Early Interview of Cecilia Dougherty by Artist Amy Sillman

Cecilia Dougherty: An Interview

Cecilia Dougherty, video still from 2003 interview by Amy Sillman
Cecilia Dougherty, Video Data Bank interview by Amy Sillman, 2003

Available at the Video Data Bank

2003 | 00:43:33 | United States | English | Color | Stereo | 4:3 | Video

Collection: On Art and Artists, Interviews, Single Titles

Tags: FeminismFilm or VideomakingLGBTQSexuality

In this interview Cecilia Dougherty describes her work and her explorations into family interactions, outsider psychology, role-playing, lesbian sexuality, and popular culture. Her videos Grapefruit (1989) and Coal Miner’s Granddaughter (1991) work from within mass culture norms to create a lesbian dialogue within the “normal”—what Dougherty calls “the life of the ordinary lesbian and her working-class family.” Her more recent vides explore lesbian identity within a separate social sphere.

Interviewed by Amy Sillman in 2003, edited in 2013.

Cyland Media Art Laboratory Picks up my Cyber Art for Distribution and Archiving

Drawing from interactive fiction by Cecilia Dougherty based on drawing of a mammoth from El Castillo paleolithic site in Spain.

Three web-based pieces: Time Before Memory (Interactive Fiction 2019), Drift (interactive photo essay, 2020), and my newest piece, Shanidar, Safe Return (Interactive Fiction, 2023). These works are viewable on my website and are now a part of an international collection of web-based works.

From their website: https://videoarchive.cyland.org/

CYLAND VIDEO ARCHIVE
International Digital Online Archive

The CYLAND Video Archive (since 2008) is one of the first systematized online video art platform of its kind: most of the works gathered here are accessible for view on the internet at the archive website. 

The idea to make video art works and films open for the public viewing online comes from the beginning. It was a very progressive thing to demonstrate and promote video art online and to have this exchange between classic and young artists and to make an international networking platform. CYLAND Video Archive is a great information and educational resource. Each year the Cyland Video Archive produces an international competition video art program for the CYFEST media art festival.

One of the tasks of the archive is to build an open and accessible collection, to protect works of art from being locked in private collections, and to prevent their technical basis from becoming outdated. The archive is structured in two parts: videos on the website with open access (artists personal pages), and the offline collection for professionals accessible at the archive office. Currently, the collection comprises over 600 videos from different countries. The collection includes video art, experimental films, computer graphics, 3D animation, stop-motion animation, poetic video, video documentation of art and education projects on cutting-edge technologies. 

Tubular Times at Real Art Ways, Hartford, CT

Show runs Oct. 21, 2023 – Jan. 14, 2024
56 Arbor St, Hartford, CT 06106

The opening was on Saturday, Oct 21, and it was GOOD.

Cecilia Dougherty at Real Artways in Hartford, CT, looking at the installation of her 1986 video titled "Sick"
Cecilia watching her own 1986 video, SICK, at Real Artways, Hartford CT

Curated by Terri c. Smith, a Bard Curitorial Program grad and someone who has done her research. I went with my friend Pat from New Haven and I had no expectations for this show – it could be great or it could be not so great. And it was very good (i.e., great) and completely engaging. Work by people I know, people I don’t know but admire, and people I once knew: Peggy Ahwesh, Max Almy, Ericka Beckman, Gretchen Bender, Dara Birnbaum, Cecelia Condit, Cecilia Dougherty, Ulysses Jenkins, Nam June Paik, Ann Magnuson, Piplotti Rist, and Michael Smith. Newcomers Am Schmidt and Willie Stewart as well.

Pat and I stayed ’til closing time. She took my picture – you can get a glimpse of how each artist’s work is installed – clean and neat, plenty of room to watch, and Paik’s work was set up with a comfy padded bench for viewing.

The show is up through the year, closing on Jan. 14, with a curator walk-through and reception on Dec. 9 from 3-5 PM.


Shanidar, Safe Return

Find Shanidar here: https://shanidar.ceciliadougherty.com/

What is Interactive Fiction? It’s a way to tell a story by having the reader, or visitor to the story site, “play” the story by making choices about what part of the story to go to next – the reader can navigate forwards and backwards throughout the story. There is no directly linear way to experience Interactive Fiction, and much of it has not only text – the story – but also graphics, animation, and sound. It provides a rich, inviting and immersive pathway into narratives.

Trailer for Shanidar, Safe Return, launched Oct. 23, 2023

Shanidar, Safe Return is an interactive story that places a young Neanderthal woman named Haizea in the center of a community’s struggle for survival, as the Cro-Magnins (Homo sapiens) migrate to their once-peaceful territories. Haizea and her band of mixed – Neanderthal and Cro-Magnin – travelers must walk the distance from danger in what is now southern France to safety in their old refuge in Iraqi Kurdistan, a place called Shanidar. They meet a group of Denisovans on the way, and receive guidance from the old H. heidelbergensis shaman, Bihotz.

Created in Twine.

Tubular Times: Camp, Horror, and Music Television: Video Art 1981-1993

Video art exhibition this Fall at Real Art Ways

Oct 21, 2023 – Jan 14, 2024
Real Art Ways
56 Arbor St, Hartford, CT 06106-1222
+1 860 232 1006

Opening Oct 21, 4-7PM
Curator’s discussion of the work Dec 9, 4PM

statement by curator Terri C. Smith

Tubular Times is a group exhibition that features significant video art made from 1981-1993. The show also includes thematically related satellite installations with newer works by contemporary artists Am Schmidt and Willie Stewart. The historic component will be on view in the main gallery and black box room and will feature approximately twelve artists, including Peggy Ahwesh, Max Almy, Ericka Beckman, Gretchen Bender, Dara Birnbaum, Cecelia Condit, Cecilia Dougherty, Ulysses Jenkins, Nam June Paik, Ann Magnuson, Pipilotti Rist, and Michael Smith.

Terri C. Smith is showing my little-known 1986 video, SICK, a visual monologue about being disabled and closeted about my disability. But it’s not all doom and gloom – it’s an experimental piece created at the San Francisco Art Insitute, in Studio 9, which was equipped with a gigantic Grass Valley Switcher and Downstream Keyer. All our effects and colors were created in the live mix. Very analog, and lots ‘n lots of fun!

The exhibition is inspired by Vestron video, which was a production company and VHS distributor located in Stamford, Connecticut in the eighties and early nineties. Sharing qualities with Vestron’s catalog of B-horror, music video, and campy humor, many of the works in Tubular Times layer comedy, horror, and music to address 1980s political themes in the U.S., including the AIDS crisis, a growing wealth gap, and Reagan-era backlash to the civil liberties of the 1960s and 1970s. The show’s title references: cathode-ray tube (CRT) televisions used in the 1980s; that decade’s saying “totally tubular”; and phonetically suggests the word turbulent.

1981 was the first year of MTV and the first year of the AIDS epidemic, setting much of the tone for a decade. It’s not surprising, then, that the video art of the 1980s exhibited a unique mix of urgency, desperation, camp, and techno celebration. In the video art of that era, gender identity, a sense of life-and-death urgency, theatricality, satire, and experimental digital techniques coalesced. During this time, we see irreverent divergences from the conceptual video art of the 1970s which, while often addressing sociopolitical themes, was rarely directly influenced by television and movies. With cable television growing in the mid-1970s and being in sixty-percent of American houses by 1992 and with VHS bringing movies into the home, the topographies of entertainment shifted dramatically during this time. Video editing also became more sophisticated, allowing artists to appropriate imagery from pop culture.

Vestron’s catalog was a mix of comedy, satirical spoofs, and thriller/horror genres. The company also was involved in music videos and released Making of Michael Jackson’s Thriller. Vestron is best known for the film Dirty Dancing, but other movies they released include: quirky comedies like Earth Girls are Easy and The Princess Bride; horror movies such as Slaughter High and Horror Hill; and comedy-horror films such as Sundown: the Vampire Retreat and Lair of the White Worm. For some of the artists in Tubular Times, horrora genre inextricably linked to VHSbecomes an allegory for the othering of the LGBTQ+ community as well as the systemic failure and loss of life during the AIDS crisis, which was further exacerbated by Reagan-era policies that centered cisgender, heteronormative, white, capitalist ideals. The resulting ethos of these videos is to varying degrees harrowing and hysterically funny.

It is fitting to locate Totally Tubular—an exhibition inspired by this piece of Connecticut film history—at Real Art Ways, a contemporary art space that has a long, rich history of supporting independent cinema through its film programming.

Above the fold in Sweden

Swedish news reporter Karin Eriksson stopped me (Cecilia Dougherty), Phyllis Baldino and Laura Parnes on the street in Lower Manhattan on the night of Trump’s first indictment on rape charges. She was asking New Yorkers their opinions on the indictment. As it turns out, all of us were elated and we expressed that to Karin, who turned it into a story for the Swedish paper Dagens Nyheter, on the first page of the Världen (“World” news) section.

Swedish Newspaper Dagens Nyheter headline about Trump indictment

Karin’s article featured the photo, above, of me, Phyllis and Laura – three video artists having a night on the town – as we respond with joy to the question of what we might think of Trumps’ legal problems and having finally been brought to court. Here’s a link to the article:

https://www.dn.se/varlden/new-york-bor-hyllade-atalet-i-natt-underbart/

Trump lost that case, but now he’s under a new indictment under the Espionage Act. Finally.

And here’s Karin Eriksson, who kindly showed us her credentials:


Who Owns Prehistory?

We do! All of us! Because it is about us!

So, no more exclamation points, please.

Cecilia Dougherty on a field trip on February 9, 2023, to the Hall of Human Origins at the American Museum of Natural History with her students enrolled in HMS-340S-01, Who Owns Prehistory?  

This is one my courses at Pratt Institute. A course I designed. My baby. In the course, we non-scientists (we, artists, that is) look at the discourses of science surrounding the never-ending question to figure out what is “human,” who qualifies as “human,” and how many species of bona fide “humans” are there? The discourses are fun and interesting and always spark my imagination like crazy. And going to the American Museum of Natural History with my students was like turning on all the lights. They saw things I hadn’t seen, even after many trips. They pointed out objects, displays, topics that I had always missed or glossed over. Paleolithic music, for example – music, hearing, the development of the ear. Very important topic.

Cecilia Dougherty looking at an exhibit in the Hall of Human Origins at the American Museum of Natural History, New York
Cecilia Dougherty at the American Museum of Natural History. Photo by Gina Marchetti.

In Conversation: an online event about the early works (1985-2001) of Cecilia Dougherty.

I want to thank Gina Marchetti for organizing this event, and Amanda Mendelsohn for her amazing work, for writing about my videos, and for doing this event with me.

We had a really good time! Thanks to everyone who came and who participated.

This event has been recorded! Here’s a link to the event:

https://talks.pratt.edu/media/t/1_641c9hqs/269360392

PRATT HUMANITIES AND MEDIA STUDIES PRESENTS
Click to Register:
The work of artist Cecilia Dougherty  explores the nature of queer women’s relationships to one another, society, and the everyday, as well as a feminist analysis of lesbian sexuality, psychologies, and intimacies inside a culture that is, at best, indifferent and at worst, hostile. She often uses methodologies borrowed from documentary and biography to map contemporary realities over pop-historical icons, creating art that deals with nostalgia, popular culture, and the state of society. Looking to Dougherty’s lasting legacy, we are pleased to present the lecture “Make Believe, It’s Just like the Truth Clings to It”: In Conversation with the Work of Cecilia Dougherty given by Amanda Mendelsohn, Graduate Distribution Assistant at the Video Data Bank, and School of the Art Institute of Chicago M.A. candidate in Modern and Contemporary Art History.

Exploring the earlier video works of Dougherty, this talk will address issues of identity, queerness, and experimentation. The four titles discussed, The Drama of the Gifted Child, My Failure to Assimilate,  The dream and the waking, and  Gone, range from 1992 to 2001, illuminating a specific time period of Dougherty’s work. Based on their VDBTV essay in part drawn from their interview with Dougherty, Mendelsohn explores their relationship to Dougherty’s experimental practice and catalog, as well as how the pieces fit into the broader picture of analysis. The lecture will be followed by an interview between Mendelsohn and Dougherty, then followed by an audience Q&A session. 

“Make Believe, It’s Just like the Truth Clings to It”:

In Conversation with the Work of Cecilia DoughertyMonday, February 27, 2023, 7:00pm (EST)

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