Love Tapes is a deceptively simple yet deeply relevant video project in today’s digital era. While social media thrives on curated self-representation, Love Tapes offers an unfiltered, vulnerable alternative, resisting algorithmic commodification. Clarke’s work showcases video as an intimate, democratic medium—capturing raw emotion and fostering radical human connection. Opposing social media’s isolating effects, Endless Love Tapes at The Burr highlights video’s power to document, connect, and humanise. Over 2,500 participants have joined the process: watching others’ tapes, selecting a three-minute song, recording their own, and deciding whether to share or erase it. Watching together, participants realise they are not alone—an antidote to the digital echo chamber. (Dawn Bothwell)

Wendy Clarke (b.1944) has spent her life working prolifically with the possibilities of the medium of video, including the use of participatory video – both live and recorded – to examine interpersonal relationships. Clarke’s projects and installations have been exhibited on television, in museums, galleries, and public places.

The work has received grants from the National Endowment for the Arts, New York State Council of the Arts, Rockefeller Foundation, Corporation for Public Broadcasting, California Arts Council, Arts in Corrections, Camarillo State Hospital, Annenberg Center, Irvine Foundation, and California Youth Authority.

Clarke’s ongoing lifetime project is Love Tapes, portraits of people talking about their personal experiences with love. Clarke lives on her donkey farm in Taos, New Mexico.

LOVE TAPES (1977-present), CYNTHIA INSIDE OUT (2002), GODDESS (2000), WE ARE MANY (1999), LA LINK (1998), LA LINK (1996), ELI ON AIDS (1995), VIDEO MASKS (1995), AMEN (1992), ONE ON ONE (1991 – 1994), THE NEW YORK TAPES (1990), VIDEO ROTATION (1983), INTERACTIVE VIDEO SCULPTURE (1977), CHAPTER ONE from the video journal of Wendy Clarke (1977)