William E. Jones
Born 1962, Canton, Ohio; Lives in Los Angeles.
Education
| 1990 | MFA, California Institute of the Arts |
| 1985 | BA, Yale University |
Current & Forthcoming
| 2023 | ‘Fall Into Ruin and Villa Iolas’, The Gund at Kenyon College, Ohio |
Solo Exhibitions
| 2022 | ‘Survey’, David Kordansky Gallery, New York |
| 2020 | ‘Screening Room 07: William E. Jones’, Galleria Raffaella Cortese, Milan (Online Exhibition) |
| 2019 | ‘Perverted by Language’, Private Places, Portland (Two-person exhibition with Mark Flores) |
| ‘Nothing Special 4’, Somos Art House, Berlin | |
| ‘Homage to the Square’, Southfield, Michigan | |
| 2018 | ‘Holes in the Historical Record’, Galleria Raffaella Cortese, Milan |
| 2017 | ‘Fall into Ruin’, Heong Gallery, Downing College |
| The Modern Institute, 14–20 Osborne Street, Glasgow | |
| 2016 | ‘The Long Take - Mariah Garnett and William E. Jones’, Los Angeles Contemporary Archive, Los Angeles (curated by Suzy Halajian) |
| 2015 | Galleria Raffaella Cortese, Milan |
| ‘Model Workers’, Wexner Center for the Arts, Columbus, Touring to Staatsgalerie Stuttgart, Stuttgart part of Silent Cinema | |
| 2014 | ‘Heraclitus Fragment 124, Automatically Illustrated’, David Kordansky Gallery, Los Angeles |
| 2013 | The Modern Institute, 3 Aird's Lane, Glasgow |
| ‘William E. Jones: Killed’, Saint Louis Art Museum, St. Louis | |
| ‘Midcentury’, Wexner Center for the Arts, Columbus | |
| 2012 | ‘Two Explosions’, 80WSE Gallery, New York |
| ‘Inside the White Cube’, White Cube Bermondsey, London | |
| 2011 | Upstairs at The Modern Institute Osborne Street, Glasgow |
| David Kordansky Gallery, Los Angeles | |
| 2010 | ‘Retrospective’, Anthology, New York |
| Andrew Roth Gallery, New York | |
| Galleria Raffaella Cortese, Milan | |
| ‘Discrepancies’, Veneklasen/Werner, Berlin | |
| 2009 | ar/ge kunst Gallery Museum, Bolzano |
| Swallow Street, London | |
| ‘Killed’, Wexner Center for the Arts, Columbus | |
| 2006 | ‘Is It Really So Strange?’, Beursschouwburg, Brussels |
| ‘There should be a new word for happiness’, David Kordansky Gallery, Los Angeles | |
| 2004 | ‘Is It Really So Strange?’, David Kordansky Gallery, Los Angeles |
Group Exhibitions
| 2023 | ‘20’, David Kordansky Gallery, Los Angeles |
| 2022 | ‘Queering the Narrative’, Neuer Aachener Kunstverein, Aachen |
| 2021 | ‘My Dream Office: An open plan to the 3rd location’, Gregor Staiger, Milan |
| ‘DELUSIONARIUM 5 (ADAPTATION)’, Night Gallery, Los Angeles (Curated by Jesse Benson & Becky Koblick) | |
| ‘I Know Where I'm Going - Who Can I Be Now’, The Modern Institute, 14–20 Osborne Street, Glasgow | |
| ‘The Work of Love, the Queer of Labor’, Pratt Manhattan Gallery, New York | |
| ‘Pathologically Social’, O-Town House, Los Angeles | |
| 2020 | ‘Delusionarium 5 (Adaptation)’, Night Gallery, Los Angeles (curated by Jesse Benson and Becky Koblick) |
| ‘I Won’t Bite’, NeueHouse, Los Angeles ( curated by Brooke Wise) | |
| ‘The Illegal Image’, Freiraum für Fotografie, Berlin | |
| 2019 | ‘Art & Porn’, Kunsthal Charlottenborg, Copenhagen |
| ‘Histories of our Time, On collective and personal narratives’, Kunsthaus Baselland, Basel | |
| ‘Art & Porn’, ARoS Aarhus Art Museum,, Aarhus | |
| ‘Queer California: Untold Stories’, Oakland Museum of California, Oakland | |
| ‘Dot, Point, Period’, Castelli Gallery, New York | |
| ‘Circus of Books’, Fierman, New York | |
| ‘Spring 2019: Collected Works’, Rennie Collection, Vancouver | |
| ‘Nothing Special No. 1: Mark Flores + William E. Jones’, Nothing Special, Los Angeles | |
| 2018 | ‘FRONT International: Cleveland Triennial for Contemporary Art’, Various locations, Cleveland, Ohio (Multiple screenings of 'Shoot Don't Shoot' and '3000 Killed' ) |
| 2017 | ‘The Work of Love, the Queer of Labor’, Franklin Street Works, Stamford |
| ‘IHME Contemporary Art Festival’, Helsinki (Curated by Olaf Möller) | |
| ‘This is Not a Love Song’, Gertrude Contemporary, Melbourne | |
| ‘Past is Not Post’, Edith-Russ-Haus, Oldenburg | |
| ‘Untitled Fair’, San Francisco | |
| 2016 | ‘1000 m2 of Desire’, Center of Contemporary Culture of Barcelona, Barcelona |
| ‘Un Reino de las Horas’, TEOR/éTica, San Jose, Costa Rica, Curated by Robert Leckie and Miguel A. López | |
| ‘A Thousand and X Little Actions’, Lothringer13 Halle, Munich | |
| ‘New Slideshow’, Contemporary Art Center Cincinnati, Cincinnati | |
| ‘Moving Tales. Video works from the La Gaia Collection’, Complesso Monumentale di San Francesco, Cuneo, Italy | |
| ‘A Kingdom of Hours’, Gasworks, London; TEOR/éTica, San Jose, Costa Rica | |
| ‘On Limits: Estrangement in the Everyday’, The Kitchen, New York | |
| ‘Ordinary Pictures’, Walker Arts Centre, Minneapolis | |
| 2015 | ‘A to 12: The Task of the Curator’, Hopkins Hall Gallery, The Ohio State University |
| ‘Rewriting Histories’, Fotografisk Center, Copenhagen | |
| ‘Arles 2015: Les Rencontres de la Photographie’, Arles, France | |
| ‘The Heart Is the Frame’, Los Angeles Contemporary Exhibitions | |
| 2014 | ‘Rear Window Treatment’, Louis B. James, NY |
| In __ We Trust: Art and Money, Columbus Museum of Art, Columbus | |
| ‘La Disparition des Lucioles (The Disappearance of the Fireflies)’, Collection Lambert en Avignon, Avignon (curated by Èric Mèzil and Lorenzo Pain) | |
| ‘Ten Million Rooms of Yearning. Sex in Hong Kong’, Para Site, Hong Kong | |
| 2013 | ‘Attachments & Assignations’, Cubitt, London |
| ‘Entropy’, Galeri Zilberman, Istanbul | |
| ‘Sister Sara's Theme’, PRISM Gallery, West Hollywood | |
| ‘The Past is Present’, Museum of Contemporary Art Detroit, Detroit | |
| ‘La nuit des images’, Musée de l'Elysèe, Lausanne (screening 'Killed') | |
| ‘Not only this, but 'New language beckons us'’, Fales Library and Special Collections, New York University, New York | |
| ‘American Cities’, Casa dell'Architettura, Rome | |
| ‘Rare and Raw’, Leslie-Lohman Museum of Gay and Lesbian Art, New York | |
| ‘Start making sense’, HEAD Haute Ecole d'Art et Design, Geneva | |
| ‘Imagination Adrift’, Palais de Tokyo, Paris | |
| ‘Beg, Borrow and Steal’, Palm Springs Art Museum, Palm Springs | |
| ‘Postales Desde Lugares Familiares y Otros Sitios No Comunes (Postcards From Familiar Places and Other Uncommon Sites)’, POPA GalerÃŒa de Arte, La Boca, Buenos Aires | |
| ‘More American Photographs’, Wexner Center for the Arts, Columbus | |
| 2012 | ‘The Spectacular of Vernacular’, Ackland Art Museum, The University of North Carolina, Chapel Hill |
| ‘Desire’, Bergen Kunstmuseum, Bergen | |
| ‘No Person May Carry a Fish into a Bar’, Blum and Poe Gallery, Los Angeles | |
| ‘after image: the photographic process(ed)’, Cerritos College Art Gallery, Norwalk | |
| ‘RAY 2012 Fotografieprojekte Frankfurt/RheinMain’, MMK, Frankfurt | |
| ‘More American Photographs’, Museum of Contemporary Art, Denver | |
| ‘Les Dérives de l'imaginaire’, Palais de Tokyo, Paris | |
| ‘American Exuberance’, Rubell Family Collection, Miami | |
| ‘Nothing is forgotten, some things considered’, UKS - Unge Kunstneres Samfund, Oslo | |
| 2011 | ‘Magical Consciousness’, Arnolfini, Bristol (curated by Runa Islam) |
| ‘101 Collection: Route 2 Undisclosed Destination’, CCA Wattis Institute, San Francisco (curated by Sharon Lerner) | |
| ‘More American Photographs’, CCA Wattis Institute, San Francisco (curated by Jens Hoffmann) | |
| ‘'Untitled' (death by gun)’, Istanbul Biennale, Istanbul | |
| ‘After Images’, Jewish Museum, Brussels (curated by Fionn Meade) | |
| Las Cienagas Projects, Los Angeles | |
| ‘On Forgery: Is One Thing Better Than Another?’, LAXART, Los Angeles | |
| ‘Serious Games: War - Media - Art’, Mathildenhöhe, Darmstadt (curated by Antje Ehmann and Harun Farocki) | |
| ‘American Exuberance’, Rubell Family Collection, Miami | |
| ‘Time Again’, Sculpture Center, New York (curated by Fionn Meade) | |
| ‘The Spectacular of Vernacular’, Walker Arts Centre, Minneapolis (curated by Darsie Alexander) | |
| ‘Fax’, Carpenter Center for the Visual Arts, Harvard University, Cambridge (curated by João Ribas) | |
| ‘Politics is Personal’, Stonescape, Napa (curated by Thea Westreich) | |
| 2010 | ‘The Artist's Museum’, MOCA, Los Angeles |
| ‘Film Matters’, Beton7 Centre for the Arts, Athens | |
| ‘Forum 65: Jones, Koester, Nashashibi/Skaer: Reanimation’, Carnegie Museum of Art, Pittsburgh (curated by Daniel Byers) | |
| ‘Nachleben’, Goethe Institut Wyoming Building, New York (curated by Fionn Meade and Lucy Raven) | |
| ‘Antiphotojournalism’, La Virreina Centre de la Image, Barcelona (curated by Carles Guerra and Thomas Keenan) | |
| ‘The Image in Question: War - Media - Art’, Carpenter Center for the Visual Arts, Harvard University, Cambridge (curated by Antje Ehmann and Harun Farocki) | |
| 2009 | ‘The Collectors’, Venice Biennale, Venice (Nordic Pavilion) |
| ‘Matthew Brannon, Marcel Broodthaers, James Lee Byars, William E. Jones’, David Kordansky Gallery, Los Angeles | |
| ‘Smell it!’, Kunsthalle Exnergasse, Vienna | |
| ‘The Porn Identity: Expeditions into the Dark Zone’, Kunsthalle Wien, Vienna | |
| ‘Is a Show, Is a Shop, Is a Book’, Latvian Centre for Contemporary Art, Riga | |
| ‘The Pain Game’, Nosbaum & Reding - Art Contemporain, Luxembourg | |
| ‘The Show Continues Upstairs’, Supportico Lopez, Berlin | |
| ‘The Man Who Wasn’t There’, The Barber Shop, Lisbon | |
| ‘Screwball Asses’, The Company, Los Angeles | |
| ‘Beg, Borrow and Steal’, Rubell Family Collection, Miami | |
| 2008 | ‘Records Played Backwards’, The Modern Institute/Toby Webster Ltd, Glasgow (curated by Daniel Baumann) |
| ‘Formal Issues’, Community Center AKTA, Tokyo (curated by Jeffrey Rosen) | |
| ‘The Dulcet Clime of the Bedchamber’, Goff + Rosenthal, Berlin (curated by Nicholas Weist) | |
| ‘You, Whose Beauty Was Famous in Rome’, Mandarin Gallery, Los Angeles | |
| ‘History Keeps Me Awake at Night: A Genealogy of Wojnarowicz’, P.P.O.W., New York | |
| ‘Pruesspress@Rental’, Rental Gallery, New York | |
| ‘The House That Lust Built’, Trinity Square Video, Toronto | |
| ‘2008 Biennial Exhibition’, Whitney Museum of American Art, New York | |
| 2007 | ‘Good Morning, Midnight’, Casey Kaplan, New York (curated by Bruce Hainley) |
| ‘The California Files: Re-viewing Side Effects of Cultural Memory’, CCA Wattis Institute, San Francisco (curated by Ariane Beyn) | |
| ‘Modes of Disclosure’, Form + Content Gallery, Minneapolis | |
| ‘Virtuosic Siblings: Berlin/Los Angeles Festival of Film/Art’, Goethe Institut, Los Angeles (curated by Ariane Beyn) | |
| ‘The Backroon’, Kadist Art Foundation, Paris | |
| ‘BodyPolitcX’, Witte de With, Rotterdam | |
| ‘Otra de Vaqueros’, The Backroom, Celda Contemporánea | |
| ‘Neointegrity’, Derek Eller Gallery, New York | |
| ‘Split Film Festival’, Split, Croatia | |
| 2006 | ‘many, many guys and girls, all real beauties’, Circus of Books, West Hollywood |
| ‘The Backroom’, New Langton Arts, San Francisco | |
| ‘Having Been Described in Words’, Orchard, New York | |
| 2005 | ‘Bebe le Strange’, D'Amelio Terras, New York |
| ‘Sugartown’, Elizabeth Dee Gallery, New York | |
| 2003 | ‘Inaugural Exhibition’, Golinko Kordansky Gallery, Los Angeles |
| 2002 | ‘A Show That Will Show That a Show Is Not Only a Show’, The Project, Los Angeles (curated by Jens Hoffman) |
| 2001 | ‘Urban Pornography’, Artists Space, New York |
| ‘Ars Moralis’, Galerie für Gegenwartskunst, Barbara ClaassenSchmal, Bremen | |
| 1998 | ‘Melbourne International Film Festival’, Melbourne, Australia |
Solo Screenings
| 2019 | Yale Union, Portland |
| 2017 | ‘Fall into Ruin’, Lo schermo dell'arte Film Festival, Florence |
| 2016 | The Breeder, Athens |
| 2014 | ‘The Fall of Communism as Seen in Gay Pornography’, Light Industry, NY |
| ‘The General Secretary is Trapped in a Snow Globe: William E. Jones on Peter Roehr’, MOCA, Los Angeles, Los Angeles Film Forum | |
| 2012 | ‘OFFoff’, Ghent, Belgium |
| ‘Artists Film Club: William E. Jones’, ICA, London | |
| 2011 | ‘"Killed" and Resurrected’, Austrian Film Museum, Vienna |
| 2010 | ‘Modern Monday’, MoMA, New York |
| 2009 | ‘Le Grand Mash Up’, REDCAT, Los Angeles |
| 2008 | COMA, Berlin |
| ‘Tearoom’, Filmforum, Los Angeles | |
| ‘Tearoom’, White Light Cinema, Chicago | |
| ‘Tearoom’, Eyedrum, Atlanta | |
| 2007 | ‘Is It Really So Strange?’, List Visual Arts Centre, Cambridge |
| ‘Tearoom’, Yerba Buena Center for the Arts, San Francisco | |
| ‘Extracted: Recent Films by William E. Jones’, Walker Arts Centre, Minneapolis | |
| Atelier Frankfurt, Frankfurt, Germany | |
| ‘Tearoom’, Andy Warhol Museum, Pittsburgh | |
| 2006 | ‘Is It Really So Strange?’, SF MoMA, San Francisco |
| Filmforum, Los Angeles | |
| 2005 | ‘Retrospective’, Tate Modern, London |
| 2001 | Rice Media Center, Houston |
| 1999 | ‘The 11th Annual Vancouver Queer Film & Video Festival’, Blinding Light Cinema, Vancouver, Canada |
| 1998 | ‘Scratch Projections’, Cinéma L'Entrepôt, Paris, France |
| 1997 | Wexner Center for the Arts, Columbus |
| Filmforum, Los Angeles | |
| 1992 | Chicago Filmmakers, Chicago |
| Pacific Film Archive, Berkeley | |
| 1991 | Filmforum, Los Angeles |
| Film in the Cities, Saint Paul |
Group Screenings
| 2019 | ‘Men’s Own Stories’, Q Fest, Houston |
| ‘It's a lot like life’, Royal College of Art: Battersea - Gorvy Lecture Theatre | |
| 2018 | ‘Filming Ruins III’, Hunterian Art Gallery, Glasgow |
| ‘Killed’, Vienna International Film Festival, Vienna, Austria | |
| 2017 | ‘Fall into Ruin’, London Film Festival |
| ‘Film Sector’, Art Basel, Basel | |
| ‘Color My World, Troubling the Image: New + Restored Experimental Cinema’, The University of Chicago Film Studies Center, Chicago (Curated by Julia Gibbs and Patrick Friel) | |
| 2016 | ‘Projection Series #5: Once more — but different’, Govett-Brewster Art Gallery, New Zealand |
| ‘Viennale’, Vienna International Film Festival, Vienna, Austria | |
| ‘INFRARED VII: New Visions from the Queer Underground’, Seattle Queer Film Festival | |
| ‘International Film Festival Message to Man’, Saint-Petersburg, Russia | |
| ‘Curtas Vilas do Conde’, Teatro Municipal, Vila do Conde, Portugal | |
| ‘The Winnipeg Underground Film Festival’, Winnipeg, Canada | |
| 62nd International Short Film Festival Oberhausen, Germany | |
| ‘27th Onion City Experimental Film and Video Festival’, Chicago | |
| ‘CAST Film Club’, CAST, Helston, Cornwall | |
| 2015 | ‘13th International Signs of the Night Festival’, Paris |
| ‘New Works Salon XXIX: Bahto/Wada, Fogel, Iannazzi, Jenkins, Jones, O'Connell, Ravelo’, Echo Park Film Center, CA | |
| ‘Reclamation Works: New and Recent FIims by William E. Jones and Thom Andersen’, Filmforum, Los Angeles | |
| ‘Silent Cinema’, Staatsgalerie Stuttgart, Stuttgart | |
| ‘Kino Otok’, Isola Cinema International Film Festival, Ljubljana, Slovenia | |
| ‘Fronteira Festival Internacional Do Filme Documentario E Experimental’, Goiania, Brazil | |
| 2014 | ‘Migrating Forms’, Brooklyn Academy of Music Cinématek |
| ‘Viennale’, Vienna International Film Festival, Vienna | |
| ‘Elements of Architecture’, Central Pavilion, Venice Biennale (Architecture) | |
| ‘Troika’, Echo Park Film Center, Los Angeles | |
| ‘New Works Salon XXI’, Echo Park Film Center, Los Angeles | |
| ‘Postales Desde Lugares Familiares y Otros Sitios No Comunes (Postcards From Familiar Places and Other Uncommon Sites)’, University of Deyton, Ohio | |
| ‘Documentary Fortnight’, MoMA, New York | |
| ‘The Obituary Project’, Dispatch: Flaherty, New York ((organised by David Dinnell and Ted Kennedy with Anthology Film Archives)) | |
| 2013 | ‘Winter Screening’, Almanac, London |
| ‘Our Darkness, Grassomania-Festival’, Kolonia Artystów, Gdansk (curated by Viktor Neumann) | |
| ‘25th Onion City Experimental Film Festival’, Chicago Filmmakers, Chicago | |
| ‘21st Curtas Vila do Conde International Film Festival’, Vila do Conde, Portugal | |
| ‘New Works Salon XI’, Echo Park Film Center, Los Angeles | |
| ‘Queer Sex Works: Money Power Sex’, REDCAT, Los Angeles | |
| 2012 | ‘Dirty Looks Selects: The First 25 Years of the MIX Film Festival: Living Through Oblivion’, MIX NYC |
| ‘25th New York Queer Experimental Film Festival’, MIX NYC , BOZAR, Brussels | |
| ‘Viennale’, Vienna International Film Festival, Vienna | |
| ‘Fascinations’, 16th Jihlava International Documentary Film Festival, Czech Republic | |
| ‘Wavelengths’, Toronto International Film Festival | |
| ‘Regensburger Kurzfilmwoche’, Regensburg, Germany | |
| ‘Attitude Cinema at the Pesaro Film Festival’, Zoe Gallery, Rome | |
| ‘Interactions: Filme im Dialog’, Galerie Max Mayer, Düsseldorf | |
| 2011 | ‘Les marques aveugles’, Centre d'Art Contemporain Genève, Geneva |
| ‘Queer Lisboa 15 - Festival de Cinema Gay e Lésbico de Lisboa’, Lisbon | |
| ‘Kontrolle des urbanen Raums: Akteure, Strategien, Topographien.’, Jacob-und-Wilhelm-Grimm-Zentrum, Humboldt-Universität, Berlin | |
| ‘William E. Jones Presents..., Oberhausen International Short Film Festival’, Oberhausen, Germany | |
| ‘We Are a Camera: Films Selected by Mark Flores’, Hammer Museum, Los Angeles | |
| ‘Our Darkness’, Künstlerhaus, Stuttgart (curated by Viktor Neumann) | |
| ‘Istanbul Film Festival’, Istanbul | |
| ‘Queer Cinema from the Collection: Today and Yesterday’, MoMA, New York | |
| ‘Dirty Looks: The Sex Garage/Finished’, Participant Inc., New York | |
| ‘Exposed on Film’, SF MoMA, San Francisco, San Francisco Cinematheque | |
| 2010 | ‘Surveillance II: To Be Is To Be Perceived’, Tate Modern, London |
| ‘Oberhausen International Short Film Festival’, Germany | |
| 2009 | Nottingham Contemporary, Nottingham |
| ‘A Million Different Loves’, Lodz, Poland | |
| ‘Summer Knowledge’, Artists Space, New York | |
| ‘CPH:DOX’, Copenhagen | |
| ‘Cinema Politica’, Montreal | |
| ‘Elective Affinities’, Hammer Museum, Los Angeles | |
| Chisenhale gallery, London | |
| ‘The Young and Evil’, REDCAT, Los Angeles, and Los Angeles County Museum of Art | |
| ‘Quito Erotic Film Festival’, Quito, Ecuador | |
| 2008 | ‘Pornfilmfestival’, Berlin |
| ‘États généraux du documentaire’, Lussas, France | |
| ‘The Young and Evil’, Tate Modern, London, & tank.tv | |
| Aurora Picture Show, Houston | |
| Musée du Louvre, Paris | |
| ‘Home Works IV’, Beirut | |
| ‘Transitional Objects’, Art in General, New York | |
| ‘Fruit Farm Film Festival’, McMinnville, Oregon | |
| ‘Mai 68 International’, Cinémathèque française, Paris | |
| ‘É claro que você sabe sobre o que estou falando?’, Galeria Vermelho, São Paulo | |
| 2007 | ‘14th Barcelona Independent Film Festival’, Barcelona |
| ‘20th Mix Festival’, Sun Factory, New York | |
| ‘Reeling Film Festival’, Chicago | |
| ‘15° Mix Festival Brazil’, São Paulo , touring to Grarulhos, Porto Alegre, Rio de Janeiro, Niterói and BrasÃlia | |
| ‘Pink Screens Alternative Gender Film Festival’, Brussels | |
| ‘Pornfilmfestival’, Berlin | |
| ‘QFest Houston’, Angelika Film Center, Houston | |
| ‘Outfest’, Los Angeles | |
| ‘Identities Queer Film Festival’, Vienna | |
| ‘InsideOut’, Toronto, Canada | |
| ‘53rd Oberhausen International Short Film Festival’, Oberhausen, Germany | |
| ‘Little Rock Film Festival’, Little Rock, Arkansas | |
| ‘IndieLisboa International Independent Film Festival’, Lisbon | |
| ‘Festival Internacional de Cine de Mar del Plata’, Mar del Plata, Argentina | |
| ‘Aurora Picture Show’, Houston | |
| ‘New Festival’, New York | |
| Chicago Filmmakers, Chicago | |
| ‘The Dangerous Hours of the Peeping Race’, InDPanda International Short Film Festival, Hong Kong | |
| ‘9th Buenos Aires Festival Internacional de Cine Independiente’, Buenos Aires, Argentina | |
| ‘London Lesbian and Gay Film Festival’, National Film Theatre, London | |
| ‘Alternative Visions’, Pacific Film Archive, Berkeley | |
| ADA Gallery, Richmond, Virginia | |
| 2006 | ‘Butt Magazine Screening’, Tate Modern, London, and Stedelijk Museum, Amsterdam, The Netherlands |
| ‘Viennale’, Vienna International Film Festival, Vienna | |
| ‘Cinematexas’, Austin, Texas | |
| ‘Scanners: The 2006 New York Video Festival’, New York | |
| ‘Izola Film Festival’, Izola, Slovenia | |
| ‘Tomorrowland’, MoMA, New York | |
| ‘IndieLisboa International Independent Film Festival’, Lisbon | |
| ‘Singapore International Film Festival’, Singapore | |
| UCSB Multicultural Center, Santa Barbara | |
| ‘Flanders International Film Festival’, Ghent, Belgium | |
| IFC Centre, New York | |
| Antwerp Film Museum, Antwerp, Belgium | |
| Vela, Copenhagen | |
| 7 Inch Cinema, Birmingham, England | |
| Anthology Film Archives, New York | |
| 2005 | ‘Viennale’, Vienna International Film Festival, Vienna |
| ‘San Francisco Gay and Lesbian Film Festival’, San Francisco | |
| ‘Fusion Festival’, Los Angeles | |
| ‘City of Los Angeles (COLA) Exhibition’, Los Angeles Municipal Art Gallery at Barnsdall Park, Los Angeles | |
| Wexner Center for the Arts, Columbus | |
| Aurora Picture Show, Houston | |
| Antwerp Film Museum, Antwerp, Belgium | |
| ‘13° Mix Brasil’, Rio de Janeiro, touring Porto Alegre, Brasilia and São Paolo, Brazil and thefilmworks, Manchester, England | |
| The Queen’s Theatre, Belfast | |
| 2004 | FACT, Liverpool |
| 2003 | ‘DV8 Identities’, Vienna |
| Andy Warhol Museum, Pittsburgh | |
| 2002 | ‘Les Yeux de l’Ouïe’, Vandoeuvre-les-Nancy, France |
| 2001 | ‘Tucson Sex Worker Film and Video Festival’, Tucson, Arizona |
| Centro Cultural Montehermoso, Vitoria-Gasteiz, Spain | |
| Gallery 825, Los Angeles | |
| 2000 | ‘OVNI 2000’, Center of Contemporary Culture of Barcelona, Barcelona |
| ‘New York Underground Film Festival’, Anthology Film Archives, New York | |
| ‘Chicago Underground Film Festival’, Chicago | |
| ‘Unwashed, Unwed’, University of Arizona, Tucson | |
| ‘Revelation Film Festival’, Fremantle, Australia | |
| 1999 | ‘International Festival of New Cinema and New Media’, Montreal |
| ‘Visible Evidence’, UCLA Film and Television Archive, Los Angeles | |
| ‘New York Underground Film Festival’, Anthology Film Archives, New York | |
| Blinding Light Cinema, Vancouver, Canada | |
| ‘Testing The Limits’, National Film Theatre, London | |
| ‘Alternative Visions’, Pacific Film Archive, Berkeley | |
| ‘Video: Cheap and Priceless’, Kaaitheater, Brussels | |
| 1998 | Film House, Copenhagen |
| Image Film/Video Center, Atlanta | |
| ‘Taipei Golden Horse Film Festival’, Taipei, Taiwan | |
| San Francisco Cinematheque, San Francisco | |
| ‘Sex Worker Film Festival’, Cinema 21, Portland | |
| 1997 | ‘Viennale’, Vienna International Film Festival, Vienna |
| ‘Sundance Film Festival’, Park City, Utah | |
| ‘International Documentary Film Festival’, Odivelas, Portugal | |
| ‘Rotterdam International Film Festival’, Rotterdam | |
| ‘Personal/Public/Private’, Northwest Film Center, Portland | |
| ‘The Alternative Screen’, American Cinematheque, Los Angeles | |
| 1995 | ‘The Alternative Screen’, American Cinematheque, Los Angeles |
| ‘Hey There, Good Neighbor’, The ‘90’s Channel, Boulder, Colorado | |
| 1994 | ‘American Film Institute Video Festival’, Los Angeles |
| ‘There’s No Place Like Home’, Pleasure Dome, Toronto | |
| ‘Video Annuale’, Los Angeles Contemporary Exhibitions | |
| ‘Disorder Today’, The American Center, Paris, France | |
| ‘Cine City: Film and Perceptions of Urban Space, 1895-1995’, The Getty Center, Santa Monica | |
| ‘Family Album’, Main Art Gallery, California State University, Fullerton | |
| ‘Video In’, Vancouver, Canada | |
| 1993 | ‘Los Angeles Festival’, Los Angeles |
| National Museum of Modern and Contemporary Art, Seoul | |
| ‘Family: There’s No Life Like It’, Pleasure Dome, Toronto | |
| ‘Biennial Exhibition’, Whitney Museum of American Art, New York | |
| ‘Cleveland International Film Festival’, Cleveland, Ohio | |
| ‘Hong Kong Lesbian and Gay Film Festival’, Wanchai, Hong Kong | |
| 1992 | ‘New Year/New Work’, Artists Space, New York |
| ‘Sydney Film Festival’, Sydney | |
| ‘The New Festival’, New York | |
| ‘Festival International du Nouveau Cinéma’, Montreal | |
| ‘Taipei Golden Horse International Film Festival’, Taipei, Taiwan | |
| ‘Athens International Film Festival’, Athens, Ohio | |
| ‘Reel Time’, P. S. 122, New York | |
| The Eye Gallery, San Francisco | |
| 1991 | ‘Los Angeles Gay and Lesbian Film Festival’, Los Angeles |
| ‘Outcomes’, Wexner Center for the Arts, Columbus | |
| ‘Denver International Film Festival’, Denver |
Curatorial Projects
| 2013 | ‘Imitation of Christ’, Hammer Museum, Los Angeles |
| 2010 | ‘Continuos Projections’, Veneklasen Werner Gallery, Berlin |
| 2008 | ‘Figures’, David Kordansky Gallery, Los Angeles |
Bibliography
Press
| 2019 | Jones, William E.: ‘Against Nature’, Artforum, 06/2019 |
| Sawyer, Drew: ‘William E. Jones: Gutter Collages’, OSMOS Magazine, 17 02/2019 | |
| 2018 | Jones, William E: A Season in Hell: William E Jones on David Wojnarowicz‘s Close to the Knives: A Memoir of Disintegration, Artforum, Vol. 56 no. 10 06/2018 |
| 2017 | Baboulias, Yiannis: ‘The Man Who Discovered Warhol’, frieze online, 09/08/2017 |
| 2016 | Fassi, Luigi: ‘Sexuality as a Utopian Promise’, Mousse, Issue no. 56 12/2016 |
| Holleran, Andrew: ‘Lewd’, The Gay & Lesbian Review, 01/11/2016 | |
| ‘FotoFocus Biennial Returns this October’, Blouin Artinfo, 23/09/2016 | |
| Macaulay, Scott: ‘Five Questions about Essay Films and Digital Distribution for ‘The Royal Road’ Director Jenni Olson’, Filmmaker, 06/09/2016 | |
| ‘FotoFocus announces opening week program for the FotoFocus Biennial 2016’, artdaily, 24/08/2016 | |
| Rice, Beau, and Kobek, Jarrett: ‘interview with we heard you like books’, 3ammagazine.com, 12/07/2016 | |
| Linkof, Ryan: ‘Boyd McDonald: True Homosexual Experiences’, Document Journal, 31/05/2016 | |
| Berman, Tosh: ‘True Homosexual Experiences: Boyd McDonald and Straight to Hell’ by William E. Jones’, TamTamBooks-Tosh.Blogspot.com, 26/05/2016 | |
| Gross, Anisse: ‘L.A.-Based Indie Press Scores with First Title’, PublishersWeekly.com, 20/05/2016 | |
| Sheehy, Erin: ‘Straight to Hell: On Boyd McDonald’, n+1, Issue 25, Spring 05/2016 | |
| ‘Excerpt From True Homosexual Experiences’, SpurlEditions.com, 22/04/2016 | |
| King, Anna: ‘Rediscovering Gay Pornographer and Proto-Blogger Boyd McDonald’, Slate.com, 06/04/2016 | |
| ‘Flaming Features: Douglas Crimp talks with Thomas Beard’, Artforum, 04/2016 | |
| Horrigan, Bill: ‘An Experiment in Biography’, Wexarts.org, 21/03/2016 | |
| True Homosexual Experiences: Boyd McDonald and ‘Straight to Hell‘, PublishersWeekly.com, 29/02/2016 | |
| Jeffereis, Misa: ‘“William E. Jones,†Ordinary Pictures’, Walker Art Center, 2016 | |
| 2015 | Callahan, Dan: ‘Boyd McDonald’s Cruising the Movies: Sexual Guide to Oldies on TV’, Out.com, 02/12/2015 |
| Anderson, Melissa: ‘Cruise Control: The raunchy, brainy film writings of Boyd McDonald’, Bookforum, 12/2015 | |
| Jones, William E.: Boyd McDonald‘s Eye for Innuendo, GLReview.org, 02/11/2015 | |
| Jones, William E.: ‘The Streets Are My Cinema’, Little Joe, No. 5 11/2015 | |
| Rudick, Nicole: ‘Staff Picks: Cairo, Cruising, Chrissie, Kmart’, TheParisReview.org, 09/10/2015 | |
| Levine, Matthew: ‘Psychic Driving: William E. Jones’, Found Footage Magazine, Issue No. 1 10/2015 | |
| Beard, Thomas: ‘Gary Cooper’s Lipstick/On Boyd McDonald’s “Crusing the Movies: A sexual Guide to ‘Oldies’ on TV’, Texte zur Kunst, No. 99 08/2015 | |
| Jackman, Michael: ‘Looking back on ‘The Battle of the Overpass’ — 78 years later’, MetroTimes.com, 26/05/2015 | |
| Jonze, Tim: ‘Heaven Knows I’m Mexican Now: Morrisey’s Latino connection goes live’, The Guardian Online, 23/04/2015 | |
| MacKay, Emily: ‘Manic Street Preachers’ new film No Manifesto signals a growing trend in fan documentaries’, The Independent Online, 30/01/2015 | |
| Hamilton, Olivia: ‘Film explores social depictions of labor on money’, TheLantern.com, 29/01/2015 | |
| Civin, Marcus: ‘In __ We Trust: Art and Money’, Artforum Online, 01/2015 | |
| ‘Arles 2015: Les Rencontres De La Photography’, Arles: Recontres d'Arles - Actes Sud, 2015 | |
| Bacqué, Bertrand: ‘Jeux sérieux: Cinéma et art contemporains transforment l’essai’, Mamco, 2015 | |
| ‘Rubell Family Collection: Highlights & Artists Writings, Volume 1’, Rubell Family Collection, 2015 | |
| Lecklider, Aaron S.: ‘Sexing the Semiotext(e) Whitney Box Set’, English Language Notes, Spring/Summer 2015 | |
| 2014 | Jones, William E.: ‘The General Secretary is Trapped in a Snow Globe’, Mousse, 11/2014 |
| Griffin, Jonathan: ‘The New Dealer’, T Magazine, 10/09/2014 | |
| Picano, Felice: ‘Halstead Plays Himself - William E. Jones (Semiotext(e)/MIT Press)’, OutInPrintBlog.Wordpress.com, 01/09/2014 | |
| ‘11 Great Places to Get Your Queer Art Fix In Los Angeles’, Queerty.com, 19/07/2014 | |
| Jones, William E.: ‘Space Odyssey’, Artforum Online, 20/05/2014 | |
| Frew, Wendy: ‘When criminal evidence goes viral’, smh.com.au, 15/05/2014 | |
| Knott, Kylie: ‘Exhibition: focus on sex in Hong Kong’, www.scmp.com, 06/05/2014 | |
| Jones, William E.: ‘Vern Blosum: Kunsthalle Bern’, Artforum, 05/2014 | |
| Jones, William E.: ‘Vern Blosum, Phantom’, The White Review, No. 10 (Spring 2014) 10/04/2014 | |
| Arias, Catherine: ‘The General Secretary is Trapped in a Snow Globe: William E. Jones on Peter Roehr’, Moca.org, 21/01/2014 | |
| Wagley, Catherine: ‘5 Artsy Things to Do in L.A. This Week, Including Bank Robberies’, LA Weekly, 08/01/2014 | |
| Arsanios, Mirene, Felipe Zúñiga-González, Mathias Kryger, and Omar Mismar: Queer Geographies, 2014 | |
| Jones, William E.: ‘But our life depends on what is real’, Semiotext(e), 2014 | |
| Doupas, Vassilios: ‘Entropy’, Galeri Zilberman, 2014 | |
| Maciejunes, Nannette V. and Tyler Cann: ‘In __ We Trust: Art and Money’, Columbus Museum of Art, 2014 | |
| Baron, Jaimie: ‘The Archive Effect: Found Footage and the Audiovisual Experience of History’, 2014 | |
| Willick, Damon: ‘Vern Blosum’s Fifteen Minutes’, XTra, Vol. 16, No. 3 2014 | |
| ‘Viennale - Vienna International Film Festival’, 2014 | |
| Kwinter, Sanford: ‘Whiplash’, Log, No. 32 2014 | |
| 2013 | ‘A Prime Number of Books for 2013’, ICPlibrary.com, 12/12/2013 |
| ‘TIME Picks the Best Photobooks of 2013’, Time, 25/11/2013 | |
| ‘TIME Picks the Best Photobooks of 2013: ‘Imitation of Christ’’, Time, 25/11/2013 | |
| Jones, William E.: ‘William E. Jones on Polysexuality’, Office Notebook, cagrp.org, 22/07/2013 | |
| ‘William E. Jones at The Modern Institute’, Contemporary Art Daily, 13/05/2013 | |
| Cooper, Neil: ‘Visual Art: William E. Jones’, The List, 17/04/2013 | |
| Early, Rosalind: ‘Artist William E. Jones on his Saint Louise Art Museum Exhibit “Killed‒, STLMag, 13/04/2013 | |
| Scoccimarro, Antonio: ‘William E. Jones’, Mousse, Issue 38 04/2013 | |
| Brenez, Nicole: ‘desistfilm’s Top 50 Films of All Time’, desistfilm.com, 30/03/2013 | |
| Isaac, Tim: ‘Gay Short: The Fall of Communism as Seen in Gay Pornography by William E. Jones (1998)’, BigGayPictureShow.com, 23/01/2013 | |
| Dietz, Frank,: ‘Screenshots: Die Nachfolge Christi’, Art das Kunstmagazin, 05/2013 | |
| ‘21st Curtas Vila do Conde International Film Festival’, Vila do Conde, 2013 | |
| Lawrence Alfond, Barbara, Abigail Ross Goodman, and Ena Heller: ‘Art for Rollins: The Alfond Collection of Contemporary Art’, Cornell Fine Arts Museum, Vol. 1 2013 | |
| Lampert, Andrew: ‘Between Artists: Thom Anderson / William E. Jones.’, Bomb Magazine, Issue 125 2013 | |
| Jones, William E.: ‘Gilded Age’, Zing Magazine, Issue 23 2013 | |
| Humphrey, Daniel: ‘Queer Bergman: Sexuality, Gender, and the European Art Cinema’, 2013 | |
| Lavoie, Vincent: ‘William E. Jones, Tearoom: Le procès de l’image infamante’, Ciel Variable, No. 93 2013 | |
| 2012 | Moffatt, Ken: ‘Rare & Raw’, Journal of the Leslie-Lohman Museum of Gay and Lesbian Art, 12/2012 |
| Lavoie, Vincent: William E. Jones, Tearoom: Le procès de l‘image infamante, Ciel Variable, 12/2012 | |
| Kienzi, Michael: ‘Fred Halsted: Porno Experimental’, Critic.de, 20/10/2012 | |
| Day, Meagan: ‘Hedi el Kholti’, Full-Stop.net, 20/09/2012 | |
| Sicinski, Michael: ‘TIFF 2012. Wavelengths Preview: Part One - The Shorts’, Notebook, 07/09/2012 | |
| Gonzalez, Rita & Kim, Christine: ‘New Acquisitions for Art Here and Now’, The LACMA Blog, 31/07/2012 | |
| Gonzalez, Rita, and Christine Y. Kim: ‘New Acquisitions for Art Here and Now’, The LACMA Blog, 31/07/2012 | |
| Piepenburg, Erik: ‘In Conversation with Bradford Nordeen, Moments of Gay History On Screen and Underfoot’, The New York Times, 12/07/2012 | |
| Piepenburg, Erik in conversation with Bradford Nordeen: ‘Moments of Gay History On Screen and Underfoot’, New York Times, 12/07/2012 | |
| ‘Attitude Cinema’, Domus, 06/2012 | |
| ‘Artist In Residence Program 2012: William E. Jones’, Headlands Center for the Arts, 02/04/2012 | |
| Piepenburg, Erik: ‘Keepers of the Gay Film Legacy’, New York Times, 18/03/2012 | |
| Beard, Thomas: Film: The best movies and artists’ films of 2011, Frieze, 02/2012 | |
| Thomson, Julie: ‘The ordinary becomes exceptional in The Spectacular of Venacular at the Ackland’, IndyWeek.com, 02/2012 | |
| Jeppesen, Travis: ‘Book Review: Halsted Plays Himself’, White Hot Magazine, 01/2012 | |
| ‘25th New York Queer Experimental Film Festival’, MIX NYC, 2012 | |
| MacDevitt, James : ‘after image: the photographic process(ed)’, Cerritos College Art Gallery, 2012 | |
| ‘Attitude Cinema’, Pesaro Film Festival, 2012 | |
| Jones, William E.: ‘Gayhouse’, Septembre éditions, No. 4 2012 | |
| Simon, Vincent, editor: ‘Le Guide du Palais de Tokyo’, 2012 | |
| ‘Viennale - Vienna International Film Festival’, 2012 | |
| Jones, William E.: ‘Working with Archives: William E. Jones’, Source, issue 70 2012 | |
| Hebdige, Dick: ‘‘Is It Really So Strange?’ Verschiedene Aneignungen: Morrissey und der Blues’, Transcript Verlag, 2012 | |
| Halajian, Shoghig and Suzy M. Halajian, editors: ‘“Puncture Wounds,†in Nothing is forgotten, some things considered’, 2012 | |
| 2011 | Sallabedra, Megan: Fred Halsted‘s Experimental Porn L.A. Plays Itself: Even Dali Thought it was Freaky, LA Weekly, 16/12/2011 |
| Michalska, Julia: ‘Expert eye: Tobias Ostrander’, The Art Newspaper Art Basel/Miami Beach, 03/12/2011 | |
| Cernuschi, Stefano: ‘Books: Halsted Plays Himself’, Mousse, 12/2011 | |
| Jones, William E.: ‘The Artists’ Artists: William E. Jones: Vern Blosum, 25 Minutes (Cardwell Jimmerson Contemporary Art, Los Angeles)’, Artforum, 12/2011 | |
| Karr, John: ‘Forbidden Acts’, KarrnalKnowledge.com, 16/11/2011 | |
| Nordeen, Bradford: ‘Hasted Playing Halsted’, Art in America online, 31/10/2011 | |
| Astrova, Aliina: William E. Jones‘s ‘Hasted Plays Himself‘, Kaleidoscope Blog, 09/10/2011 | |
| Kuo, Michelle & Meyer, Richard: ‘L.A. Stories: A Roundtable Discussion’, Artforum, 10/2011 | |
| ‘Adventures to be Released at NY Book Fair’, StandardCulture.com, 27/09/2011 | |
| Biedeman, Sam: ‘Halsted Plays Himself by William E. Jones’, Bookforum.com, 26/09/2011 | |
| Jones, William E.: ‘5 Encounters with Curt McDowell’, Bomb Blog, 12/09/2011 | |
| Nagesh, Ashitha: ‘INTERVIEW: William E. Jones’, ZingMagazine.com, 08/2011 | |
| Lerner, Sharon: ‘Kadiview with William E. Jones’, Kadist.org, 08/2011 | |
| Schifferle, Hans: ‘Oberhausen I: Die Widerspenstigen’, epd Film, 06/2011 | |
| Teasdale, Paul: ‘57th Oberhausen Short Film Festival’, frieze online, 23/05/2011 | |
| Pugh, Adam: ‘Internationale Kurzfilmtage Oberhausen 2011’, LUX.org.uk, 19/05/2011 | |
| Schmitt, Peer: ‘Der Sport und das Blut’, Junge Welt, 14/05/2011 | |
| Schifferle, Hans: ‘Cinema Slam’, Süddeutsche Zeitung, 12/05/2011 | |
| Grissemann, Stefan: ‘Abfallprodukte der Liebe’, Frankfurter Allgemeine Zeitung, 05/05/2011 | |
| Willis, Holly: ‘Media Arts Preview’, kcet.org, 07/04/2011 | |
| ‘Looking at Los Angeles: Killed Posterity’, SanArt.com, 10/03/2011 | |
| Balzer, David: Queer Cinema From the Collection: Bronson‘s Best, CanadianArt.ca, 10/03/2011 | |
| Kaltschmidt, Naoko: ‘All Male Mash Up’, Cargo, 03/2011 | |
| Friel, Patrick: ‘Layers of Erazure’, Afterimage, 03/2011 | |
| Nordeen, Bradford: ‘William E. Jones on Finished’, SlantMagazine.com, 22/02/2011 | |
| Nordeen, Bradford: ‘Finished Symphony’, Being-Boring.blogspot.com, 21/02/2011 | |
| ‘William E. Jones’, re-title.com, 17/02/2011 | |
| Moshayedi, Aram: ‘500 Words: William E. Jones’, Artforum Online, 26/01/2011 | |
| Johnson, Grant: ‘Forum 65: Reanimation’, Art Papers, 01/2011 | |
| Jones, William E.: ‘Unconsummated’, This Long Century (online), 01/2011 | |
| Häcker, Sabine, Ingenhoven, Marita and Ruprecht, Susanne editors: ‘57th International Short Film Festival Oberhausen 2011’, 2011 | |
| Hoffmann, Jens, editor: ‘More American Photographs: CCA Wattis Institute for Contemporary Arts’, 2011 | |
| Tongson, Karen: ‘Relocations: Queer Suburban Imaginaries’, 2011 | |
| ‘Roehr/Warhol/Rocco/Lynde.’, 2011 | |
| Beil, Ralf and Ehmann, Antje, editors: ‘Serious Games: War – Media – Art.’, 2011 | |
| Marques Penteado, Fernando and José Gatti, editors: ‘“Caça à s Bruxas no Banheirão,†in Masculinidades: Teoria, CrÃtica e Artes’, 2011 | |
| 2010 | Carson, Matthew: ‘William E. Jones Interview’, icplibrary.wordpress.com, 20/12/2010 |
| Meade, Fionn: ‘After Images’, Mousse, 12/2010 | |
| Cotter, Holland: ‘Punctured’, New York Times, 22/10/2010 | |
| ‘William E. Jones’, New Yorker, 11/10/2010 | |
| ‘William E. Jones: Punctured’, The Paris Review, 04/10/2010 | |
| Haeg, Fritz: ‘City Report: Los Angeles’, Frieze, 10/2010 | |
| Aletti, Vince: ‘Photo Books’, Photographmag.com, 09/2010 | |
| Tobias, Jennifer: ‘Selections from The Anatomy of Melancholy by Robert Burton’, caareviews.org, 21/07/2010 | |
| Möller, Olaf: ‘Double Trouble: Ethical Lapses in Potsdamer Platz’, Film Comment, 05/2010 | |
| Muller, Dominikus: ‘William E. Jones’, Artforum, 05/2010 | |
| Jones, William E.: ‘Life in Film’, Frieze, Issue 129 03/2010 | |
| Jones, William E.: ‘Profile: Fred Halsted’, Little Joe, no. 1 (Spring 2010) 03/2010 | |
| Sonenburg, Gisela: ‘Kunst-Videos zwischen Heute und Gestern’, Berliner Morgenpost, 24/02/2010 | |
| Halter, Ed: ‘Porn Yesterday’, Artforum Online, 23/02/2010 | |
| Anderson, Melissa: The Films of William E. Jones’ at Anthology, Village Voice, 23/02/2010 | |
| Ackermann, Tim: ‘Wie man mit Lyrik und Google grosse Kunst schafft’, Welt Online, 21/02/2010 | |
| Mexiner, Christiane: ‘New Yorker Experimente’, Tagesspiegel, 13/02/2010 | |
| von Döltzschen, Ulrich: ‘Neu: Veneklasen & Werner’, Die Welt, 02/02/2010 | |
| Cromer, Stuart: ‘Film: The Best Motion Pictures and Moving Images of 2009’, Frieze, 01/2010 | |
| Baron, Jaimie: ‘Translating the Document Across Time and Space: William E. Jones’ ‘Tearoom’’, Spectator: The University of Southern California Journal of Film & Television, 2010 | |
| 2009 | Chin, Daryl: Discussing a Decade: Critics Comment on the 2000‘s, indieWIRE, 28/12/2009 |
| Holte, Michael Ned: ‘Best of 2009’, Artforum, 12/2009 | |
| Heinänen, Kaisa: ‘Neljä suomalaistaiteilijaa mukaan Venetsian biennaaliin’, Helsingin Sanomat, 18/03/2009 | |
| Coata, Chiara: ‘The Porn Identity’, Kaleidoscope, 03/2009 | |
| Fassi, Luigi: ‘Sexuality as a Utopian Promise’, Mousse, 02/2009 | |
| Eichler, Dominic: ‘How Will This Affect Me?’, Frieze, 01/2009 | |
| Lewis, David: ‘Section 7: Books’, Artforum Online, 01/2009 | |
| Jones, William E.: ‘A Capitalist Hallucination’, Bidoun, No. 19 2009 | |
| Jones, William E.: ‘an uneven dozen broken hearts’, 2nd floor projects, 2009 | |
| Horrigan, Bill: ‘Killed’, Wexner Center for the Arts, 2009 | |
| Supanick, Jim: Last Year at Mansfield: William E. Jones‘s Tearoom, Film International, 2009 | |
| Birnbaum, Daniel, and Jochen Volz, editors: ‘Making Worlds, vol 2: Participating Countries, Collateral Events’, La Biennale di Venezia, 2009 | |
| Thornton, Sarah: ‘Seven Days in the Art World’, 2009 | |
| Fassi, Luigi: ‘William E. Jones: Time and Documentary Effect’, SITE, Issue 28 2009 | |
| Schwärzler, Dietmar: ‘“More Than One Way to Watch a Movie!†Smell It!’, Kunsthalle Exnergasse, 2009 | |
| 2008 | Comer, Stuart: ‘Best of 2008’, Artforum, 12/2008 |
| Hainly, Bruce: ‘The Necrophilic Strategy Entails Some Risk’, Bidoun, 12/2008 | |
| LeDuc, Aimee: ‘Book Reviews: Tearoom’, Camerawork, 11/2008 | |
| Augusto, Heitor: ‘Mix Brasil 2008’, CineClick.com, 11/2008 | |
| Lange, Christy: ‘In the Tearoom... Not Really What I Expected’, frieze online, 10/2008 | |
| Jones, William E.: ‘Halsted Plays Himself’, Artforum Online, 23/08/2008 | |
| Chang, Chris: ‘In Flagrante Delicto’, Film Comment, 07/2008 | |
| Taft, Catherine: ‘Figures’, Modern Painters, 06/2008 | |
| Columbus, Nikki: ‘Past Imperfect’, Artforum, 06/2008 | |
| Stamets, Bill: ‘Exploring Work, Play and Healing’, Chicago Sun-Times, 16/05/2008 | |
| Danto, Arthur C.: ‘Unlovable’, The Nation, 08/05/2008 | |
| Weist, Nicholas: ‘From Gulag to Gallery’, Out, 05/2008 | |
| ‘William E. Jones: Dissecting Uncle Sam’, The Art Newspaper, 28/03/2008 | |
| Cotter, Holland: Art‘s Economic Indicator, New York Times, 07/03/2008 | |
| Gartenfeld, Alex: ‘All in the Family’, papermag.com, 04/03/2008 | |
| Wagley, Catherine: Beauty‘s Dark Side, ArtSlant, 02/03/2008 | |
| Feaster, Felicia: ‘Tea for Two’, Creative Loafing, 20/02/2008 | |
| Feaster, Felicia: ‘William E. Jones: The Secret History’, Creative Loafing, 20/02/2008 | |
| Lee, Ryan: ‘Jail Bait’, Southern Voice, 15/02/2008 | |
| Otto, Dean: ‘Artist of the Year’, City Pages (Twin Cities), 02/01/2008 | |
| Armstrong, Skot: ‘Bunkervision’, Artillery, 01/2008 | |
| Scott, Marcia: ‘What the Hell is That?’, Film Arts, 01/2008 | |
| Jones, William E.: ‘Fred Halsted: A Rather Late Yet Interesting Interview with a Dead Porno Artist’, Butt, Spring 2008 2008 | |
| Jones, William E.: ‘Halsted Plays Himself’, Animal Shelter, No. 1 2008 | |
| ‘Selections from The Anatomy of Melancholy by Robert Burton’, 2008 | |
| Jones, William E.: ‘Tearoom Texts’, Area Sneaks, No. 1 2008 | |
| 2007 | O'Driscoll, Bill: ‘Tearoom’, Pittsburgh City Paper, 19/12/2007 |
| Jones, William E.: ‘The Artists’ Artists’, Artforum, 12/2007 | |
| Azoury, Philippe: Hard contemporain: Festival du porno. Tout l‘underground en chaleur a Berlin, Liberation, 31/10/2007 | |
| Shamai, Jason: ‘Urinal Kinds of Trouble’, San Francisco Bay Guardian, 24/10/2007 | |
| Condon, Emily: In Good Standing: The Walker‘s Queer Takes Series Has Plenty of Substance, The Onion, 21/06/2007 | |
| Pride, Ray: ‘Films to See Now: v . o.’, Newcity, 15/02/2007 | |
| Goldberg, Max: Thursday: Experience ‘Alternative Visions’ at the PFA, sf360.com, 15/02/2007 | |
| Huston, Johnny Ray: ‘A Q&A about v . o.: Talking Tearooms, Movies, Morrissey and Melancholy with Filmmaker William E. Jones’, San Francisco Bay Guardian, 13/02/2007 | |
| Huston, Johnny Ray: Underground meets Underground: William E. Jones Uncovers Hidden Stories in Porn‘s Dark Edges, San Francisco Bay Guardian, 12/02/2007 | |
| Comer, Stuart: ‘Emerging Artists’, Frieze, 01/2007 | |
| Hainley, Bruce: ‘This Charming Man’, Artforum, 01/2007 | |
| ‘BodyPolitcX.’, Witte de With Center for Contemporary Art, 2007 | |
| 2006 | Abele, Robert: ‘Screening Room: Repurposing as an Art Form’, Los Angeles Times, 07/12/2006 |
| Willis, Holly: ‘New Video Work by William E. Jones’, LA Weekly, 06/12/2006 | |
| Kushner, Rachel: ‘On the Ground: Los Angeles’, Artforum, 12/2006 | |
| Ehrenstein, David: ‘The U.K. in L.A.’, LA Weekly, 24/11/2006 | |
| Ocean, Justin: Mix ‘n’ Match, Next Magazine, 11/2006 | |
| Zimmerman, Natalie: ‘out there where nothing is’, Camerawork, 11/2006 | |
| Krasinski, Jennifer: ‘William E. Jones’, Art US, 10/2006 | |
| Mookas, Ioannis: ‘Bright Cathodes, Big City’, Gay City News, 27/07/2006 | |
| Halter, Ed: ‘Scanners: The 2006 New York Video Festival’, Village Voice, 25/07/2006 | |
| Mookas, Ioannis: ‘Postcards from the Edge: Unorthodox Queer Milestone Revived at MoMA’, Gay City News, 22/06/2006 | |
| Anderson, Jason: ‘Strange Bedfellows’, Eye Weekly, 18/05/2006 | |
| Möller, Olaf: ‘The Maximal Minimalist’, Film Comment, 03/2006 | |
| Mookas, Ioannis: He‘s Got Everything Now, Gay City News, 23/02/2006 | |
| 2005 | Thomas, Kevin: ‘Screening Room’, Los Angeles Times, 10/11/2005 |
| Nesselson, Lisa: ‘Is It Really So Strange?’, Variety.com, 08/11/2005 | |
| St. Denis, John: ‘Is It Really So Strange?’, The Daily Texan, 05/10/2005 | |
| Male, Andrew: ‘Sweet and Tender Hooligans’, Mojo, 05/2005 | |
| Aitch, Iain: ‘Mad about Morrisey’, The Guardian, 25/03/2005 | |
| 2004 | Holte, Michael Ned: ‘William Jones’, Artforum Online, 13/03/2004 |
| 2003 | Athey, Ron: ‘Considerable People: William Jones, Charming Man’, LA Weekly, 28/11/2003 |
| O'Driscoll, Bill: ‘Naked Obsession’, Pittsburgh City Paper, 10/04/2003 | |
| 2001 | Cotter, Holland: ‘Art in Review’, New York Times, 23/11/2001 |
| Hainley, Bruce: ‘My Life in Pictures’, Frieze, 11/2001 | |
| 2000 | Camper, Fred: ‘Chicago Underground Film Festival: Nasty Girls and Dirty Boys’, Chicago Reader, 18/08/2000 |
| Anderson, Steve: The Experimental Scene: L.A.‘s Media Renegades, The Independent, 03/04/2000 | |
| Dowling, Samantha: ‘Banned and Unseen’, Westside Observer, 04/02/2000 | |
| 1999 | Horton, Andrew James: ‘Kino Eye: Building a New Europe’, Central Europe Review, 24/05/1999 |
| Faludi, Susan: ‘Stiffed: The Betrayal of the American Man.’, 1999 | |
| 1998 | Smith, Kensington: ‘Alternative Reviews: Finished’, Adult Video News, 10/1998 |
| Jones, William E.: ‘Massillon’, Wide Angle, vol. 20, no. 3 07/1998 | |
| Malcolm, Paul: ‘Notes from a Video Store Burnout: Finished’, LA Weekly, 05/06/1998 | |
| Jones, William E.: ‘Finished: A Screenplay’, Performing Arts Journal, no. 59 05/1998 | |
| Burston, Paul: ‘Gay Film-Makers Switch from Boyz to Men’, Time Out London, 11/03/1998 | |
| Von Mueller, Eddie: Out Right: Image Hosts ‘Avant Queer’ Fest, Creative Loafing, 10/01/1998 | |
| Shepard, Joel: ‘Film Reviews: Finished’, Your Flesh, 01/1998 | |
| 1997 | Nutter, Chris: ‘Video Corner’, HX Magazine, 05/12/1997 |
| Willis, Holly: ‘The Silent Treatment’, Filmmaker, 12/1997 | |
| Olson, Jenni: ‘Arts and Entertainment: New Queer Video on the Shelves’, Oasis Magazine, 11/1997 | |
| Thomas, Kevin: ‘Life, Death in Provocative Finished’, Los Angeles Times, 10/04/1997 | |
| Reynaud, Bérénice: ‘Independence Sundance’, Cahiers du Cinéma, 28/02/1997 | |
| Hardy, Ernest: ‘Finished’, LA Weekly, 14/02/1997 | |
| Cheshire, Godfrey: ‘Finished (documentary - 16mm)’, Variety, 10/02/1997 | |
| Holmlund, Chris and Cynthia Fuchs, editors: ‘“Irony and Dissembling: Queer Tactics for Experimental Documentary,†Between the Sheets, In the Streets: Queer, Lesbian, Gay Documentary.’, 1997 | |
| 1993 | Chua, Lawrence: ‘Unusually Moving Pictures’, Artforum, 05/1993 |
| 1992 | Ball, Edwards: ‘Candid Cameras’, Village Voice, 29/12/1992 |
| Olson, Jenni: ‘My Own Private Ohio’, The Advocate, 05/05/1992 | |
| Satuloff, Bob: ‘Amber Waves of Brain’, New York Native, 27/01/1992 | |
| 1991 | Thomas, Kevin: ‘Special Screenings: Massillon, Growing Up Gay in Ohio’, Los Angeles Times, 25/11/1991 |
| Sheehan, Henry: ‘Mind Your Language: Gay and Lesbian Filmmakers Unpack Their Identity’, LA Weekly, 12/07/1991 |
Exhibition Reviews
| 2019 | Noor, Tausif: ‘Hand In Glove’, Artforum, 12/04/2019 |
| 2017 | Diehl, Travis: ‘William E Jones’, Frieze, 10/2017 |
| Campbell, Andy: ‘William E Jones’, Artforum, 10/2017 | |
| 2016 | Anderson, Melissa: ‘Tearoom’, Village Voice, 11/10/2016 |
| ‘The Long Take: Mariah Garnett and William E. Jones’, terremoto.mx, 20/08/2016 | |
| 2015 | Wu, Yue: ‘Exhibition aims to show the meaning of curating’, TheLantern.com, 03/11/2015 |
| Vishnevetsky, Ignatiy: ‘‘High-Rise’ makes for an unlikely highlight at Toronto’, AVClub.com, 15/09/2015 | |
| ‘William E. Jones sabotage: Psychic Driving alla Galleria Raffaella Cortese di Milano’, Camira.org, 15/04/2015 | |
| Isabella, Tommaso: ‘Psychic Driving. William E. Jones’, Doppiozero.com, 01/04/2015 | |
| Tagliafierro, Marco: ‘William E. Jones, Galleria Raffaella Cortese’, Artforum Online, 13/03/2015 | |
| Piejko, Jennifer: Reviews, ‘Rear Window Treatment‘, Modern Painters, 04/03/2015 | |
| 2014 | ‘Flesh and the Cosmos’, Citizen-K.com, 22/07/2014 |
| Natilee Harren: ‘William E. Jones‘, Artforum, Vol. 52 04/2014 | |
| Harren, Natilee: ‘Reviews: William E. Jones, David Kordansky Gallery’, Artforum, 04/2014 | |
| ‘William E. Jones, ‘Heraclitus Fragment 124, Automatically Illustrated’ at David Kordansky Gallery, Los Angeles’, Mousse Magazine, 28/01/2014 | |
| Diehl, Travis: ‘Hear You Roehr’, Artforum Online, 26/01/2014 | |
| ‘More American Photographs’, University of California Riverside, 12/01/2014 | |
| 2013 | Knight, Christopher: ‘Review: Vern Blosum’s paintings at Tomwork take aim at Pop art’, Los Angeles Times, 11/10/2013 |
| Schweitzer, Dahlia: ‘How Does One Make an Image of Revolution?’, Hyperallergic.com, 25/06/2013 | |
| Mclean, Ferris: ‘Exhibition Reviews‘, Art Review, 06/2013 | |
| Wong, Suzie,: ‘Imitation of Christ by William E. Jones’, GetAddictedTo.com, 22/05/2013 | |
| ‘Exhibitions’, Contemporary Art Daily, 13/05/2013 | |
| Cairns, Steven: ‘Interview: William E. Jones‘, Frieze Blog, 13/05/2013 | |
| Lesso, Rosie: ‘Edinburgh & Glasgow Round-up’, Art Monthly, No. 366 05/2013 | |
| ‘Mousse Diary‘, Mousse, 05/2013 | |
| Baran, Jessica: ‘NEW In the Galleries – William E. Jones: Killed Through April 28 at the Saint Louis Art Museum’, RiverfrontTimes.com, 18/04/2013 | |
| Early, Rosalind: ‘Exhibition’, STLMag, 17/04/2013 | |
| Cooper, Neil: ‘Visual Art‘, The List, 17/04/2013 | |
| ‘Exhibitions‘, Mousse Blog, 07/04/2013 | |
| Clark, Robert: ‘Exhibitions‘, The Guardian Guide, 07/04/2013 | |
| Wyatt, Andrew: ‘William E. Jones: ‘Killed’ at the St. Louis Art Museum‘, Temporary Art Review, 22/02/2013 | |
| McLean-Ferris, Laura: ‘William E. Jones’, Art Review, No. 69 2013 | |
| 2012 | ‘after image: the photographic process(ed)’, Artweek LA, Vol. 100 05/11/2012 |
| Nagesh, Ashitha: ‘Critics’ Picks: London: William E. Jones‘, Artforum Online, 30/10/2012 | |
| 2011 | Cheng, DeWitt: ‘More American Photographs: CCA Wattis Institute for Contemporary Arts’, Artillery, 11/2011 |
| Wender, Jessie: ‘Photographing the Great Recession, Looking Back to the Great Depression‘, New Yorker, 13/10/2011 | |
| Tan, Lumi: ‘Time Again: SculptureCenter, New York’, Frieze, 10/2011 | |
| Aletti, Vince: ‘Previews: ‘More American Photographs’, CCA Wattis Institute for Contemporary Arts’, Artforum, 09/2011 | |
| ‘Museums and Libraries: SculptureCenter’, New Yorker, 25/07/2011 | |
| ‘‘Time Again’ at SculptureCenter’, Contemporary Art Daily, 24/06/2011 | |
| Meade, Fionn: ‘Restaging the Past‘, Artlog.com, 17/06/2011 | |
| Tavecchia, Elena: ‘Time Again‘, Mousse, 06/2011 | |
| Matalon, Rebecca: ‘Time Again’, Kaleidoscope, 06/2011 | |
| Holte, Michael: ‘William E. Jones: David Kordansky Gallery’, Artforum, 05/2011 | |
| Zellen, Jody: ‘William E. Jones: David Kordansky Gallery’, Artillery, 05/2011 | |
| Ayala, Daniela: ‘William E. Jones en David Kordansky Gallery’, TaxiArtMagazine.com, 02/03/2011 | |
| Mizota, Sharon: ‘Art Review: William E. Jones at David Kordansky‘, Los Angeles Times, 25/02/2011 | |
| Burton, Johanna: ‘The Spectacular of Vernacular’, Artforum, 01/2011 | |
| 2010 | Ding, Chinnie: ‘Critic‘s Pick: The Image in Question: War - Media - Art’, Artforum Online, 12/2010 |
| Ireland, Corydon: ‘Visions of War‘, HarvardGazette.com, 26/10/2010 | |
| O'Driscoll, Bill: ‘Short List‘, Pittsburgh City Paper, 07/2010 | |
| O'Driscoll, Bill: ‘Short List’, Pittsburgh City Paper, 07/2010 | |
| Thomas, Mary: ‘Complex Ideas Flash by in Video Show‘, Pittsburgh Post-Gazette, 30/06/2010 | |
| Troeller, Jordan: ‘Nachleben‘, Artforum Online, 18/05/2010 | |
| Mania, Astrid: ‘William E. Jones: Discrepancies‘, Art Review, 03/2010 | |
| 2009 | Jones, Laura K.: ‘London Dispatch‘, artnet, 29/12/2009 |
| Mandelbaum, Audrey: ‘An Invocation of Ghosts: William E. Jones‘s ‘Killed‘‘, XTra, 12/2009 | |
| Cairns, Steven: ‘Critics’ Picks‘, Artforum Online, 20/11/2009 | |
| Horrigan, Bill: ‘‘Killed’ William E. Jones’, Exibitart.com, 12/10/2009 | |
| Foumberg, Jason: ‘Matthew Brannon, Marcel Broodthaers, James Lee Byars, William E. Jones’, frieze online, 09/06/2009 | |
| Jones, William E.: ‘Roehr/Warhol/Rocco/Lynde program notes for Williams, Megan ‘Lust for Life‘’, CBCNews.com, 02/06/2009 | |
| Piffer-Damiani, Marion: ‘William E. Jones: ar/ge kunst, Bozen’, Camera Austria, 2009 | |
| 2008 | Smith, Roberta: ‘Pruesspress@Rental‘, New York Times, 27/06/2008 |
| Bowen, Peter: ‘The Whitney Biennial Two-Year Plan‘, Film in Focus, 05/05/2008 | |
| Gopnik, Blake: ‘10 Others to Seek Out at the Whitney Biennial’, The Washington Post, 07/03/2008 | |
| 2007 | Cotter, Holland: ‘Good Morning, Midnight at Casey Kaplan‘, New York Times, 27/07/2007 |
| Sicinski, Michael: ‘Original Pirate Material: Twelve Rounds with William E. Jones’, Cinema Scope, 06/2007 | |
| 2005 | Cotter, Holland: ‘Bebe le Strange‘, New York Times, 22/07/2005 |
| Reisman, Sara: ‘Bebe le Strange, New Museum Picks’, newmuseum.org, 2005 |
Publications
| 2019 | I'm Open to Anything, We Heard You Like Books |
| 2016 | William E. Jones: True Homosexual Experiences: Boyd McDonald and 'Straight to Hell', We Heard You Like Books |
| 2015 | McDonald, Boyd: 'Introduction' in Cruising the Movies: A Sexual Guide to Oldies on TV, Semiotext(e) |
| 2014 | William E. Jones: Flesh and the Cosmos, David Kordansky Gallery, Los Angeles |
| 2013 | Imitation of Christ, MACK, London |
| 2012 | Inside the White Cube, White Cube |
| The Little Joe Clubhouse Reader, Little Joe, Chicago | |
| 2011 | Halsted Plays Himself, MIT Press |
| Time Again, Sculpture Centre, New York; National Museum, Warsaw | |
| 2010 | Killed: Rejected Images of the Farm Security Administration, PPP Editions |
| “Massillon†in The Travelling Book, Fundación/Colección Jumex | |
| 2009 | After Dark, 53rd Venice Biennale |
| Heliogabalus, 2nd Cannons Publications | |
| “Roehr/Warhol/Rocco/Lynde†program notes for Elective Affinities, Hammer Museum | |
| 2008 | Tearoom, 2nd Cannons Publications |
| “In Conversation with Morgan Fisher†2008 California Biennial, Orange County Museum of Art | |
| 2006 | Is It Really So Strange?, David Kordansky Gallery, Los Angeles |
| 2005 | COLA 2005, Department of Cultural Affairs, Los Angeles |
| “Bike Boy†in Andy Warhol Filmmaker, Austrian Film Museum | |
| 1996 | “My Hustler†in The Ultimate Guide to Lesbian and Gay Film and Video, Serpent’s Tail |