William E. Jones was born in Canton, Ohio in 1962. He has made the films Massillon (1991) and Finished (1997), which won a Los Angeles Film Critics Association award, the documentary Is It Really So Strange? (2004), videos including The Fall of Communism as Seen in Gay Pornography (1998), and many other moving image works. His work has been the subject of retrospectives at Tate Modern, London (2005); Anthology Film Archives, New York (2010); Austrian Film Museum, Vienna, and Oberhausen Short Film Festival (both 2011); and has been exhibited at Musée du Louvre, Palais de Tokyo, and Cinémathèque française, Paris; Museum für Moderne Kunst, Frankfurt; Museum of Modern Art, Walker Art Center, Carnegie Museum, St. Louis Museum of Art, San Francisco Museum of Modern Art, and Museum of Contemporary Art, Los Angeles. He was included in the 1993 and 2008 Biennial Exhibitions at the Whitney Museum of American Art. His work was on view in the Nordic Pavilion at the 53rd Venice Biennale in 2009, in the exhibition “Untitled (Death by Gun)” at the 12th Istanbul Biennial in 2011, and at the 14th Venice Architecture Biennale in 2014. He has published the following books: Is It Really So Strange? (2006), Tearoom (2008), Heliogabalus (2009), Selections from The Anatomy of Melancholy by Robert Burton (2009),“Killed”: Rejected Images of the Farm Security Administration (2010), Halsted Plays Himself (2011), Between Artists: Thom Andersen and William E. Jones (2013), Imitation of Christ, which was named one of the best photo books of 2013 by Time magazine, and Flesh and the Cosmos (2014). He wrote the introduction for Boyd McDonald’s Cruising the Movies, republished this year, and is at work on True Homosexual Experiences: Boyd McDonald and Straight to Hell, forthcoming in 2016.
Image courtesy Bernard Yenelouis.