Miranda July is a filmmaker, artist, and writer. Her books include It Chooses You, The First Bad Man, and No One Belongs Here More Than You (winner of the Frank O’Connor International Short Story Award). July’s fiction has been published in twenty-three countries and has appeared in The Paris Review, Harper’s, and The New Yorker. She wrote, directed, and starred in The Future and Me and You and Everyone We Know (winner of the Camera d’Or at the Cannes Film Festival and a Special Jury Prize at Sundance; re-released by The Criterion Collection in 2020). Her most recent movie is Kajillionaire (2020). July’s art works include the participatory website Learning to Love You More (with Harrell Fletcher; now in the collection of the San Francisco Museum of Modern Art), Eleven Heavy Things (a sculpture garden created for the 2009 Venice Biennale), the performance New Society (Brooklyn Academy of Music and other venues), the messaging app Somebody, and an interfaith secondhand shop located in a luxury department store (presented by Artangel). In March 2024 July’s first solo show was presented at Fondazione Prada Osservatorio in Milan, curated by Mia Locks; the show included past work in all mediums and a new participatory video series, F.A.M.I.L.Y. (Falling Apart Meanwhile I Love You). Her newest novel, All Fours, was published in May 2024 by Riverhead Books. Raised in Berkeley, California, July lives in Los Angeles.


For inquiries, please see the contact information below.


Miranda July

PO Box 26596
Los Angeles, CA 90026

For information about screening MJ’s short movies: info-at-vdb.org

For film and talent requests, contact:
Ilene Feldman Management
Ilene Feldman
Tel 424-384-7444

Creative Artists Agency
2000 Avenue of the Stars
Los Angeles, CA 90067
Tel 424-288-2000

For lecture and speaking requests, please contact:
Steven Barclay Agency
12 Western Avenue Petaluma, CA 94952 USA
Tel 707-773-0654
Fax 707-778-1868

For literary requests, contact:

The Wylie Agency
250 West 57th Street, Suite 2114, New York, NY 10107
Tel 212-246-0069
Fax 212-586-8953

For all other inquiries: secretary-at-mirandajuly.com


F.A.M.I.L.Y. (Falling Apart Meanwhile I Love You) [Italiano]

[Read this text in English]

F.A.M.I.L.Y. è una serie in progress di video realizzati in collaborazione con estranei (parte della mostra Miranda July: New Society in corso nella sede di Osservatorio Fondazione Prada dal 7 marzo al 14 ottobre 2024).

Per partecipare e condividere un video con me, segui le istruzioni qui sotto.

Selezionerò alcuni tra i contributi inviati per realizzare tre nuovi video che verranno aggiunti alla mostra nel corso della sua durata.

Grazie, non vedo l’ora di fondermi con te in modi nuovi e impossibili, ma con entrambi al sicuro, da soli e separati!




Realizza un video di te stesso che interagisci con me (“io”) (mi aggiungerò in seguito, ispirata da qualsiasi cosa tu faccia).

Puoi indossare quello che vuoi. Un abito. Un costume da bagno. Sexy o meno. Atletico, carino, brutto, qualsiasi cosa. Oppure puoi isolare una parte del corpo con un lenzuolo, o coprirlo interamente per rendere la tua figura meno umana.

Posizionati abbastanza lontano dalla videocamera da inquadrare tutto il corpo.

Cerca di tenere a mente che qualcuno è lì con te, anche se in quel momento non c’è nessun altro nella stanza. Senti, percepisci, guarda l’altra persona negli occhi (se la tua faccia non è coperta).

Magari, puoi partire da ciò che senti o da ciò di cui hai bisogno.

Cammina nell’inquadratura. Oppure striscia, scivola, trascinati dentro… ed esci dall’inquadratura alla fine, prima di interrompere le riprese.

Usa una sola mano per “toccarmi” (la mia tecnologia è molto semplice e posso andare solo davanti o dietro una mano, non tra due mani).

Non parlare.

Note importanti:

  • Modifica le impostazioni del cellulare in modo che riprenda in 4K e 30FPS.
  • Utilizza la fotocamera sul retro del cellulare.
  • Non indossare abiti bianchi o neri.
  • Il video deve durare tra 1 e 2 minuti.
  • Assicurati che la tua figura sia ben illuminata (in modo che la luce sia davanti e non dietro di te).
  • Cerca di non trovarti davanti a oggetti dello stesso colore della tua pelle o dei tuoi vestiti.
  • Assicurati che il file video sia il più grande possibile, che non sia compresso o ridimensionato.



Se ti viene una nuova idea, non esitare a caricare un altro video. Questo bando è aperto fino all’estate del 2024.

Ti contatteremo nel caso in cui il tuo video verrà selezionato. Nessun video sarà utilizzato nel lavoro finale senza il consenso scritto dell’autore


F.A.M.I.L.Y. (Falling Apart Meanwhile I Love You)

[Leggi il testo in italiano]

F.A.M.I.L.Y. is an ongoing video series made in collaboration with strangers (part of the solo exhibition Miranda July: New Society at Osservatorio Fondazione Prada, March 7 – October 14, 2024).

If you’d like to submit a video, follow the instructions below.

I’ll be selecting from submissions and making three new videos that will be added to the show over the course of its run.

Thank you and I look forward to merging with you in some impossible new way, yet with both of us also safely alone and apart!




Shoot a video of yourself interacting with me (“me”) (I’ll add myself later, inspired by whatever you do.)

You can wear what you like. A suit. A bathing suit. Sexy or not. Athletic, cute, ugly, whatever. Or you can isolate part of your body with a sheet, or cover it entirely to make yourself less human.

Stand far enough away from the camera that your whole body is visible.

Try to remember that someone else is there with you, even though you are alone in the room right now. See them, feel them, look them in the eye (if your face isn’t covered).

Perhaps draw from what you’ve been feeling or needing.

Walk into frame. Or crawl, or slide, or drag yourself in… and then exit the frame at the end, before turning off the camera.

Use only one hand when “touching” me (my technology is very simple and I can only go in front of or behind a hand, not between two hands).

No talking.

Super Important:

  • Change your phone settings so that your phone shoots in 4K and 30FPS.
  • Use the camera on the back of your phone.
  • Don’t wear black or white clothes.
  • The video should be between 1 and 2 minutes.
  • Make sure you are well lit (so light is in front of you, not behind you).
  • Try not to be in front of things that are the same color as your skin or clothes.
  • Make sure the video file is as big as possible, don’t compress it or make it smaller.



You are welcome to upload another video if you get a new idea. This call is open through the summer of 2024.

If your video is selected we will reach out; no submissions will be used in a final work without your written consent.



All Fours book cover

MAY 14, 2024

Available now in the U.S. at Amazon, Barnes & Noble, Bookshop.org, Books-A-Million, or Penguin Random House.
Available now in the U.K. at Waterstones, Amazon, or Bookshop.org.
Join Miranda on tour in the U.S.

The New York Times–bestselling author of The First Bad Man returns with an irreverently sexy, tender, hilarious, and surprising novel about a woman upending her life. 

A semifamous artist announces her plan to drive cross-country, from LA to New York. Thirty minutes after leaving her husband and child at home, she spontaneously exits the freeway, beds down in a nondescript motel, and immerses herself in a temporary reinvention that turns out to be the start of an entirely different journey.

Miranda July’s second novel confirms the brilliance of her unique approach to fiction. With July’s wry voice, perfect comic timing, unabashed curiosity about human intimacy, and palpable delight in pushing boundaries, All Fours tells the story of one woman’s quest for a new kind of freedom. Part absurd entertainment, part tender reinvention of the sexual, romantic, and domestic life of a forty-five-year-old female artist, All Fours transcends expectation while excavating our beliefs about life lived as a woman. Once again, July hijacks the familiar and turns it into something new and thrillingly, profoundly alive.

All Fours is profound and bawdy and deeply human, a brilliant work of art from a completely blown open and fearless mind.” – Emma Cline, New York Timesbestselling author of The Guest

“A giddy, bold, mind-blowing tour de force by one of our most important literary writers.  Funny, honest, rich with the energy of the mind, All Fours will jump-start your relation to language and cause you to think anew about the nature of desire.” – George Saunders, Booker Prize winning author of Lincoln in the Bardo



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July was asked by Süddeutsche Zeitung Magazin to create a new work for the 2020 Edition 46 of the magazine. Past artists who have received this invitation are Sophie Calle and Maurizio Cattelan.
The photograph series she made with Jay Benedicto was developed into a limited edition book sculpture with Mack Books in London.

On March 13th I was heading to meet a friend at a cafe when I got a message from my child’s school announcing that they were shutting down indefinitely. This was the start of the pandemic for me, the first dawning that this was really happening, I could not ignore it. While I waited for my friend to arrive I texted my husband & everyone I knew, in shock, coming to realize this wasn’t just our school, our world, it was every school, the whole world. In the midst of this texting frenzy I got a phone call from an unfamiliar number. Right away it was clear that this was some kind of solicitation; the caller had a slight accent & the overt professionalism of someone offering “services”. Normally I would have hung up; I’m still surprised I didn’t. I suppose when your world has just been blasted open you are distraught, yes, but also: open. I stepped outside & began answering the caller’s questions. It became obvious that this offer was directed towards a very specific niche of hungry, unaffiliated people: self-published authors. Through some error I had ended up on this list. Was I interested in getting hundreds, maybe even thousands of new readers? “Well, my last couple books were on the New York Times best-seller list,” I said, “But sure, why not. New readers are always great.” I answered each question truthfully, kind of showing off in a way I would never usually do. It was as if I really wanted to impress this solicitor. When they were all done with their script they conceded that I did not, in fact, need their services. “Can I ask you some questions now?” The solicitor laughed, “What type of questions?” I asked where they were calling from (The Philippines), how old they were (27), what they liked to do when they weren’t at work (karaoke). “Are you a woman?” I asked. “Yes. I’m a trans woman,” Jay said. There was a rapport despite distances of all kinds. My friend arrived; I waved and held up one finger as I hurried to finish the call. I asked Jay if she used Instagram & she agreed to DM me. The following pages grew out of our exchange over the last six months, our first six months of this pandemic.


Graphic Design by Chris Svensson

Thank you Jamie Dornan

Interview by Mareike Neiberding with photographs by Elizabeth Weinberg.

Limited Edition book sculpture with MACK BOOKS



Untitled Miranda July Project

Con artists Theresa (Debra Winger) and Robert (Richard Jenkins) have spent 26 years training their only daughter, Old Dolio (Evan Rachel Wood), to swindle, scam, and steal at every opportunity. During a desperate, hastily conceived heist, they charm a kind stranger, Melanie (Gina Rodriguez), into joining their next scheme, completely shaking up Old Dolio’s routine. Her unlikely connection with Melanie begins to challenge Old Dolio’s odd and stoic reality—and she finds herself suddenly caught between the only family she has ever known and the prospect of total freedom.

Written and directed by Miranda July; director of photography, Sebastian Winterø; edited by Jennifer Vecchiarello; music by Emile Mosseri; production design by Sam Lisenco; costumes by Jennifer Johnson; casting by Mark Bennett; produced by Dede Gardner, Jeremy Kleiner and Youree Henley.

A Plan B / Annapurna Production. Distributed by Focus Features in the U.S. and Universal Pictures internationally.


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A short film and essay inspired by David Hockney’s 1980 painting “Nichols Canyon.”

Gagosian Quarterly.



19100 Miranda_July-Cover-FINAL

Filmmaker. Author. Performer. Shopkeeper. Miranda July — the most impressive cross-disciplinary artist of her generation — is brought into focus in this career-spanning retrospective.

Regardless of the medium, July’s daring, urgent, and idiosyncratic voice finds unexpectedly accessible forms that reflect the poignancy and strangeness of the human plight. In film, fiction, performance, public art, commerce, and even a smartphone app, July deftly explores themes of inclusivity, desire, fear, and fantasy. This chronological survey spans the artist’s entire career to date, including her early plays and fanzines, participatory works, and personal projects which illuminate the multidimensionality and timeliness of her work.

Miranda July is brought to life in an introductory interview with Julia Bryan-Wilson and candid recollections by friends, collaborators, curators, assistants, and audience members: Carrie Brownstein, David Byrne, Spike Jonze, Sheila Heti, Hans Ulrich Obrist, and July herself. This revealing, insightful commentary provides an intimate perspective on the artist’s ever-evolving process. July may be impossible to categorize, but the enduring importance of her work and her status as an essential cultural icon is irrefutable.”
Published by Prestel.
11/09/2019 - 12/11/2019


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“The most heartwrenching romantic film of 2019 is a series of posts on Miranda July’s Instagram account featuring actress and dancer Margaret Qualley.

The series, which presents itself as reality, stars filmmaker artist and writer July alongside Qualley. Using FaceTime calls, text messages, Instagram comments, a captivating final ritual—not to mention an extended guest appearance by Jaden Smith—July weaves a thoroughly modern unrequited love story.”

-Nayomi Reghay, Daily Dot

First post: “Just when I think it’s just over, she calls. I’m begging you, @margaretqualley.”

Final post: “Thank you and goodnight.”




July was invited to design T-shirts for UNIQLO’s UT 2019 collection. In addition to hand-painted designs and original phrases by July, two of the shirts feature original graphics inspired by her personal vintage button collection. July went on to make three promotional short films for social media, entitled “How to Make a T-Shirt.”

“How to Make a T-Shirt.”

05/12/2018 - 11/04/2018



By Miranda July with Oumarou Idrissa, commissioned for “The Future Starts Here” exhibition at the Victoria and Albert Museum in London.

Four velvet curtains open and close sporadically, of their own accord. A short text by July hangs alongside each curtain:

On 22 August 2015 I called for an Uber, and a man named Oumarou Idrissa picked me up from my house in Los Angeles. He drove me to Malibu in a black SUV. On the long drive across the city, Oumarou told me the story of his life, which began in a village in Niger, West Africa. He came to the U.S. on a student visa, hoping to attend the University of Idaho. When he couldn’t afford the tuition, he faced the possibility of deportation and was forced into hiding. He needed to stay in America; his family was counting on the money he could make there. During the worst of these years he was often homeless, which he kept secret. And he always knew that immigration agents were looking for him. He woke up every two hours, thinking: ‘They’re here’. Now Oumarou is a U.S. citizen – but he still can’t sleep more than two hours at a time and never more than a total of four or five hours a night.

For this project, I asked Oumarou if he would share his insomnia in real time and he agreed, hoping that telling his story of sleeplessness might actually bring him the peace he needs to finally sleep. We installed a sleep tracker program in his bed, and he began routing his phone data through a custom server that silently detects which apps he’s using, since he usually looks at his phone during these restless hours. When it’s midnight for Oumarou, the day is just starting in Niger and also here, in London. As he generates information throughout the night, it’s sent to the curtains in the exhibition.

1. When the blue curtains are completely closed, Oumarou is asleep on his queen-sized mattress on the floor of his studio apartment in Los Angeles. If the curtains are partially open or moving, then he’s sleeping fitfully. His sleep data triggers this movement via a smart curtain track powered by a Somfy® motor. Sometimes he dreams of someone pushing down on him so he can’t move or get up. Sometimes he dreams he’s in Niger, talking to his mother about ordinary things. If the curtains are wide open, then he’s awake.

2. Each time the brown curtains open, Oumarou has opened WhatsApp – the free, secure, worldwide messaging service. Every night around 11pm he begins to talk and message with his friends and family in Niger. ‘I don’t have any close friends in America’, he told me, ‘so my phone is my everything’. He exchanges videos and pictures with his 21 sisters and brothers and responds to requests for money, most often to pay for food, school tuitions, christenings and medicine. He used to talk to his mum every night, but she passed away two years ago. Just before she died, Oumarou texted to tell me she was sick. We had sporadically kept in touch after our long drive together. Just a few hours later he texted me that she had died, and he was headed back to Niger for her funeral.

3. If the pink curtains are open, Oumarou has tapped ‘online’ on the Uber app, making himself available to receive calls for rides. Like most UberBLACK drivers, he leases a black SUV and often barely makes enough money to cover the cost of the lease. At times he has also lived in his leased cars, as many UberBLACK drivers do. ‘When you sleep in a new SUV you wake up sick from the fumes’, Oumarou told me. We met up when he got back from his mother’s funeral in Niger. He was frustrated that he had lost his place to live while he was out of the country. I rent a small house where I work from 9am to 5pm, so I suggested he live in it from 5pm to 9am until he got a new place. We shared the house in this way for seven months.

4. When the green curtains are open, Oumarou is looking at Instagram. He posts pictures of soccer games, family, luxury hotels and beaches (from his side job as a travelling bodyguard). On 8 November 2016, he posted a video of himself voting for Hillary Clinton: I vote for Her. First time voter, historic day. Since we were registered to the same address, I showed him our polling place and we voted together. On 9 November, he wrote: The way I feel last nite was the worst feeling I ever have in my life. We love you Hillary this pain will go forever. Later that day he wrote: Motherland we coming back, and I wondered if he really would go back to Niger. On 10 November he posted a video of himself in the black suit he wears to drive for Uber; he was standing tall by a rooftop pool in Beverly Hills. I’m the president, baby, he said. And then, speaking as the president, he told us to: Stay focused, stay humble, you know, be positive in life, enjoy, life is beautiful, baby.

Note: If Oumarou is sick, travelling, or needs privacy, this work runs on a pre-recorded script.


The New York Times






Miranda July, Open to the World (2020) from Artangel on Vimeo.

Miranda with shop workers Yasmin Wall, Diana Ngonyama, Latifa Rahman, Natasha Hodes and Abhayanandi, 31 August 2017. Photograph: Hugo Glendinning © Artangel
Shop manager Diana Ngonyama and Miranda July adjust a wall display. Photograph: Matthew Andrews / Artangel
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Bric-a-brac for sale. Photograph: Matthew Andrews / Artangel
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A customer receives their purchase in the shop's bag, modeled after the iconic yellow Selfridges shopping bag. Photograph: Hugo Glendinning © Artangel

There are more than 10,000 charity shops in the UK and now there is a unique addition with the launch of artist, writer and filmmaker Miranda July ’s major commission for Artangel, an interfaith charity shop open to the public from 31 August – 22 October 2017 on the third floor of Selfridges.

The UK’s first interfaith charity shop is run and staffed jointly by four religious charities chosen by Miranda July: Islamic Relief, Jewish charity Norwood, London Buddhist Centre and Spitalfields Crypt Trust. The proceeds will be shared equally between the four partners, all of who run their own charity shops. Items for sale are typical of those traditionally sold in charity shops – second – hand clothes, books, games, DVD’s, kitchen ware, toys ornaments and bric – a – brac. Prices are the same as in any charity shop.

Net sales are divided equally between the four participating charity shops. Each is donating 2.5% of their share to another charity of their choice: Islamic Relief is donating to The Bike Project; Norwood to Carers in Hertfordshire; London Buddhist Centre to Praxis Community Project; and Spitalfields Crypt Trust to Providence Row.

Miranda July is known for artworks that depend upon the public’s participation — be they apps, performances or sculptures. Her interfaith charity shop at Selfridges will present customers with an unexpected retail experience that will resonate with founder Harry Gordon Selfridge’s famous pronouncement in 1909 that his store was created as an open house, where “everyone is welcome.”

Miranda July said: “For many years I’ve wanted to make a store as artwork; utilizing the inherently participatory conventions of commerce. When I first came to London, in my twenties, the sheer number of charity shops giddily amazed me, but it’s only in creating this store with Artangel that I understand what a radically unique economic model they are. The nuances of this come from my faith – based charity shop partners and from the site; Selfridges.”

Michael Morris & James Lingwood, Co – Directors of Artangel, said: “Artists continually lead Artangel into uncharted territory so we are delighted to be collaborating with Miranda July in joining forces with four faith – based charities on the third floor of Selfridges. Our shop within a shop, like London itself, is proudly open to the world.”

Miranda July in conversation with Jeremy Deller

Open to the World documentary VF.com


Artangel view website

Artangel produces and presents extraordinary art in unexpected places in London, the UK and beyond. For over 30 years Artangel has generated some of the most talked – about art of recent times, including projects with Clio Barnard, Jeremy Deller, Roger Hiorns, Michael Landy, Steve McQueen, Rachel Whiteread, an d more recently Ryoji Ikeda, PJ Harvey and Jorge Otero – Pailos’s The Ethics of Dust at Westminster Hall, Houses of Parliament. Appearing anywhere from vacant apartments stores to subterranean vaults and London’s night sky, Artangel produces art that surprises, inspires and wouldn’t be possible within the confines of a gallery.

Selfridges view website

The business was founded by American entrepreneur Harry Gordon Selfridge in 1909 and was widely regarded as the first and best example of a modern department store. Harry Gordon Selfridge ran the store himself until he retired in 1940. After several ownerships the company was de – merged from the Sears Group in 1998 and floated on the London Stock Exchange. In 2003 W. Galen Weston purchased Selfridges and under his ownership Selfridges has become an extraordinary global destination for fashion, luxury and retail theatre. In June 2010 Selfridges was named Best Department Store in the World for the first time by the IGDS (Intercontinental Group of Department Store s). The title, which Selfridges held until June 2012, is the industry’s highest accolade. Selfridges won the title again in June 2012, and again in 2014 for an unprecedented three times consecutively. In May 2016, Selfridges won the inaugural award for World’s Best Sustainability Campaign at the IGDS world summit. Selfridges has four stores in London, Birmingham and Manchester (Trafford Centre, Exchange Square) and our international website now delivers within the UK and to over 130 countries, trading in eight currencies. Selfridges today, continues Harry Gordon Selfridge’s legacy – a shopping experience that promises to surprise, amaze and amuse its customers by delivering extraordinary customer experiences.

Islamic Relief view website

Islamic Relief is an international aid and d development charity that aims to alleviate the suffering of the world’s poorest people in more than 30 countries, mainly in Africa, Asia and the Middle East. As well as responding to disasters and emergencies, Islamic Relief promotes sustainable economic and social development by working with local communities – regardless of race, religion or gender. In its 33 – year history, Islamic Relief has helped more than 110m people across the world. Islamic Relief is one of the 13 UK charities that form the DEC (Disasters Emergency Committee).

Islamic Relief is rated 20th in the Top 500 Non – Governmental Organizations (NGOs) in the world by the Swiss – based independent media organization NGO Adviser.

Norwood view website

Norwood is the largest Jewish charity in the UK supporting thousands of vulnerable children and their families, children with special educational needs and people with learning disabilities and autism.

Founded in 1795, Norwood is one of the UK’s oldest charities and the only Jewish charity to enjoy the Patronage of Her Majesty The Queen. It helps children and adults to maximize their potential at home, at school and throughout their lives, through personalized services designed to enable choice.

Each year Norwood needs £35m to keep its services running, £12m of which comes through voluntary donations. These services include a total of 55 residential, supported living and family centers across London and the South East.

Norwood currently runs eight charity shops across North and East London thanks to the support of 150 dedicated volunteers.

London Buddhist Centre view website

The London Buddhist Centre (LBC) in the heart of the East End teaches meditation, mindfulness, and yoga through daily classes, courses and retreats. Our aim is to help people from all walks of life lead more fulfilling lives, reach their highest potential and alleviate suffering in the world. Buddhists practice non – violence and believe our minds determine how we respond to our experience. We provide practical tools so that people can change their minds and develop greater wisdom and compassion for responding creatively to the world. The Centre offers an oasis of calm in the midst of busy urban life and is very much part of the local, diverse landscape in Tower Hamlets. Through its innovative mindfulness program, the LBC reaches out to people living with stress, pain, depression, and addiction. We also run events for families, carers, schools, and professionals as well as arts happenings. Many of our activities are by donation and teachers give their time and skills voluntarily for the benefit of others.

Spitalfields Crypt Trust view website

Spitalfields Crypt Trust (SCT) is an East London charity providing practical help for people recovering from complex drug and alcohol addictions. They provide homes, therapy, productive activity and a supportive community to help people to avoid relapses and lead healthier, happier lives.

They run:

  • A drop – in providing food and shelter for homeless people in Shoreditch
  • Shared homes in London for people to start and continue their recovery
  • A personal development center providing free life skills courses in literacy, computing and math, alongside creative classes in art, woodwork and gardening
  • Social enterprises to help people get work experience and gain from a more positive way of life
  • Social events to help build supportive relationships in the local recovery community

Their support isn’t a ‘one – size – fi ts – all’ approach but is personalized to fit each person’s individual needs and hopes. Their approach combines Christian values with best practice and innovation. They help people of all faiths and none.


Joanie 4 Jackie Archive


Joanie 4 Jackie (aka Big Miss Moviola) was an underground film network for girls and women, formed in 1995. For more than ten years women sent their movies to Joanie 4 Jackie and received a “Chainletter” tape in return — their movie compiled with nine others. In a pre-YouTube world, this was one-way women could see each other’s work and know they weren’t alone.  The project inspired girls to make movies for the first time, circulated work by seasoned artists and connected women across the country through screenings and booklets of letters that arrived with each videotape. By the time the project had run its course the work of over 200 filmmakers was distributed through 22 compilation tapes, and Joanie 4 Jackie had exhibited movies all over the world, from punk clubs to the Museum of Modern Art.

In January 2017 The Getty Research Institute announced the acquisition of the complete Joanie 4 Jackie archives. Twenty-seven boxes of tapes, posters, letters, embarrassing notes, to-do lists, and grandiose plans will be made available to researchers and preserved for all time in a feminist and queer context, alongside the archives of artists such as Yvonne Rainer, Robert Mapplethorpe, and Carolee Schneemann. The Getty Trust is a non-profit organization devoted to arts research, education, philanthropy, and the conservation and preservation of world heritage.

Simultaneously joanie4jackie.com launched — this site guides the viewer through the materials and the story of the Joanie 4 Jackie. It was created by Miranda July with Yuri Ono, Matt Wright, Astria Suparak, Vanessa Haroutunian, Jaqueline Goss and the students of the Joanie 4 Jackie Tutorial at Bard College. A labor of love; it took seven years. 

New York Times. “Miranda July Shares Her Vintage Feminist Film Archive”

Getty. “Behind the Scenes and On the Stage with Joanie 4 Jackie”


May 14th 2016 By Paul Ford and Miranda July

Seven on Seven 2016: Miranda July & Paul Ford from Rhizome on Vimeo.

July and Paul Ford (writer and co-founder, Postlight) collaborated to make a portrait of the Seven on Seven audience, using only the data audience members had shared online. Presented by Rhizome, the Seven on Seven conference pairs seven leading artists with seven luminary technologists, and challenges them to make something new together. They unveil their creations, and discuss their process, at this intimate public event at The New Museum.

Miranda July and Paul Ford Cyberstalked Me


New Society

In July’s fourth full-length performance, she invited the audience to transform the theater into an intentional community—to stay with her in the theater for the rest of their lives to form an independent state. She elected herself as the leader and invited audience members to participate in its establishment. One spectator composed a national anthem while another designed a flag and a few more drafted a constitution. Twenty years would pass in the course of these approximately two-hour, high-wire performances—unique experiments in collaboration, intertwining the histories and talents of the audience with a startling chronicle of time, love, and group faith.

10/17/2015 Center for the Art of Performance, UCLA, Los Angeles

10/07/2015 Brooklyn Academy of Music, New York

04/28/2015 Brava Theater Center, Presented by SFMOMA and SFIFF, San Francisco

02/23/2015 Sadler’s Wells Theatre, Presented by Artangel, London

11/20/2014 Wexner Center for the Arts, Columbus OH

10/30/2014 Walker Art Center, Minneapolis

10/05/2013 (Work in Progress) Institute of Contemporary Art, Boston


The First Bad Man


From the acclaimed filmmaker, artist, and bestselling author of no one belongs here more than you, comes a spectacular debut novel that is so heartbreaking, so dirty, so tender, so funny, so Miranda July. Readers will be astonished.

Here is Cheryl, a tightly-wound, vulnerable woman who lives alone, with a perpetual lump in her throat. She is haunted by a baby boy she met when she was six, who sometimes recurs as other people’s babies. Cheryl is also obsessed with Phillip, a philandering board member at the women’s self-defense nonprofit where she works. She believes they’ve been making love for many lifetimes, though they have yet to consummate in this one.

When Cheryl’s bosses ask if their twenty-one-year-old daughter, Clee, can move into her house for a little while, Cheryl’s eccentrically ordered world explodes. And yet it is Clee—the selfish, cruel blond bombshell—who bullies Cheryl into reality and, unexpectedly, provides her the love of a lifetime.

Tender, gripping, slyly hilarious, infused with raging sexual obsession and fierce maternal love, Miranda July’s first novel confirms her as a spectacularly original, iconic, and important voice today, and a writer for all time. The First Bad Man is dazzling, disorienting, and unforgettable.

“Miranda July’s ability to pervert norms while embracing what makes us normal is astounding. Writing in the first person with the frank, odd lilt of an utterly truthful character, she will make you laugh, cringe and recognize yourself in a woman you never planned to be. By the time July tackles motherhood, the book has become a bible. Never has a novel spoken so deeply to my sexuality, my spirituality, my secret self. I know I am not alone.”

Lena Dunham, author of Not That Kind of Girl

“Cheryl Glickman, Miranda July’s heroine in this unforgettable novel, is one of the most original, most confounding and strangely sympathetic characters in recent fiction. She narrates this very intimate epic that starts in a place of brittle, quirky, loneliness and progresses into a profoundly moving story of nontraditional love and commitment. This novel is almost impossible to put down, and confirms July as a novelist of the first order.”

Dave Eggers, author of The Circle

“Miranda July’s first novel announces something new, not only in its invention, characterization, and pace, but emotional truth. With it, the esteemed artist and filmmaker joins the front rank of young American novelists—and then surpasses them.”

Hilton Als, author of White Girls

“I am in awe of Miranda July. She is the person I want to be, the artist who feels free to work in any number of media, the artist who is so talented, expressive. The First Bad Man is a book that must be read, a book that must be purchased—in duplicate—one for you, one for a friend. Don’t think you can loan this book—you’ll never get it back.”

A.M. Homes, author of May We Be Forgiven

“July’s work reminds us that the essential storytelling tool is voice. Hers is smart, funny, twisted, vulnerable, humane, and reassuring: a dazzling human consciousness speaking frankly and fondly and directly to you. If I ever start to doubt the power of language and intelligence, I only have to read a few lines of July to have my faith restored.”

George Saunders, author of Tenth of December

“The ‘yes, that’s really the way it is!’ moments in this book came so fast and furious that I found myself propelled into a story that, despite its subtly off-kilter course, somehow—I don’t know how—ended up revealing the invisible and depthless emotional reality that roils and tugs beneath us all. Miranda July’s protagonist inhabits this uncharted world of unspeakable desires, embarrassing hopes and shifting conquests more fully than any in contemporary fiction I can recall. The First Bad Man is a strange miracle of a book, and despite the opinion of its main character, a truly great American love story for our time.”

Chris Ware, author of Building Stories

Link to The First Bad Man Store.

1/9/2015, The New York Times: Miranda July Blurs Reality and Fiction to Promote A Novel.


The Miranda

Miranda July Introduces The Miranda from WELCOMECOMPANIONS on Vimeo.

Artist, writer, and director, Miranda July introduces her collaboration with WELCOMECOMPANIONS, an obsessively personalized namesake handbag as part of our CLASSICS collection. Available in two versions, the first, a limited edition that takes the phenomenon of a named bag to its most extreme complete with Miranda’s contents and comments in specially fashioned and labelled pockets. The edition of 100 is a modern day Duchampian box by way of a nineteenth century trunk maker — a new world wunderkammer and a portrait of a lady. Launch party at Opening Ceremony, LA – a voyeuristic of the hosts’ personal handbag contents, likenesses by a hand portraitists, music by JD Samson.

To view the collection go to welcomecompanions.com/collections/classics

Video premiered on Vogue



Somebody (app)


A new messaging service by Miranda July

Texting is tacky. Calling is awkward. Email is old.
On August 28th Miranda July unveils a new way to communicate: Somebody — an app created with support from Miu Miu, available in the iTunes store as a free download (iOS only).

When you send your friend a message through Somebody, it goes — not to your friend — but to the Somebody user nearest your friend. This person (probably a stranger) delivers the message verbally, acting as your stand-in. The app launched at the Venice Film Festival along with a short companion film, part of Miu Miu’s Women’s Tales series.
Since Somebody is brand new early adapters are integral to its creation — the most high-tech part of the app is not in the phone, it’s in the users who dare to deliver a message to stranger. “I see this as far-reaching public art project, inciting performance and conversation about the value of inefficiency and risk,” says July.

Somebody works best with a critical mass of users in a given area; colleges, workplaces, parties and concerts can become Somebody hotspots simply by designating themselves as one (details on somebodyapp.com).

Official Somebody hotspots so far include Los Angeles County Museum of Art (with a presentation by Ms. July on Sept. 11), The New Museum (presentation on Oct. 9), Yerba Buena Center for The Arts (San Francisco), Portland Institute for Contemporary Art, Museum of Fine Arts, Boston, The Walker Art Center (Minneapolis), and Museo Jumex (Mexico City.) Museum-goers are invited to send and deliver messages in these spaces where there are likely to be other users.

With Miu Miu’s support, July worked closely with designer Thea Lorentzen and a team of developers at the award winning Stinkdigital to create the complex, GPS-based messaging system. Half-app / half-human, Somebody twists our love of avatars and outsourcing —every relationship becomes a three-way. The antithesis of the utilitarian efficiency that tech promises, here, finally, is an app that makes us nervous, giddy, and alert to the people around us.

“When you can’t be there…Somebody can.”

Visit somebodyapp.com for movie, media kit and details.
Contact us at info@somebodyapp.com


•    Add actions and directions for your stand-in, such as [crying] or [hug] — or write your own.

•    The recipient always has the option of declining a delivery before it’s set in to motion, if now’s not a good time.

•    The first sentence of the message is automatically “[Recipient’s name]? It’s me, [Sender’s Name]” — reminding the stand-in to assume the identity of the sender.

•    Somebody™ uses GPS to locate your friend and users nearby, then presents you with photos and performance ratings so you can choose the best possible delivery person for your message.

If there’s no one nearby, you can choose to “float” your message indefinitely. Users interested in being a stand-in can browse nearby floating messages and pick one to deliver.







Somebody (movie)

“Test my soil. Deeper.”

Have you ever found it impossible to say something, face to face, to someone you know, someone you love? The words just won’t come out? A new messaging service, SOMEBODY, by Miranda July could help. It’s the star of her film for Miu Miu Womens’ Tales, the eighth commission in the acclaimed short-film series by women directors who critically celebrate femininity in the 21st century.

Jessica wants to tell Caleb she can’t be his girlfriend anymore. She opens up SOMEBODY, types in the heartbreaking message, and selects Paul from a list. Paul is in the park. Paul’s phone dings. He eyes Caleb having a picnic. Paul delivers the bad news—as Jessica. Eyes bawling. Arms flapping. Caleb is, devastated.

The SOMEBODY app then totally saves Yolanda and Blanca’s friendship, makes Jeffy’s marriage proposal to lonely Victoria, and initiates a curious ménage-a-trois between two prison workers and a parched potted plant named Anthony.

This latest addition to Womens’ Tales showcases Miranda July’s unique ability to capture the strange tenderness of contemporary relationships.

SOMEBODY takes our endless hunger for communication, technology, avatars and outsourcing, and blends it into what seems to be a surreal near-future — but it’s not. It’s right now. In close collaboration with Miu Miu, July worked with a team of developers to create this radical and complex app; when the movie ends we’re invited to visit somebodyapp.com to send or deliver our first message.

Premiered at the Venice Film Festival.



WE THINK ALONE was a collaboration with Danh Vo, Etgar Keret, Kareem Abdul-Jabbar, Kate and Laura Mulleavy, Lena Dunham, Kirsten Dunst, Sheila Heti, Catherine Opie and Lee Smolin comissioned by Magasin 3 Stockholm Konsthall for a show called On The Tip of My Tongue. A themed compendium of ten previously-sent emails arrived every Monday, between July 1 and November 11, 2013, to the inboxes of those who had signed up to receive it. When the final email went out on November 11, 2013, WE THINK ALONE had over 104,892 readers from 170 countries.
Week 1: An Email About Money
Week 2: an email that gives advice
Week 3: an email that mentions Barack Obama
Week 4: a business email
Week 5: an email that includes a picture of something you want
Week 6: an email to your mom
Week 7: an email that includes a dream you had
Week 8: an email that includes a picture of art
Week 9: an email where you describe what you’re working on
Week 10: an email you decided not to send
Week 11: an email that includes a picture of yourself
Week 12: an email with I love you in it
Week 13: an email with a link in it
Week 14: an email about being sad
Week 15: an email about a fear
Week 16: an angry email
Week 17: an email that includes a song
Week 18: an email that’s an apology
Week 19: an email about the body
Week 20: an email about a problem you’re having with your computer


Eleven Heavy Things

Photo by Lukas Wassmann
Photo by Spike Jonze
Photo by Spike Jonze
Photo by Miranda July
Photo by Mark Rifkin
Miranda July, Eleven Heavy Things, Union Square, May 29 - October 3, 2010
Photo by Brian Paul LaMotte
Photo by Lukas Wassmann
photo by Lukas Wassmann
Photo by Lukas Wassmann
july_instalation008 (1) copy
Photo by Lukas Wassmann
Photo by Miranda July
Photo by M. Blash
Photo by M. Blash

Eleven Heavy Things, created for the 53rd International Art Exhibition at the Venice Biennale, is comprised of eleven sculptural works installed in an enclosed garden within Il Giardino delle Vergini. The cast fiber-glass, steel-lined pieces are designed for interaction: pedestals to stand on, tablets with holes for body parts, and free-standing abstract headdresses. A series of three pedestals in ascending height, The Guilty One, The Guiltier One, The Guiltiest One, ask three viewers to ascribe their guilt relative to each other. A large flat shape, hand-painted with Burberry plaid, hovers on a pole, waiting to become someone’s aura. A series of tablets invite heads, arms, legs, and one finger: This is not the first hole my finger has been in, nor will it be the last. Another pedestal reads, This is my little girl. She is brave and clever and funny. She will have none of the problems that I have. Her heart will never be broken. She will never be humiliated. Self-doubt will not devour her dreams. 

July assumes and invites the picture — these are eleven photo opportunities, in a city where one is always clutching a camera. Though the work begins as sculpture, it becomes a performance that is only complete when these tourist photos are uploaded onto personal blogs and sent in emails — at which point the audience changes, and the subject clearly becomes the participants, revealing themselves through the work.

Eleven Heavy Things was installed in the Center Lawn of Union Square Park in New York from May 29 to October 03, 2010. Presented by Deitch Projects.

Eleven Heavy Things was installed at the Pacific Design Center in Los Angeles from July 23 to October 23, 2011. Presented by MOCA.

Eleven Heavy Things was included in the exhibition Stories We Tell Ourselves at the Aspen Art Museum from March 27, 2015 to October 25, 2015.


The Future

The Future_1
© Todd Cole_MJ_FILM-224

When Sophie (Miranda July) and Jason (Hamish Linklater) decide to adopt a stray cat, their perspective on life changes radically, literally altering the course of time and space and testing their faith in each other and themselves.

Written and directed by Miranda July; director of photography, Nikolai von Graevenitz; edited by Andrew Bird; music by Jon Brion; production design by Elliott Hostetter; costumes by Christie Wittenborn; produced by Gina Kwon, Roman Paul and Gerhard Meixner; released by Roadside Attractions. With: David Warshofsky (Marshall), Isabella Acres (Gabriella) and Joe Putterlik (Joe/the Moon).

view website trailer making of


It Chooses You


In the summer of 2009, Miranda July was struggling to finish writing the screenplay for her much-anticipated second film. During her increasingly long lunch breaks, she began to obsessively read the PennySaver, the iconic classifieds booklet that reached everywhere and seemed to come from nowhere. Who was the person selling the “Large Leather Jacket, $10″? It seemed important to find out—or at least it was a great distraction from the screenplay.

Accompanied by photographer Brigitte Sire, July crisscrossed Los Angeles to meet a random selection of PennySaver sellers, glimpsing thirteen surprisingly moving and profoundly specific realities, along the way shaping her film, and herself, in unexpected ways.

Elegantly blending narrative, interviews, and photographs with July’s off-kilter honesty and deadpan humor, this is a story of procrastination and inspiration, isolation and connection, and grabbing hold of the invisible world.

Published by Mcsweeney’s.




In a photo collaboration with Roe Ethridge, July singled out extras from the backgrounds of various famous films —The Outsiders (1983), Kramer vs. Kramer (1979), The Godfather (1972) — and worked with a costume designer (Jennifer Johnson) and hair and makeup artists to become them.



Contributed Mother’s Nightmare to Photographer’s Playbook: 307 Assignments and Ideas, edited by Jason Fulford & Gregory Halpern, published by Aperture


The Hallway

The Hallway from The Hallway on Vimeo.


A 125 foot hallway lined with fifty wooden signs, hand-painted with text. As the viewer/participant walks down the seemingly endless hall, weaving between the signs, the text acts as an internal voice, “It’s too late to go back now, but the end seems far away…” The “you” in text realizes that you’ll be walking down this hallway for the rest of your life. And like life, the hall is filled with indecision, disappointment, boredom and joy – and it does end.
English in one direction, Japanese in the other.

Commissioned by the Yokohama Triennial, 2008. In the collection of The Hara Museum of Contemporary Art, Tokyo, Japan.


No One Belongs Here More Than You


short stories, Scribner, published May 15 2007

view website




Learning to Love You More


Edited by Harrell Fletcher & Miranda July, published by Prestel.

view website


Things We Don’t Understand and Definitely Are Not Going to Talk About

Miranda July performing in
Miranda July and audience member performing in
Miranda July and an audience member performing in
Miranda July performing in

A tale of heartbreak and obsession that is so familiar you could tell it yourself. In fact, members of audience play lead roles in the performance. Performed at The Steve Allen Theater (Los Angeles), Project Theater Artaud/San Francisco Cinematheque, and The Kitchen (New York, March 2007).


Are You The Favorite Person of Anyone?

Are You The Favorite 1
Are You The Favorite 2
Are you The Favorite 3

Directed by Miguel Arteta
Written by Miranda July
A couple weeks after Miranda finished shooting her first feature, she wrote three short dialogues. Miguel called together some friends and made this short film, using the three dialogues as a script. The excellent Chuy Chavez also shot “Me and You and Everyone We Know.”
Starring John C. Reilly, Mike White, Miranda July and Chuy Chavez, published in Wolphin #1

3 min 45 seconds.


Read for Eli Horowitz’s Silent History at the Echo Park Time Travel Mart


Appropriation / Collaboration: Christian Marclay / Harrell Fletcher & Miranda July at the University of Michigan Museum of Art


In Mid-Air essay for Akademie X, Phaidon Press


Shoot for Ginza Magazine with(out) Takashi Homma


Finished copy edits on first novel The First Bad Man


My Autobiography, lecture at Hendrix College, conway, AK


LOST CHILD! at Columbus College of Art and Design, Columbus, OH


New Yorker Festival, NY


Undisguised Woman introduction for Cindy Sherman: Untitled Horrors, published Hatje Cantz/Moderna Museet


Reading, University of Tampa MFA ‘Lectores’ Speaker Series, Florida


Japanese premiere of The Future


Collaboration with On Paper Magazine, Henrik Nielsen & Andreas Omvik


In conversation with Joshuah Bearman about It Chooses You at Central Library, Downtown LA through ALOUD, LFLA


The Future screened at Ghent Film Festival


It Chooses You book published


German Premiere of The Future


BFI London Film Festival Masterclass, London


The Auction (performance) at Center for the Art of Performance, UCLA


Italian premiere of The Future


It Chooses You at Selected Shorts


Me and You and Everyone We Know

Miranda July in ME AND YOU AND EVERYONE WE KNOW, a film by Miranda July, 2005, Photo credit Phoebe Sudrow(3)
John Hawkes in ME AND YOU AND EVERYONE WE KNOW, a film by Miranda July, 2005, Photo credit Phoebe Sudrow(null)
Miles Thompson and Brandon Ratcliff in ME AND YOU AND EVERYONE WE KNOW, a film by Miranda July, 2005, Photo credit Phoebe Sudrow(1)

Christine Jesperson is a lonely artist and “Eldercab” driver who uses her fantastical artistic visions to draw her aspirations and objects of desire closer to her. Richard Swersey (John Hawkes), a newly single shoe salesman and father of two boys, is prepared for amazing things to happen. But when he meets Christine, he panics. Life is not so oblique for Richard’s seven-year-old Robby, who is having a risqué internet romance with a stranger, and his fourteen- year-old brother Peter who becomes the guinea pig for neighborhood girls— practicing for their future of romance and marriage. In July’s modern world, the mundane is transcendent and everyday people become radiant characters who speak their innermost thoughts, act on secret impulses, and experience truthful human moments that at times approach the surreal. They seek together-ness through tortured routes and find redemption in small moments that connect them to someone else on earth. An IFC/FILM FOUR and Gina Kwon Production

view website blog trailer buy dvd

Criterion Collection Special Edition


The Future (USA release)


Picture locked on The Future


Eleven Heavy Things, interactive sculptural work, Center Lawn, Union Square Park, New York


Cal Arts Visiting Artist lecture


Looked at Washington Sq. Park for site of Eleven Heavy Things


New draft of “Satisfaction” (original title for The Future)


Eleven Heavy Things, interactive sculptural work, Venice Biennale 53rd International Art Exhibition, Venice, Italy


Brainwave, discussion with Columbia University psychologist George Bonanno, Rubin Museum of Art, NYC


Every Single Thing You Know, taught workshop with students ages 8 to 14, 826LA East, Echo Park, CA


Taught class with Mike Mills at the Fondazione Claudio Buziol, Venice, Italy


No One Belongs Here More Than You/É claro que você sabe do que estou falando, Brazilian edition, published by Ediouro


No One Belongs Here More Than You/Ingen Hör Hemma Här Mer Än Du, Swedish edition, published by Alfabeta


No One Belongs Here More Than You/Zehn Wahrheiten, German edition, published by Diogenes


No One Belongs Here More Than You/Un Bref Instant de Romantisme, French language book release reception, hosted by Flammarion and Colette, Paris


The Sister, audio reading from NBHMTY, When Absence Becomes Presence (Exhibition), Washington Project for the Arts, Washington DC


Featured in Cinema Now, by Andrew Bailey, published by Taschen


Facilitated audience participation for David Byrne show, Davies Hall, San Francisco, CA


How I Learned to Draw

An ever-changing performance, How I Learned To Draw was the name July gave to all her performances after The Swan Tool and before making her first feature film in 2004. These works were less narrative, more audience interactive, and primarily concerned with drawing attention to the present moment. In one show July integrated footage of her parents talking to her, another show was a collaboration with a local seven year-old piano player, in another performance July intuited which audience members would be good friends, and introduced them. These performances were presented at sites such as The Whitney Museum (New York), The Warhol Museum (Pittsburgh), and Portland Institute for Contemporary Art.


Learning to Love You More Exhibition, curated by CCA curatorial students, MU, Eindhoven, The Netherlands


Pennysaver interviews begin


Getting Stronger Every Day screening, Ersta Konsthall (Stockholm, Sweden)


Three posters hand-painted for McSweeney’s Auction


No One Belongs Here More Than You/Neimand Hoort Hier Meer Dan Jij , Dutch edition, published by De Bezige Bij


No One Belongs Here More Than You/Tu Più di Chiunque Altro, Italian edition, published by Feltrinelli


No One Belongs Here More Than You, U.K. edition, published by Canongate


Monologue from Things We Don’t Understand and Definitely Are Not Going to Talk About at Sundance Institute 25th Anniversary Gala, Metropolitan Pavilion, New York


Things We Don’t Understand and Definitely Are Not Going to Talk About, work-in-progress, Project Artaud Theater, a benefit for the San Francisco Cinematheque, San Francisco, CA


Aurora Award Honoree Gala, Aurora Picture Show, Houston, TX


Things We Don’t Understand and Definitely Are Not Going to Talk About (Work in Progress), Steve Allen Theater, Los Angeles, CA


Uncertain States of America (Art Exhibition), Astrup Fearnley Museum of Modern Art, Oslo, Norway


Guest Performer in Leftover Stories to Tell: A Tribute to Spalding Gray, Royce Hall, UCLA, Los Angeles, CA


Awarded Chicago Film Critics Association Award for Most Promising Performer for Me and You and Everyone We Know


Gotham Awards Nominee for Me and You and Everyone We Know: Best Film and Breakthrough Director Award


Awarded Russell Smith Award by Dallas-Fort Worth Film Critics Association for Me and You and Everyone We Know


Independent Spirit Awards Nominee for Me and You and Everyone We Know: Best First Feature and Best First Screenplay


Newport International Film Festival winner for Me and You and Everyone We Know: Audience Award (Best Feature) and Jury Award (Best Director)


Philadelphia Film Festival winner for Me and You and Everyone We Know: Best First Time Director


San Francisco International Film Festival winner for Me and You and Everyone We Know: SKYY Prize and Audience Award for Best Narrative Feature


Stockholm Film Festival winner for Me and You and Everyone We Know: Best Directorial Debut


Haysha Royko

Haysha Royko, a video by Miranda July.  2003.
Haysha Royko, a video by Miranda July.  2003.  Image 4
Haysha Royko, a video by Miranda July.  2003.  Image 3

Three people negotiate space and energy in the Portland International Airport.

Animation by Jalal Jemison

4 minutes.


Me and You and Everyone We Know Awarded “Originality of Vision Award” at Sundance Film Festival, Park City, UT


Me and You and Everyone We Know, feature film, 90 minutes, Sundance Premiere


Sundance/NHK International Filmmaker’s Award (American recipient)


Go You Good Thing (solo exhibition), Thomas Landowski Gallery, Seattle, WA


Monthly recordings, commissioned by NPR member station WYNC for program “The Next Big Thing”


This Person, short story, published in Bridge Magazine


Learning to Love You More


Learning to Love You More is both a web site and series of non-web presentations comprised of work made by the general public in response to assignments given by artists Miranda July and Harrell Fletcher.

view website

website designed and maintained by Yuri Ono


Getting Stronger Every Day screened at Atlanta Film Festival, Atlanta, GA


Performance at The Andy Warhol Museum, Pittsburgh, PA


Getting Stronger Every Day screened at 25 Hours, Barcelona, Spain


How Will I Know Her?


How Will I Know Her? is a web-based exhibit about being far from the one you love, for reasons that are out of your control. This project was launched in April 2002 and was initially commissioned by the International Short Film Festival in Oberhausen, Germany for a program on the theme of “Catastrophe”.


Lecture and performance at Arts Technology Center, University of New Mexico, Albuquerque, NM


Performance at Art Gallery of Greater Victoria, Victoria, BC


Performance, Scottish Rite Theater, Austin, TX, following a performance by Forcefield (the Providence, RI-based art collective), Cinematexas International Short Film Festival


The Swan Tool

Miranda July performing in
Miranda July performing in
Miranda July performing in

The Swan Tool combines video, performance, live music and helium to tell the story of a woman (played by July) who cannot decide whether to live or die. Rather than choose, she digs a hole in her backyard and buries herself. Following the self-burial she attempts to continue living and working, but the thing in the hole will not die and she is unable to forget about it. In this performance July stands on a narrow catwalk between two screens, one behind her top half, and one in front of her bottom half.

Music by Zac Love
Digital production by Mitsu Hadeishi

Co-commissioned by the Portland Institute for Contemporary Art, the Rotterdamse Schouwburg, and the International Film Festival Rotterdam. Performed here and at sites such as The Institute of Contemporary Art (London), The Walker Art Center (Minneapolis), and Diverse Works (Houston).


Guest Editor, Independent Film & Video Monthly, insert on experimental film


Getting Stronger Everyday

Getting Stronger Every Day, a video by Miranda July, 2001(null)
Getting Stronger Every Day, a video by Miranda July, 2001

This one is about being lost and found, from moment to moment, and over the course of a lifetime. The spirit realm manifests in lo-tech effects and remembered TV movies.
Starring Richard Greiling, Carrie Brownstein, and Mia Cianciulli

Cinematography: Harrell Fletcher
Soundtrack: Zac Love
Editing: Miranda July and Keith
Edited at The Lux Centre

Commissioned by The Lux Centre for Pandaemonium 2001

7 minutes.


Artist in Residence, Taos Talking Picture Festival, Taos, NM


Artist in Residence, I.C.E, University of Georgia, Athens


Artist in Residence, Miami Beach Senior High, Miami, FL


The Swan Tool performance at Miami-Dade Community College, Miami, FL


Getting Stronger Every Day screened at New York Video Festival, New York, NY


Getting Stronger Every Day screened at Video in Studio, Vancouver, British Columbia


Getting Stronger Every Day screened at New York Underground Film Festival, New York, NY


Getting Stronger Every Day and Nest of Tens screened at Taos Talking Picture Festival, Taos, NM


Story credit for Center of the World (feature film), dir. Wayne Wang (Artisan)


Main Prize and Prize of the Jury of the North Rhine-Westphalia Goverment Ministry of Urban Development and Housing, Culture and Sport for Nest of Tens, Oberhausen Short Film Festival, Oberhausen, Germany


The Swan Tool, Kunsthalle Exnergasse (co-presented by Austria Film Coop), Vienna, Austria


The Swan Tool, Cinematexas, Austin, TX


The Swan Tool, Theater Artaud, San Francisco, CA


Getting Stronger Every Day screened at Pandaemonium Festival, London, UK


Getting Stronger Every Day screened at Impakt Festival, Utrecht


Getting Stronger Every Day screened at Tranz-Tech Video Bienniel, Toronto, Canada


Getting Stronger Every Day screened at University of Cincinnati, OH


Nest of Tens screened at Future Bodies Conference at the Media Academy, Cologne, Germany


Nest of Tens screened at Stichting FilmStad, Den Haag, The Netherlands


International Award for Nest of Tens, Cinematexas Festival, Austin, TX


The Swan Tool, Broad Performance Space, Pitzer College, Claremont, CA


The Swan Tool, San Francisco Cinemateque at the San Francisco Art Institute, CA


The Swan Tool, The Rio Theatre, Santa Cruz, CA


Some Kind of Loving tour with Astria Suparak, The Swan Tool (work in progress) with original live score by Zac Love, The Little Theatre, Seattle, WA


Nest of Tens

Nest of Tens, a video by Miranda July, 2000(null)
Nest of Tens, a video by Miranda July, 2000(1)
Nest of Tens, a video by Miranda July, 2000

Four alternating stories about mundane, personal methods of control. Children and a developmentally disabled adult operate control panels made out of paper, lists, monsters and their own bodies.
Starring Polly Bilchuk, Peter Borden, Eva Rioselo, Michael Loggins, Lindsay Beamish, Richard Greiling, Miranda July, and Aidan McClean
Made with a grant from the Andrea Frank Foundation.

27 minutes.


Nest of Tens screened at New York Underground Film Festival, New York, NY


Nest of Tens screened at VIPER, Lucerne, Switzerland


Nest of Tens screened at Seoul International Queer Film/Video Festival, Seoul, South Korea


Played The Black Eyed Nurse in Jesus’ Son (feature film), dir. Alison Maclean (Lion’s Gate)


Love Diamond

Screen Shot 2014-08-27 at 11.24.46 PM
Screen Shot 2014-08-27 at 11.23.46 PM

July’s first full-length performance work. The first act revolves around a girl and her mother. The girl is either sick or pretending to be; the mother is either human or pretending to be. The second act tells the story of a woman on an airplane who is circling an entity called “The Titan” – a planet, a monster, a hopelessly sad man who is following her. A chorus of audience members perforate the second act with tales of the illusive, perfect “Love Diamond.” The performance combines slide and video imagery, all controlled by July while she performs. This was July’s first collaboration with composer Zac Love.

Commissioned by the Portland Institute of Contemporary Art. Performed here and at sites such as The New York Video Festival, The Kitchen (New York), and Yo-yo a Go-go (Olympia).


Love Diamond, The Cinematexas Festival, Austin, Texas


Love Diamond, The New York Video Festival at the Walter Reade Theater, New York, NY


Guest Speaker, Film Arts Foundation, San Francisco, CA


The Amateurist screened at New York Exposition of Short Film and Video, New York, NY


The Amateurist screened at Rencontres, Video Art Plastique, Hervouville Saint-Clair, France


The Amateurist screened at VIPER, Lucerne, Switzerland


Silver Award, Experimental, for The Amateurist, New York Exposition of Short Film and Video


Love Diamond, Yo-Yo A Go-Go Festival at the Capitol Theater, Olympia, Washington




A “professional” woman monitors an “amateur” woman (both played by July) via video surveillance, as she has for the last four and a half years. She has never had direct contact with the amateur, but creates a sense of communion through numbers, knobs and careful language.
Digital video: Vanessa Renwick
Surveillance video: Miranda July
Editing: Kelly McClean
Music: Miranda July and D. Ben Noble
Sound mixing: Tim Renner

14 minutes.


The Amateurist screened at Pandaemonium Festival, London Electronic Arts/Lux Centre


The Amateurist screened at New York Video Festival, New York, NY


Guest Lecturer, Columbia River High School, Vancouver, Washington


Best Experimental Movie, for The Amateurist, Cinematexas Festival


No-Budget Award, The Amateurist, Cinematexas Festival




A 12 year-old Olympic swimmer and her mother (both played by July) speak to the public about “going for the gold”. Videoed by Miranda July, Wu La Dawson, and Summer Mastous. Edited by Miranda July.

10 minutes.


Margie Ruskie Stops Time, a collaboration with The Need, 7″ record, released by Kill Rock Stars (KRS271)


Performance Work

Performance work

Before performing full-length work in more theatrical performance venues, July performed in music clubs, sharing bills with bands like Sleater-Kinney, Chicks on Speed, and Dub Narcotic. Most of this work was recorded and is available on the CDs The Binet-Simon Test (Kill Rock Stars, 1998) and Ten Million Hours A Mile (Kill Rock Stars, 1997). Before this, July was a member of the band The Need; this collaboration can be heard on the 7″ record Margie Ruskie Stops Time (Kill Rock Stars, 1996).


Guest Lecturer, University of Southern California (Los Angeles, CA)


The Lifers

The Lifers is a sixty-minute play written and directed by July during her last year of high school; it starred Xochitl Perales and Dan Carroll, amateur actors who had responded to a casting call she had placed in the East Bay Express. The play is based on July’s real-life correspondence with a prisoner serving a sentence for murder. She presented it at 924 Gilman, an all-ages punk club in Berkeley, California. Following this she wrote and directed two more plays at Gilman, both of which she appeared in as an actor.


The CeBe Barnes Band, self-titled 7″ record, released by Horse Kitty Records