Reviews, Interviews, Recent Writing About

Cecilia Dougherty

Tanya Zimbardo:
Cecilia seemed to be ahead of the curve with performance reenactment, not only Fuck You Purdue (1987), but also riffing on canon with the all-women send-up of Lennon and Ono in Grapefruit (1989).

 Steve Seid:
Grapefruit was a landmark work. It was a great appropriation of a typically masculine space.

from Conversation with Steve Seid, Studio Sessions,, March 2015

Click on the links for text of article.

Scott Northrup and Jonathan Rajewski, Desire as Politics, Valade Family Gallery, College for Creative Studies, exhibition catalogue, 2018, pp. 5-6.

Daniel Benjamin and Eric Sneathen, The Bigness of Things: New Narrative and Visual Culture, Oakland, Wolfman Books, 2017, ix, x, 107, 110-113.

Glen Mannisto, “Desire as Politics: Eight Video Installations at Valade Family Gallery at the College for Creative Studies, Detroit Art Review,, 2018

video still from Gay Tape: Butch and Femme by Cecilia Dougherty
Video still, Gay Tape: Butch and Femme, 1985

Susan Tommaney, “Coal Miner’s Granddaughter,” Arts, Film, Repertory and Special Screenings, HoustonPressBlaffer, 2015

“Cecilia Dougherty: Coal Miner’s Granddaughter,” Texas Visual Art, Glasstire, 2015

Video still from Coal Miner's Granddaughter, 1990
Video still from Coal Miner’s Granddaughter, 1990

Original program notes for Coal Miner’s Granddaughter, screening at the Pacific Film Archive, September 1991:

“I’m Jane Dobson and this is my damn story.” So begins an off-kilter comedy of sexual reckoning in the seventies. Coal Miner’s Granddaughter uses semi-autobiographical tidbits to dis a dysfunctional family. Lancaster, PA is the opening site for the specifics of the great American breakdown. Jane (played with comic fragility by Leslie Singer) is the quiet, sickly one in a domestic unit comprised of venomous daddy Dobson (Kevin Killian), momma unbearable (Didi Dunphy), and two hapless siblings. Relieved of the family fetters, Jane leaves for college, only to discover that she isn’t attracted to academia, she’s attracted to women. This new-found knowledge takes her to San Francisco where she gets the grand erotic tour, from floor to Sealy. Jane’s sexuality is an expression of her haunted vulnerability. You can read her helplessness in every glinting thigh, every leathery harness. Shot with a low-end camcorder, C.M.G. has the murky look of memory; the camera wanders restlessly as if searching out some truth from Jane’s past. What it finds are Plain Janes with big desires.-Steve Seid

Rachel Del Giudice, “Art of the Real: Cecilia Dougherty, ‘Grapefruit,’ Film Linc Daily, Art of the Real, 2015

Andrew Lampert, “Laboratory: Video by Cecilia Dougherty,” Anthology Film Archives, April 2012, 18.

Kevin Killian, “Cecilia Dougherty: In A Station, Petals,” interview, with Cecilia Dougherty,  2011

Sarah Schmerler, “Cecilia Dougherty, Participant Inc.,” Art in America, review, 2011

Paul David Young, “Bearing Witness: A Week of Performance at CANADA.” Art in America International Review December 16, 2011

Elizabeth Freeman, “Junk Inheritances, Bad Timing: Familial Arrythmia in Three Working-Class Dyke Narratives,” Time Binds: Queer Temporalities, Queer Histories, Durham: Duke University Press, 2010, 21-33.

“Cecilia Dougherty: The Fourth Space & Aleksei R. Stevens: Moving Parts @PARTICIPANT INC,” Artshows, 2010
Video still from Grapefruit, 1989
Video still from Grapefruit, 1989