William Morris (born 1960) is a St. Louis-based video artist who makes single-channel videos, often by reworking existing footage such as home movies, found film and television news. He favors experimentation over conventional narrative: meaning comes from the editing, from layered and intercut images and from music chosen with as much care as the pictures. Recurring themes include memory, family history, identity, politics and the media.
Immediacy of Distance (2016) pairs Super 8 films his mother shot in north St. Louis in the 1970s with audio interviews in which she recalls her childhood in a Mississippi sharecropping family. The Protest Project (2020) opens with a scene from the 1976 film Network, then layers television coverage of the COVID-19 pandemic with footage of the protests that followed the killing of George Floyd. In re:memory, shown at the gallery in 2023, overlapping found footage from the 1930s to the 1980s is set to music by percussionist Henry Claude. A lo-fi, experimental approach links these works to his earliest videos.
Born in St. Louis, Morris earned a B.F.A. from Washington University in St. Louis in 1985 and an M.F.A. in video art from the School of the Art Institute of Chicago in 1988. He then worked at Kartemquin Films in Chicago as an assistant editor on Golub and a production assistant on Hoop Dreams. He has been a visiting artist at Washington University, a guest lecturer at Webster University and a guest instructor for Contemporary Art Museum St. Louis.
His videos have been screened at the Saint Louis Art Museum, Wesleyan University, the St. Louis International Film Festival and the Mildred Lane Kemper Art Museum, and the RISD Museum acquired Immediacy of Distance in 2022. His awards include a 2015 Creative Stimulus Award from Critical Mass for the Visual Arts and a 2019 Regional Arts Commission Artist Fellowship. Morris has shown at Bruno David Gallery since 2010, with solo exhibitions including Immediacy of Distance (2016), The Protest Project (2020) and re:memory (2023). Compendium (2026), his seventh solo exhibition there, surveyed twenty-five videos made between 1988 and 2025.
SELECTED WORKS
William Morris Horizontals, 1987/2021 One-channel video, sound 4:45 min.
William Morris 8 MS, 2010 One-channel video, color, sound 0:48 min.
William Morris Atraxia, 2011 One-channel video, sound 1:46 min.
William Morris Black/White TV, 2012 One-channel video, sound 1:23 min.
William Morris Dog’s Dream Recut, 2014 One-channel video, color, sound 3:43 min.
William Morris Immediacy of Distance, 2015 One-channel video, color, sound 22:40 min.
William Morris The Sinclair Project, 2018 One-channel video, color, sound 2:36 min.
William Morris The Protest Project, 2020 One-channel video, sound 3:42 min.
William Morris Rememory, 2022 Metallic paper on dye bond metal 15 x 20 in. (38.1 x 50.8 cm)
William Morris Re:memory, 2022 One-channel video, color, sound (music by Henry Claude, Lliam Christy, and William Morris)
William Morris Inbound/Outbound, 2024 One-channel video, color, sound 26:01 min.
William Morris Compendium, 2025 One-channel video, color, sound 4 min. Edition of 5
EXHIBITIONS
NEWS
SCREENING
Video screening with live audio by Jim McGowin
Joe’s Café, St. Louis, August 2026
GROUP EXHIBITION
Space Mapping: Video Art Series
Mildred Lane Kemper Art Museum, St. Louis, February 2024
PUBLICATIONS
SELECTED PRESS
REVIEW
Review by John Blair of William Morris’ exhibition
All the Art, John Blair, June 2016
TV
The Bruno David Gallery Reopens with Michael Byron, Patricia Olynyk, Chris Kahler, & William Morris
HEC-TV, Kerry Marks, September 2020
FEATURE
Video art mixing memories of two generations debuts Friday in St. Louis
St. Louis Public Radio, Nancy Fowler, March 2016
INTERVIEW
William Morris’ New Video, ‘The Protest Project,’ Is Ripped From The Headlines
St. Louis Public Radio, Sarah Fenske, September 2020
INTERVIEW
Cut & Paste podcast: Mother’s 1970s Super 8 film is legacy and medium for exploring generations
St. Louis Public Radio, Nancy Fowler, July 2015