival, Anthology Film Archives, New York, NY Unwashed, Unwed, University of Arizona, Tucson, AZ
Chicago Underground Film Festival, IL
Revelation Film Festival, Fremantle, Australia

1999
Alternative Visions, Pacific Film Archive, Berkeley, CA
New York Underground Film Festival, Anthology Film Archives, New York, NY
International Festival of New Cinema and New Media, Montreal, Quebec, Canada
Visible Evidence, UCLA Film and Television Archive, Los Angeles, CA
Testing The Limits, National Film Theatre, London, England
Blinding Light Cinema, Vancouver, British Columbia, Canada
Video: Cheap and Priceless, Kaaitheater, Brussels, Belgium

1998
Film House, Copenhagen, Denmark
Image Film/Video Center, Atlanta, GA
Taipei Golden Horse Film Festival, Taiwan
San Francisco Cinematheque, San Francisco, CA
Sex Worker Film Festival, Cinema 21, Portland, OR
Melbourne International Film Festival, Australia

1997
Sundance Film Festival, Park City, UT
Viennale, Vienna International Film Festival, Austria
International Documentary Film Festival, Odivelas, Portugal
Rotterdam International Film Festival, The Netherlands
Personal/Public/Private, Northwest Film Center, Portland, OR
The Alternative Screen, American Cinematheque, Los Angeles, CA

1995
Hey There, Good Neighbor, The ’90’s Channel, Boulder, CO
The Alternative Screen, American Cinematheque, Los Angeles, CA

1994
Disorder Today, The American Center, Paris, France
Cine City: Film and Perceptions of Urban Space, 1895-1995, The Getty Center, Santa Monica, CA
Family Album, Main Art Gallery, California State University, Fullerton
Video Annuale, Los Angeles Contemporary Exhibitions, Los Angeles, CA
There’s No Place Like Home, Pleasure Dome, Toronto, Ontario, Canada
American Film Institute Video Festival, Los Angeles, CA
Video In, Vancouver, British Columbia, Canada

1993
Biennial Exhibition, Whitney Museum of American Art, New York, NY
Los Angeles Festival, Los Angeles, CA
National Museum of Contemporary Art, Seoul, Korea
Cleveland International Film Festival, OH
Hong Kong Lesbian and Gay Film Festival, Wanchai, Hong Kong
Family: There’s No Life Like It, Pleasure Dome, Toronto, Ontario, Canada

1992
Athens International Film Festival, Athens, OH
New Year/New Work, Artists Space, New York, NY
Festival International du Nouveau Cinéma, Montreal, Quebec, Canada
Taipei Golden Horse International Film Festival, Taiwan
Reel Time, P. S. 122, New York, NY
The Eye Gallery, San Francisco, CA
The New Festival, New York, NY
Sydney Film Festival, Australia

1991
Denver International Film Festival, Denver, CO
Outcomes, Wexner Center for the Arts, Columbus, OH
Los Angeles Gay and Lesbian Film Festival, CA


GRANTS AND AWARDS

2015
The Creative Capital | Andy Warhol Foundation Arts Writers Grant
Art Center College of Design Faculty Project Grant

2012
Artists’ Resource for Completion Grant, Center for Cultural Innovation
Foundation for Contemporary Arts Grants to Artists Award
Film/Video/New Media, Artist in Residence, Headlands Center for the Arts

2009
Artists’ Resource for Completion Grant, Durfee Foundation
Danish Arts Council Grant

2007
Art Center College of Design Faculty Enrichment Grant

2006
J. Paul Getty Trust Fund Fellowship, California Community Foundation

2004
City of Los Angeles Cultural Affairs Department (COLA) Grant
Art Center College of Design Faculty Enrichment Grant

2000
Durfee Foundation Artist Fellowship

1999
John Simon Guggenheim Memorial Foundation Fellowship

1997
Best Experimental/Independent Film, Los Angeles Film Critics Association

1995
A.F.I. Independent Film and Video Maker Program Grant

1992
Brody Arts Fund Fellowship, California Community Foundation


CURATORIAL PROJECTS
(* indicates a publication)

2013
*Imitation of Christ, Houseguest, Hammer Museum, Los Angeles, CA

2010
Continuous Projections, Veneklasen/Werner, Berlin, Germany

2008
Figures, David Kordansky Gallery, Los Angeles, CA


PUBLICATIONS AS AUTHOR
(* indicates non-periodical book, catalog, or other publication)

2016
True Homosexual Experiences: Boyd McDonald and “Straight to Hell”. (Los Angeles: We Heard You Like Books, 2016).
2015
“Introduction,” in McDonald, Boyd, Cruising the Movies: A Sexual Guide to Oldies on TV. (Los Angeles: Semiotext(e), 2015).
“The Streets Are My Cinema,” Little Joe, no. 5 (November 2015) pp. 47-61.
Jones, William E., “Boyd McDonald’s Eye for Innuendo,” GLReview.org, November 2, 2015.


2014
“The General Secretary Is Trapped in a Snow Globe,” Mousse, November 2014, pp. 188-190.
*But our life depends on what’s real. (Los Angeles: Semiotext(e), 2014, published on the occasion of the 2014 Whitney Biennial).
“Vern Blosum: Kunsthalle Bern,” Artforum, May 2014, p. 199.
“Space Odyssey,” Artforum.com, May 20, 2014.
“Vern Blosum, Phantom,” The White Review, no. 10 (Spring 2014).
*Flesh and the Cosmos, essays by Jonathan Barnes, Richard Fletcher, and William E. Jones. (Los Angeles: David Kordansky Gallery, 2014).

2013
“Gilded Age,” zingmagazine, Issue 23, 2013, pp. 21, 172-182.
“William E. Jones on Polysexuality,” Office Notebook, cagrp.org, July 22, 2013.
*Imitation of Christ. (London: MACK, 2013).
*Between Artists: Thom Anderson / William E. Jones. (New York: Art Resources Transfer, Inc., 2013).

2012
*William E. Jones: Inside the White Cube. Text by Jarett Kobek. (London: White Cube, 2013).
Gayhouse, issue 4. (Paris: Septembre éditions, 2012).
*“Loads,” in The Little Joe Clubhouse Reader. (London: Little Joe, 2012), pp. 13-20.
*“Puncture Wounds,” in Nothing is forgotten, some things considered. Edited by Shoghig Halajian and Suzy M. Halajian. (Oslo: Unge Kunstneres Samfund, 2012).
“Working with Archives: William E. Jones,” Source, issue 70, Spring 2012, pp. 38, 40.

2011
“The Artists’ Artists: William E. Jones: Vern Blosum, 25 Minutes (Cardwell Jimmerson Contemporary Art, Los Angeles),” Artforum, December 2011, p. 106.
*Roehr/Warhol/Rocco/Lynde. (Los Angeles: No Imprint, 2011).
*“Caça às Bruxas no Banheirão,” in Masculinidades: Teoria, Crítica e Artes. Edited by *Fernando Marques Penteado and José Gatti. (São Paulo: Estação das Letras e Cores, 2011) pp. 241-253.
William E. Jones, George Kuchar, Curt McDowell, “5 Encounters with Curt McDowell,” Bomblog, September 12, 2011.
*Halsted Plays Himself. (Los Angeles: Semiotext(e), 2011).
*“Berlin 1961,” Time Again. (New York: SculptureCenter, 2011) pp. 77-83.
“Unconsummated,” ThisLongCentury.com, January 2011.

2010
*Killed: Rejected Images of the Farm Security Administration. (New York: PPP Editions, 2010).
*“Massillon,” in The Traveling Book. (Ecatepec, Mexico: Fundación/Colección Jumex, 2010), pp. 296-305.
“Profile: Fred Halsted,” Little Joe, no. 1 (Spring 2010) pp. 42-53.
“Life in Film,” Frieze, issue 129 (March 2010) pp. 21-22.

2009
*an uneven dozen broken hearts. (San Francisco: 2nd floor projects, 2009).
“A Capitalist Hallucination,” Bidoun, no. 19, pp. 34-37.
“Roehr/Warhol/Rocco/Lynde,” program notes for Elective Affinities, co-curated with Larry Johnson (Los Angeles: Hammer Museum, 2009).
*After Dark. (limited edition publication for the 53rd Venice Biennale, 2009).
*Heliogabalus. (Los Angeles: 2nd Cannons Publications, 2009).

2008
“Halsted Plays Himself,” Animal Shelter, issue 1, pp. 106-113.
*Selections from The Anatomy of Melancholy by Robert Burton. (Los Angeles: 2nd Cannons Publications, 2008).
“Halsted Plays Himself,” Artforum.com, August 23, 2008.
*“In Conversation with Morgan Fisher,” 2008 California Biennial. (Newport Beach: Orange County Museum of Art, 2008), p. 86.
“Tearoom Texts,” Area Sneaks, issue 1, 2008, pp. 114-131.
“Fred Halsted: A Rather Late Yet Interesting Interview with a Dead Porno Artist,”Butt, Spring 2008, pp. 24-28.
*Tearoom. (Los Angeles: 2nd Cannons Publications, 2008).

2007
“The Artists’ Artists,” Artforum, December 2007, p. 123.

2006
*Is It Really So Strange?. (Los Angeles: David Kordansky Gallery, 2006).

2005
“Bike Boy,” in Andy Warhol Filmmaker, edited by Astrid Johanna Ofner. (Vienna: Austrian Film Museum, 2005), pp. 72 -75.

1998
“Massillon,” Wide Angle, vol. 20, no. 3, July 1998, pp. 150-155.
“Finished: A Screenplay,” Performing Arts Journal, no. 59, May 1998, pp. 78-98.

1996
“My Hustler,” The Ultimate Guide to Lesbian and Gay Film and Video, edited by Jenni Olson. (London: Serpent’s Tail), 1996, pp. 167-69.


BIBLIOGRAPHY
(* indicates non-periodical book, catalog, or other publication)

2017
Berardini, Andrew, “WEEPING, DREAMING, FUCKING, LAUGHING.,” Mousse, #59, Summer 2017, pp. 248-249
Jones, William E., “The Lost Glamour of Historic Art Collector Alexander Iolas,” Document Journal, Issue No. 10, Spring/Summer 2017
Larson, Charles R., “Review: William E. Jones’s ‘True Homosexual Experiences’,” CounterPunch.org, July 15, 2016
Rice, Beau and Jarett Kobek, “interview with we heard you like books,” 3ammagazine.com, July 12, 2016
“Classical Connection: William E. Jones Remembers Alexander Lolas,” Modern Painters, June 2017, p. 20
Mansfield, Susan, “Art reviews: The Sky is Falling | William E. Jones | Scott Myles,” ScotsMan.com, April 18, 2017
Doyle, Lallie, “Fall Into Ruin: William E. Jones at The Modern Institute,” TwinFactory.co.uk, March 24, 2017
“Those Fragments Made Me Fall Asleep: William E. Jones’ ‘Fall Into Ruin’,” MinusPlato.com, March 17, 2017
“Compassionate Protocols,” The New Yorker, Goings on About Town, Art, Galleries—Downtown, February 6, 2017, p. 9

2016
*Archivi Impossibili: un’ossessione dell’arte contemporanea, text by Cristina Baldacci, Italy: Johan & Levi, 2016
Fassi, Luigi, “Sexuality as a Utopian Promise,” Mousse, Issue #56, December/January 2016, pp. 107-111
Holleran, Andrew, “Lewd,” The Gay & Lesbian Review, November-December 2016, pp. 10-13
Anderson, Melissa, “Tearoom,” VillageVoice.com, October 11, 2016
“FotoFocus Biennial Returns this October,” BlouinArtInfo.com, Visual Arts, Fairs, September 23, 2016
Macaulay, Scott, “Five Questions about Essay Films and Digital Distribution for ‘The Royal Road’ Director Jenni Olson,” FilmMakerMagazine.com, September 6, 2016
“FotoFocus announces opening week program for the FotoFocus Biennial 2016,” ArtDaily.com, August 24, 2016
“The Long Take: Mariah Garnett and William E. Jones,” Terremoto.mx, Blog, August 20, 2016
Rice, Beau, and Jarrett Kobek, “interview with we heard you like books,” interview 3ammagazine.com, July 12, 2016
Linkof, Ryan, “Boyd McDonald: True Homosexual Experiences,” DocumentJournal.com, May 31, 2016
Berman, Tosh, “‘True Homosexual Experiences: Boyd McDonald and Straight to Hell’ by William E. Jones,” TamTamBooks-Tosh.Blogspot.com, May 26, 2016
Gross, Anisse, “L.A.-Based Indie Press Scores with First Title,” PublishersWeekly.com, May 20, 2016
Sheehy, Erin, “Straight to Hell: On Boyd McDonald,” n+1, Issue 25, Spring 2016
“Excerpt From True Homosexual Experiences”, SpurlEditions.com, April 22, 2016
King, Anna, “Rediscovering Gay Pornographer and Proto-Blogger Boyd McDonald,” Slate.com, April 6, 2016
Jeffereis, Misa, “William E. Jones,” Ordinary Pictures, Walker Art Center, Minneapolis, 2016, pp. 116-119
“Flaming Features: Douglas Crimp talks with Thomas Beard,” Artforum, April 2016, p. 102
Horrigan, Bill, “An Experiment in Biography,” Wexarts.org, March 21, 2016
“True Homosexual Experiences: Boyd McDonald and ‘Straight to Hell'”, PublishersWeekly.com, February 29, 2016

2015
*Arles 2015: Les Recontres De La Photography, Arles: Recontres d’Arles – Actes Sud, 2015.
Bacqué, Bertrand, Jeux sérieux: Cinéma et art contemporains transforment l’essai, Genève: Mamco, 2015, p. 225-227.
*Rubell Family Collection: Highlights & Artists Writings, Volume 1, Miami: Rubell Family Collection, 2015, p. 584.
Anderson, Melissa, “Cruise Control: The raunchy, brainy film writings of Boyd McDonald,” Bookforum, December/January 2016, p. 43.
Lee, Nathan. “In Brief: Cruising the Movies,” Film Comment, November-December, 2015, p. 79.
Golum, Caroline, “Here’s to the Underground!” TheLMagazine.com, December 3, 2014
Callahan, Dan, “Boyd McDonald’s Cruising the Movies: Sexual Guide to Oldies on TV,” Out.com, December 2, 2015.
Wu, Yue, “Exhibition aims to show the meaning of curating,” TheLantern.com, November 3, 2015.
Levine, Matthew, “Psychic Driving: William E. Jones,” Found Footage Magazine, Issue #1, October 2015, p. 93.
Rudick, Nicole, “Staff Picks: Cairo, Cruising, Chrissie, Kmart,” TheParisReview.org, October 9, 2015.
Vishnevetsky, Ignatiy, “‘High-Rise’ makes for an unlikely highlight at Toronto,” AVClub.com, September 15, 2015.
“Notebook on Cities and Culture S4E50: Something Like a Bohemia with William E. Jones,” Bog.ColinMarshall.org, August 8, 2014
Beard, Thomas, “Gary Cooper’s Lipstick/On Boyd McDonald’s “Cruising the Movies: A sexual Guide to ‘Oldies’ on TV,” Texte zur Kunst, August 2015, p. 179-182.
Lecklider, Aaron S., “Sexing the Semiotext(e) Whitney Box Set,” English Language Notes, 53:2, Spring 2015, p. 154-155.
Jackman, Michael, “Looking back on ‘The Battle of the Overpass’ — 78 years later,” MetroTimes.com, May 26, 2015.
Jonze, Tim, “Heaven Knows I’m Mexican Now: Morrisey’s Latino connection goes live,” TheGuardian.com, April 23, 2015.
“William E. Jones sabotage: Psychic Driving alla Galleria Raffaella Cortese di Milano,” Camira.org, April 15, 2015.
Isabella, Tommaso, “Psychic Driving. William E. Jones,” Doppiozero.com, April 1, 2015.
Tagliafierro, Marco, “William E. Jones, Galleria Raffaella Cortese,” Artforum.com, March 13, 2015.
Piejko, Jennifer, “Reviews, ‘Rear Window Treatment’, Louis B. James,” Modern Painters, March 2015, p. 74.
Civin, Marcus, “In __ We Trust: Art and Money,” Artforum.com, January 2015.
MacKay, Emily, “Manic Street Preachers’ new film No Manifesto signals a growing trend in fan documentaries,” Independent.co.uk, January 30, 2015.
Hamilton, Olivia, “Film explores social depictions of labor on money,” TheLantern.com, January 29, 2015.

2014
Arsanios, Mirene, Felipe Zúñiga-González, Mathias Kryger, and Omar Mismar, Queer Geographies, 2014, p. 34-43.
*Viennale – Vienna International Film Festival. (Vienna: Verkaufspreis, 2014), p. 209.
*In __ We Trust: Art and Money, edited by Tyler Cann, texts by Nannette V. Maciejunes and Tyler Cann, Columbus: Columbus Museum of Art, 2014, cover, pp. 16-17.
*Doupas, Vassilios, Entropy, text by David Gleeson, Istanbul: Galeri Zilberman, 2014.
*Baron, Jaimie, The Archive Effect: Found Footage and the Audiovisual Experience of History, London: Routledge, 2014, pp. 11-12, 31-36, 43-45.
*Schmidt, Oskar, “’The American Series’ in the Context of the Artist’s Oeuvre,” The American Series, 2014, pp. 86, 88, 90.
Kwinter, Sanford, “Whiplash,” Log, Fall 2014, pp. 90-92.
Griffin, Jonathan, “The New Dealer,” T Magazine, September 14, 2014, p. 124-128.
Picano, Felice, “Halstead Plays Himself – William E. Jones (Semiotext(e)/MIT Press),” OutInPrintBlog.wordpress.com, September 1, 2014.
Flesh and the Cosmos,” Citizen-K.com, July 22, 2014.
“11 Great Places To Get Your Queer Art Fix In Los Angeles,” Queerty.com, July 19, 2014.
Frew, Wendy, “When criminal evidence goes viral,” SMH.com, May 15, 2014.
“#ArtBaselHK14: Hong Kong Sex Tours via Para Site,” Wanderlister.com, May 13, 2014.
Knott, Kylie, “Exhibition: focus on sex in Hong Kong,”SouthChinaMorningPost.com, May 6, 2014.
Harren, Natilee, “Reviews: William E. Jones, David Kordansky Gallery,”Artforum, April 2014, pp. 267-268.
Willick, Damon, “Vern Blosum’s Fifteen Minutes,” X-TRA, Spring 2014, Volume 16, Number 3.
Diehl, Travis, “Hear You Roehr,” Artforum.com, January 26, 2014.
“William E. Jones, ‘Heraclitus Fragment 124, Automatically Illustrated’ at David Kordansky Gallery, Los Angeles,” MousseMagazine.it, January 28, 2014.
Arias, Catherine, “The General Secretary is Trapped in a Snow Globe: William E. Jones on Peter Roehr,” Moca.org, January 21, 2014.
“More American Photographs,” University of California Riverside, Podcast, January 12, 2014.
Wagley, Catherine, “5 Artsy Things to Do in L.A. This Week, Including Bank Robberies,” LA Weekly, January 8, 2014.

2013
*Humphrey, Daniel, Queer Bergman: Sexuality, Gender, and the European Art Cinema, Austin: University of Texas Press, 2013, pp. 25-28, 57, 180.
“A Prime Number of Books for 2013,” ICPlibrary.com, December 12, 2013.
Harren, Natilee, “Vern Blosum: Assembly and Tomwork,” Artforum, Reviews, December 2013, pp. 271-272.
“TIME Picks the Best Photobooks of 2013: ‘Imitation of Christ’,” TIME.com, Lightbox, November 25, 2013.
“Disorder in the system questioned,” HurriyetDailyNews.com, November 5, 2013
Knight, Christopher, “Review: Vern Blosum’s paintings at Tomwork take aim at Pop art,” Los Angeles Times, October 11, 2013.
Lampert, Andrew, “Between Artists: Thom Anderson / William E. Jones,” Bomb, Editor’s Choice, Issue 125, Fall 2013, p. 17.
*Art for Rollins: The Alfond Collection of Contemporary Art, Volume 1, edited by Abigail Ross Goodman, texts by Barbara Lawrence Alfond, Abigail Ross Goodman, and Ena Heller. (Winter Park, FL: Cornell Fine Arts Museum, Rollins College, 2013).
*21st Curtas Vila do Conde International Film Festival. (Portugal: Vila do Conde, 2013).
Schweitzer, Dahlia, “How Does One Make an Image of Revolution?,”Hyperallergic.com, June 25, 2013.
McLean-Ferris, Laura, “William E. Jones,” Art Review, Exhibition Reviews, Issue 69, Summer 2013, pp. 150, 152.
Dietz, Frank, “Screenshots: Die Nachfolge Christi,” ART – Das Kunstmagazin, Das Fotoblog, May 28, 2013.
Wong, Suzie, “Imitation of Christ by William E. Jones,” GetAddictedTo.com, May 22, 2013.
Cairns, Steven, “Interview: William E. Jones,” Frieze.com, May 13, 2013
“William E. Jones at The Modern Institute,” Contemporary Art Daily, May 13, 2013.
Lesso, Rosie, “Edinburgh & Glasgow Round-up,” Art Monthly, Number 366, May 2013.
Baran, Jessica, “NEW In the Galleries – William E. Jones: Killed Through April 28 at the Saint Louis Art Museum,” RiverfrontTimes.com, April 18, 2013.
Early, Rosalind, “Artist William E. Jones on his Saint Louise Art Museum Exhibit “Killed”,” STLMag.com, April 17, 2013.
Cooper, Neil, “Visual Art: William E. Jones,” The List, April 17, 2013.
“William E. Jones at The Modern Institute, Glasgow,” MousseMagazine.it, April 7, 2013.
Clark, Robert, “Exhibitions: William E. Jones,” Guardian Guide, April 7, 2013.
Scoccimarro, Antonio, “William E. Jones,” Mousse, Diary, Issue 38, April 2013.
Brenez, Nicole, “desistfilm’s Top 50 Films of All Time,” desistfilm.com, March 30, 2013.
*Devidal, Grégoire, William E. Jones, Brûlantes Promesses. (Bordeaux: École d’Enseignement, Supérieur d’ Art de Bordeaux, 2013).
Wyatt, Andrew, “William E. Jones: ‘Killed’ at the St. Louis Art Museum,”TemporaryArtReview.com, February 22, 2013.
Isaac, Tim, “Gay Short: The Fall of Communism As Seen in Gay Pornography by William E. Jones (1998),” BigGayPictureShow.com, January 23, 2013.
Lavoie, Vincent, “William E. Jones, Tearoom: Le procès de l’image infamante,”Ciel Variable, Number 93, Winter 2013, pp. 41-46.

2012
*after image: the photographic process(ed), edited by James MacDevitt. (Norwalk: Cerritos College Art Gallery, Cerritos College, 2012).
*Simon, Vincent, ed., Le Guide du Palais de Tokyo. (Paris: Palais de Tokyo, 2012).
*25th New York Queer Experimental Film Festival. (New York: MIX NYC, NY).
Moffatt, Ken, “Rare & Raw,” The Archive: The Journal of the Leslie-Lohman Museum of Gay and Lesbian Art, Number 44, Winter 2012, pp. 20-22.
“after image: the photographic process(ed),” Artweek.LA, November 5, 2012.
Nagesh, Ashitha, “Critics’ Picks: London: William E. Jones,” Artforum.com, October 30, 2012.
*Viennale – Vienna International Film Festival. (Vienna: Remaprint, 2012, p. 203).
Kienzi, Michael, “Fred Halsted: Porno Experimental,” Critic.de, October 20, 2012.
*Attitude Cinema, Pesaro Film Festival, curated by Camilla Boemio, Chiesa della Maddalena, Pesaro, Italy and Zoe Gallery, Rome, Italy. (Pesaro: MIVA, 2012).
Hebdige, Dick, “‘Is It Really So Strange?’ Verschiedene Aneignungen: Morrissey und der Blues,” POP. Kultur und Kritik, Transcript Verlag, 2012, pp. 116-125.
Day, Meagan, “Hedi el Kholti,” Full-Stop.net, September 20, 2012.
Sicinski, Michael, “TIFF 2012. Wavelengths Preview: Part One – The Shorts,”Notebook, September 7, 2012.
*Mæland, Hilde J., editor, Desire. (Bergen: Bergen Art Museum, 2012, p. 34).
Gonzalez, Rita, and Christine Y. Kim, “New Acquisitions for Art Here and Now,”The LACMA Blog, July 31, 2012.
*Making History, texts by Herbert Beck, Luminita Sabau, Barbara Basting, Anne-Marie Beckmann, Lilian Engelmann, Peter Gorschlüter, Jule Hillgärtner, Holger Kube Ventura, Alexandra Lechner and Celina Lunsford. (Frankfurt: RAY Fotografieprojekte Frankfurt/RheinMain, 2012), p. 126-129.
Piepenburg, Erik, “In Conversation with Bradford Nordeen, Moments of Gay History On Screen and Underfoot,” The New York Times, July 12, 2012, p. C6.
“Attitude Cinema,” Domus, June 2012.
“Artist In Residence Program 2012: William E. Jones,” Headlands Center for the Arts, April 2, 2012.
Piepenburg, Erik, “Keepers of the Gay Film Legacy,” The New York Times, March 18, 2012, p. AR8.
Beard, Thomas, “Film: The best movies and artists’ films of 2011,” Frieze, Issue 144, January-February 2012, p. 25.
Thomson, Julie, “The ordinary becomes exceptional in The Spectacular of Vernacular at the Ackland,” IndyWeek.com, February 1, 2012.
Jeppesen, Travis, “Book Review: Halsted Plays Himself,” Whitehot Magazine, January 2012.

2011
*Hoffmann, Jens, editor, More American Photographs: CCA Wattis Institute for Contemporary Arts. (New York: DAP / Distributed Arts Publishers Inc., 2011), p. 64-65
*Tongson, Karen, Relocations: Queer Suburban Imaginaries, New York: NYU Press, 2011, pp. 117, 120, 126
Sallabedra, Megan, “Fred Halsted’s Experimental Porn L.A. Plays Itself: Even Dalí Thought It Was Freaky,” LAWeekly.com, December 16, 2011.
Michalska, Julia, “Expert eye: Tobias Ostrander,” The Art Newspaper, Art Basel Miami Beach Daily Edition, December 3-4, 2011, p. 10.
*American Exuberance. (Miami: Rubell Family Collection, 2011).
Cernuschi, Stefano, “Books: Halsted Plays Himself,” Mousse, Issue 31, December 2011 – January 2012, p. 126.
Karr, John F., “Forbidden Acts,” KarrnalKnowledge.com, November 16, 2011.
Cheng, DeWitt, “More American Photographs: CCA Wattis Institute for Contemporary Arts,” Artillery, Volume 2, November/December 2011, p. 69.
Nordeen, Bradford, “Halsted Playing Halsted,” ArtinAmerica.com, October 31, 2011.
Tan, Lumi, “Time Again: SculptureCenter, New York,” Frieze, Issue 142, October 2011, p. 250.
Wender, Jessie, “Photographing The Great Recession, Looking Back to The Great Depression,” The New Yorker, October 13, 2011.
Astrova, Aliina, “William E. Jones’s ‘Halsted Plays Himself’,” Kaleidoscope blog, October 9, 2011.
Crow, Thomas, Perchuk, Andrew, Tuchman, Maurice, Subotnick, Ali, Winer, Helene, Baldessari, John, Gamboa Jr., Harry and Larner, Liz, “L.A. Stories: A Roundtable Discussion,” Moderated by Richard Meyer and Michelle Kuo,Artforum, October 2011, 240-249, 339-340.
*Hoffmann, Jens and Pedrosa, Adriano, editors, The Companion to the 12th Istanbul Biennial. (Istanbul: Istanbul Foundation for Culture and Arts, 2011).
“Adventures to be Released at NY Art Book Fair,” StandardCulture.com, September 27, 2011.
Biederman, Sam, “Halsted Plays Himself by William E. Jones,” Bookforum.com, September 26, 2011.
Nagesh, Ashitha, “Interview: William E. Jones,” zingmagazine.com, August 2011.
Lerner, Sharon, “Kadiview with William E. Jones,” Kadist Art Foundation – Kadist.org, August 2011. Video.
Aletti, Vince, “Previews: ‘More American Photographs,’ CCA Wattis Institute for Contemporary Arts,” Artforum, September 2011, p. 149.
“Museums and Libraries: SculptureCenter,” The New Yorker, July 25, 2011.
*Stonescape: Politics is Personal 2011, exhibition catalogue, July 2011, pp. 42-43.
“‘Time Again’ at SculptureCenter,” Contemporary Art Daily, June 24, 2011.
Meade, Fionn, “Restaging the Past,” Artlog.com, June 17, 2011.
Tavecchia, Elena, “Time Again,” Mousse, Issue 29, Summer 2011, p. 160.
Matalon, Rebecca, “Time Again,” Kaleidoscope, Issue 11, Summer 2011, p. 90.
Schifferle, Hans, “Oberhausen I: Die Widerspenstigen,” epd Film, June 2011, p. 10.
*Greg Wilken, Torbjorn Vejvi, Lynton Talbot, Cauleen Smith, SEACA (Southeast Asian Community Alliance), Mark Roeder, Andrea Robbins and Max Becher, D’Ette Nogle, Brian Mann, Dylan Marcus, Tory Lowitz, Fred Lonidier, Amy Laughlin, Lisa Lapinski, William E. Jones, Daniel Ingroff, Katie Herzog, Kevin Hanley, Aaron GM, Erik Frydenborg, Rachel Foullon, Travis Farmen, Tom Ellis, Lucy Dodd, Michele Di Menna, Jesse Benson, Will Benedict, Merwin Belin, Las Cienagas Projects, exhibition catalogue, 2011.
Zellen, Jody, “William E. Jones: David Kordansky Gallery,” Artillery, May/June 2011, pp. 65-66.
Teasdale, Paul, “57th Oberhausen Short Film Festival,” Frieze.com, May 23, 2011.
Pugh, Adam, “Internationale Kurzfilmtage Oberhausen 2011,” LUX.org.uk, May 19, 2011.
Schmitt, Peer, “Der Sport und das Blut,” Junge Welt, Number 112, May 14-15, 2011, p. 12.
Schifferle, Hans, “Cinema Slam,” Süddeutsche Zeitung, May 12, 2011.
Grissemann, Stefan, “Abfallprodukte der Liebe,” Frankfurter Allgemeine Zeitung, May 5, 2011, p. 33.
Kaltschmidt, Naoko, “All Male Mash Up,” Cargo, Number 09, March-May 2011, pp. 50-51.
*Beil, Ralf and Ehmann, Antje, editors, Serious Games: War – Media – Art. (Ostfildern: Hatje Cantz Verlag, 2011), pp. 107-109.
*Häcker, Sabine, Ingenhoven, Marita and Ruprecht, Susanne, editors, 57th International Short Film Festival Oberhausen 2011. (Oberhausen: Karl Maria Laufen, 2011).
Holte, Michael Ned, “William E. Jones: David Kordansky Gallery,” Artforum, May 2011, p. 295.
Willis, Holly, “Media Arts Preview,” kcet.org, April 7, 2011.
*Meade, Fionn, editor, Time Again. (New York: SculptureCenter, 2011).
Friel, Patrick, “Layers of Erasure,” Afterimage, Volume 38, Number 5, March/April 2011, pp. 35-36.
Balzer, David, “Queer Cinema From the Collection: Bronson’s Bests,”CanadianArt.ca, March 10, 2011.
“Looking at Los Angeles: Killed Posterity,” SanArt.com, March 10, 2011.
Ayala, Daniela “William E. Jones en David Kordansky Gallery,”blog.TaxiArtMagazine.com, March 2, 2011.
Mizota, Sharon, “Art Review: William E. Jones at David Kordansky,” Los Angeles Times, February 25, 2011, p. D18.
Nordeen, Bradford, “William E. Jones on Finished,” SlantMagazine.com, February 22, 2011.
Nordeen, Bradford, “Finished Symphony,” Being-Boring.blogspot.com, February 21, 2011.
“William E. Jones,” re-title.com, February 17, 2011.
Johnson, Grant, “Forum 65: Reanimation,” Art Papers, January/February 2011.
Moshayedi, Aram, “500 Words: William E. Jones,” Artforum.com, January 26, 2011.
Burton, Johanna, “The Spectacular of Vernacular,” Artforum, January 2011, p. 97.

2010
Carson, Matthew P., “William E. Jones Interview,” icplibrary.wordpress.com, December 20, 2010.
Ding, Chinnie, “Critic’s Pick: The Image in Question: War – Media – Art,”Artforum.com, December 2010.
Meade, Fionn, “After Images,” Mousse, Issue 26, December 2010/January 2011, pp. 182-189.
Ireland, Corydon, “Visions of War,” HarvardGazette.com, October 26, 2010
Cotter, Holland, “William E. Jones, ‘Punctured,'” New York Times, October 22, 2010, p. C17.
Haeg, Fritz, “City Report: Los Angeles,” Frieze, Issue 134, October 2010, pp. 224-226.
“William E. Jones,” The New Yorker, October 11, 2010, p. 22.
Banks, Eric. “William E. Jones: Punctured,” The Paris Review, October 4, 2010.
Aletti, Vince. “Photo Books,” Photographmag.com, September/October 2010.
Tobias, Jennifer. “Selections from The Anatomy of Melancholy by Robert Burton,” caareviews.org, July 21, 2010.
O’Driscoll, Bill. “Short List,” Pittsburgh City Paper, July 1, 2010.
Thomas, Mary. “Complex Ideas Flash by in Video Show,” Pittsburgh Post-Gazette, June 30, 2010.
Troeller, Jordan. “Nachleben,” Artforum.com, May 18, 2010.
Möller, Olaf. “Double Trouble: Ethical Lapses in Potsdamer Platz,” Film Comment, May/June 2010, p. 64.
Müller, Dominikus. “William E. Jones,” Artforum, May 2010, pp. 262-263.
Baron, Jaimie, “Translating the Document Across Time and Space: William E. Jones’ ‘Tearoom’,” Spectator: The University of Southern California Journal of Film & Television, Spring 2010, pp. 51-54.
Mania, Astrid. “William E. Jones: Discrepancies,” Art Review, Issue 39, March 2010, p. 126.
Sonnenburg, Gisela. “Kunst-Videos zwischen Heute und Gestern,” Berliner Morgenpost, February 24, 2010, p. 18.
Halter, Ed. “Porn Yesterday,” Artforum.com, February 23, 2010.
Anderson, Melissa. “‘The Films of William E. Jones’ at Anthology,” Village Voice, February 23, 2010.
Ackermann, Tim. “Wie man mit Lyrik und Google große Kunst schafft,” Welt Online, February 21, 2010.
Meixner, Christiane. “New Yorker Experimente,” Tagesspiegel, February 13, 2010, p. 21.
von Döltzschen, Ulrich. “Neu: Veneklasen & Werner,” Die Welt, February 2, 2010.
Comer, Stuart. “Film: The Best Motion Pictures and Moving Images of 2009,”Frieze, issue 128 (January/February 2010) p. 28-29.

2009
*Thornton, Sarah, Seven Days in the Art World, New York: W.W. Norton & Company, 2009, pp. 55-56
Jones, Laura K., “London Dispatch,” artnet.com, December 29, 2009.
Chin, Daryl, “Discussing a Decade: Critics Comment On The 2000s,”indieWIRE, December 28, 2009.
Mandelbaum, Audrey, “An Invocation of Ghosts: William E. Jones’ ‘Killed’,” X-Tra, vol. 12, no. 2 (Winter 2009) pp. 59-63.
*Beg Borrow and Steal. (Miami: Rubell Family Collection, 2009).
Cairns, Steven, “Critics’ Picks: William E. Jones,” Artforum.com, December 2009.
Piffer-Damiani, Marion, “William E. Jones: ar/ge kunst, Bozen,” Camera Austria, no. 108, pp. 78-79.
Holte, Michael Ned, “Best of 2009,” Artforum, December 2009, p.192.
Fassi, Luigi, “William E. Jones: Time and Documentary Effect,” SITE, Issue 28, 2009, pp. 10-13.
Horrigan, Bill, “Killed” (Columbus, Ohio: Wexner Center for the Arts, 2009).
“William E. Jones,” Exibitart.com, October 12, 2009.
Schwärzler, Dietmar, “More Than One Way to Watch a Movie!” Smell It!(Vienna: Kunsthalle Exnergasse, 2009) pp. 74-79.
*Birnbaum, Daniel, and Jochen Volz, editors, Making Worlds, vol. 2: Participating Countries, Collateral Events. (Venice: La Biennale di Venezia, 2009).
Williams, Megan, “Lust for life,” CBCNews.com, June 2, 2009.
Foumberg, Jason, “Matthew Brannon, Marcel Broodthaers, James Lee Byars, William E. Jones,” Frieze.com, June 9, 2009.
Coata, Chiara, “The Porn Identity,” Kaleidoscope, March/April 2009, p. 95.
Heinänen, Kaisa, “Neljä suomalaistaiteilijaa mukaan Venetsian biennaaliin,”Helsingin Sanomat, March 18, 2009.
Supanick, Jim, “Last Year at Mansfield: William E. Jones’s Tearoom,” Film International, issue 37, pp. 12-15.
Fassi, Luigi, “Sexuality as a Utopian Promise,” Mousse, Issue 17, February/March 2009, pp. 52-55.
Eichler, Dominic, “How Will This Affect Me?” Frieze, Issue 120, January/February 2009, pp. 120-127.
Lewis, David, “Section 7: Books,” Artforum.com, January 2009.

2008
Comer, Stuart, “Best of 2008,” Artforum, December 2008, p. 63.
Hainley, Bruce, “This Necrophilic Strategy Entails Some Risk,” Bidoun, Winter 2008, pp. 109-111.
Augusto, Heitor, “Mix Brasil 2008,” CineClick.com, November 2008.
Lange, Christy, “In the Tearoom…Not Really What I Expected,” Frieze.com, October 2008.
LeDuc, Aimee, “Book Reviews: Tearoom,” Camerawork, vol. 35, no. 2, Fall/Winter 2008, p. 42.
Chang, Chris, “In Flagrante Delicto,” Film Comment, July-August, 2008, p. 17.
Smith, Roberta, “Pruesspress@Rental,” New York Times, June 27, 2008, p. B25.
Columbus, Nikki, “Past Imperfect,” Artforum, Summer 2008, pp. 179-180.
Taft, Catherine, “Figures,” Modern Painters, June 2008, p. 94.
Stamets, Bill, “Exploring Work, Play, and Healing,” Chicago Sun-Times, May 16, 2008, p. 2.
Danto, Arthur C., “Unlovable,” The Nation, May 8, 2008, pp. 35-36.
Bowen, Peter, “The Whitney Biennial Two-Year Plan,” Film in Focus, May 5, 2008.
Weist, Nicholas, “From Gulag to Gallery,” Out, May 2008, p. 32.
“William E. Jones: Dissecting Uncle Sam,” The Art Newspaper, March 28-29, 2008, p. 9.
*Whitney Biennial 2008. (New York: Yale University Press, 2008).
Gopnik, Blake, “10 Others to Seek Out at the Whitney Biennial,” Washington Post, March 7, 2008, p. C02.
Cotter, Holland, “Art’s Economic Indicator,” New York Times, March 7, 2008, p. E31.
Gartenfeld, Alex, “All in the Family,” papermag.com, March 4, 2008.
Wagley, Catherine, “Beauty’s Dark Side,” ARTslant.com, March 2, 2008.
Feaster, Felicia, “Tea for Two,” Creative Loafing (Atlanta), February 20-26, 2008, p. 39.
Feaster, Felicia, “William E. Jones: The Secret History,” creativeloafing.com, February 20, 2008.
Lee, Ryan, “Jail Bait,” Southern Voice, February 15, 2008, pp. 23, 36.
Scott, Marcia, “What the Hell Is That?,” Film Arts, January/February 2008, pp. 38-39.
Hainley, Bruce, “This Necrophilic Strategy Entails Some Risk,” Bidoun, Winter 2008, pp. 109-111.
Armstrong, Skot, “Bunkervision,” Artillery, January 2008, p. 45.
Otto, Dean, “Artist of the Year,” City Pages (Twin Cities), January 2, 2008, p. 8.

2007
O’Driscoll, Bill, “Tearoom,” Pittsburgh City Paper, December 12-19, 2007, p.102.
Azoury, Philippe, “Hard contemporain: Festival du porno. Tout l’underground en chaleur à Berlin,” Libération, October 31, 2007.
Shamai, Jason, “Urinal Kinds of Trouble,” San Francisco Bay Guardian, October 24, 2007, pp. 66-67.
*BodyPolitcX. (Rotterdam: Witte de With Center for Contemporary Art, 2007).
Sicinski, Michael, “Original Pirate Material: Twelve Rounds with William E. Jones,” Cinema Scope, Issue 31, Summer 2007, pp. 29-35.
Condon, Emily. “In Good Standing: The Walker’s Queer Takes Series Has Plenty of Substance,” The Onion (Minneapolis) June 21, 2007.
Cotter, Holland, “‘Good Morning, Midnight’ at Casey Kaplan,” New York Times, July 27, 2007.
Pride, Ray. “Films to See Now: v. o.” Newcity (Chicago), February 15, 2007.
Goldberg, Max, “Thursday: Experience ‘Alternative Visions’ at the PFA,”sf360.com, February 15, 2007.
Huston, Johnny Ray, “A Q&A about v. o.: Talking Tearooms, Movies, Morrissey, and Melancholy with Filmmaker William E. Jones,” San Francisco Bay Guardian, February 13, 2007.
Huston, Johnny Ray, “Underground Meets Underground: William E. Jones Uncovers Hidden Stories in Porn’s Dark Edges,” San Francisco Bay Guardian, vol. 41, issue 20, February 12, 2007, p. 57.
Hainley, Bruce, “This Charming Man,” Artforum, January 2007, pp. 67-68, 276.
Comer, Stuart, “Emerging Artists,” Frieze, January-February 2007, p.136.

2006
Abele, Robert, “Screening Room: Repurposing as an Art Form,” Los Angeles Times, December 7, 2006, p. E8.
Willis, Holly, “New Video Work by William E. Jones,” LA Weekly, December 6, 2006, p. 110.
Kushner, Rachel, “On the Ground: Los Angeles,” Artforum, December 2006, p. 255.
Ehrenstein, David, “The U.K. in L.A.” LA Weekly, November 24-30, 2006, p. 35.
Zimmerman, Natalie, “out there where nothing is,” Camerawork, vol. 33, no. 2. Fall/Winter 2006 pp. 8-15.
Ocean, Justin, “Mix ‘n’ Match,” Next Magazine, November 2006, pp. 16-17.
Krasinski, Jennifer, “William E. Jones,” Art US, issue 15, October/November 2006, p. 9.
Mookas, Ioannis, “Bright Cathodes, Big City,” Gay City News, vol. 5, no. 30, July 27 – August 2, 2006, p. 20.
Halter, Ed, “Scanners: The 2006 New York Video Festival,” Village Voice, July 25, 2006, p. 68.
Mookas, Ioannis, “Postcards from the Edge: Unorthodox Queer Milestone Revived at MoMA,” Gay City News, vol. 5, no. 25, June 22-28, 2006.
Anderson, Jason, “Strange Bedfellows,” Eye Weekly (Toronto), May 18, 2006.
Möller, Olaf, “The Maximal Minimalist,” Film Comment, March/April 2006, pp. 19-21.
Mookas, Ioannis, “He’s Got Everything Now,” Gay City News, vol. 5, no. 8, February 23 – March 1, 2006.

2005
Thomas, Kevin, “Screening Room,” Los Angeles Times, November 10, 2005, p. E8.
Nesselson, Lisa, “Is It Really So Strange?,” Variety.com, November 8, 2005.
St. Denis, John, “Is It Really So Strange?,” The Daily Texan (Austin), October 5, 2005.
Snodgrass, Becky. “William E. Jones,” COLA 2005, (Los Angeles: Department of Cultural Affairs, 2005), pp. 28-31.
Reisman, Sara, “Bebe le Strange, New Museum Picks,” newmuseum.org.
Cotter, Holland, “Bebe le Strange,” New York Times, July 22, 2005.
Male, Andrew, “Sweet and Tender Hooligans,” Mojo, May 2005, p. 30.
Aitch, Iain, “Mad About Morrissey,” The Guardian, March 25, 2005, p. 7.

2004
Holte, Michael Ned, “William Jones,” artforum.com, March 13, 2004.

2003
Athey, Ron, “Considerable People: William Jones, Charming Man,” LA Weekly, November 28 – December 4, 2003, p. 13.
O’Driscoll, Bill, “Naked Obsession,” Pittsburgh City Paper, April 10, 2003.

2001
Hainley, Bruce, “My Life in Pictures,” Frieze, November-December 2001, pp. 100-105.
Cotter, Holland, “Art in Review,” New York Times, November 23, 2001, p. E35.

2000
Camper, Fred, “Chicago Underground Film Festival: Nasty Girls and Dirty Boys,” Chicago Reader, August 18, 2000, sec. 2, p. 17.
Anderson, Steve, “The Experimental Scene: L.A.’s Media Renegades,” The Independent, vol. 23, no. 3, April 2000, pp. 26-29.
Dowling, Samantha, “Banned and Unseen,” Westside Observer (Perth, Australia), February 4, 2000, pp. 1-3

1999.
Horton, Andrew James, “Kino Eye: Building a New Europe,” Central Europe Review, no. 35, May 24, 1999.
*Faludi, Susan, Stiffed: The Betrayal of the American Man. (New York: William Morrow and Company, New York, 1999), p. 163.

1998
Smith, Kensington, “Alternative Reviews: Finished,” Adult Video News, October 1998, p. 242.
Malcolm, Paul, “Notes from a Video Store Burnout: Finished,” LA Weekly, June 5, 1998, p. 74.
Burston, Paul, “Gay Film-Makers Switch from Boyz to Men,” Time Out London, March 11-18, 1998, p. 102.
Shepard, Joel, “Film Reviews: Finished,” Your Flesh, no. 37, January 1998, p. 83.
Von Mueller, Eddie, “Out Right: Image Hosts ‘Avant Queer’ Fest,” Creative Loafing (Atlanta), January 10, 1998, p. 81.

1997
Nutter, Chris, “Video Corner,” HX Magazine, December 5, 1997, p. 54.
Olson, Jenni, “Arts and Entertainment: New Queer Video on the Shelves,” Oasis Magazine, November 1997.
Thomas, Kevin, “Life, Death in Provocative Finished,” Los Angeles Times, April 10, 1997, p. 16.
Reynaud, Bérénice, “Independence Sundance,” Cahiers du Cinéma, no. 511, March 1997, pp. 10-11.
Hardy, Ernest, “Finished,” LA Weekly, February 14, 1997, p. 72.
Cheshire, Godfrey, “Finished (documentary – 16mm),” Variety, February 10-16, 1997, p. 67.
Willis, Holly, “The Silent Treatment,” Filmmaker, Winter 1997, p. 56.
*McHugh, Kathleen, “Irony and Dissembling: Queer Tactics for Experimental Documentary,” Between the Sheets, In the Streets: Queer, Lesbian, Gay Documentary. Edited by Chris Holmlund and Cynthia Fuchs, (Minneapolis: University of Minnesota Press, 1997), pp. 224-240.

1993
Chua, Lawrence, “Unusually Moving Pictures,” Artforum, May 1993, p. 17.
*Whitney Biennial 1993. (New York: Harry N. Abrams, 1993).

1992
Ball, Edward, “Candid Cameras,” Village Voice, December 29, 1992, p. 72.
Olson, Jenni, “My Own Private Ohio,” The Advocate, May 5, 1992, pp. 74-75.
Satuloff, Bob, “Amber Waves of Brain,” New York Native, January 27, 1992, p. 36.

1991
Thomas, Kevin, “Special Screenings: Massillon, Growing Up Gay in Ohio,” Los Angeles Times, November 25, 1991.
Olson, Jenni, “My Own Private Ohio,” The Advocate, May 5, 1992, pp. 74-75.
Sheehan, Henry, “Mind Your Language: Gay and Lesbian Filmmakers Unpack Their Identity,” LA Weekly, July 12, 1991, pp. 43-44.

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