Cecilia Dougherty

The image above is a still from one of my silent installations called IN A STATION, PETALS. I put the installation up at Right Window Gallery on Valencia Street in San Francisco in 2011. Kevin Killian invited me to do something for the front window of the gallery, so I created this video and rear-screen projected it onto the window to play throughout the night. Was that actually the last time I was in San Francisco? I miss Kevin.

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The Irreducible I: Space, Place, Authenticity, and Change, New York and Dresden: Atropos Press, 2013. Find it on Amazon here


Shanidar, Safe Return, a web-based interactive story and sequel to Time Before Memory (2019), to be launched Sept-Oct 2023.

Time Before Memory, a web-based interactive story, 2019.


“The War on Christmas,” C. Dougherty (ed.). New York: Grace Press, 2011.
The Fourth Space. Chapbook, New York, 2010.
The Third Space. Chapbook, New Haven, 2009.


“Sue,” Writers Who Love Too Much: New Narrative 1977-1997, Dodie Bellamy and Kevin Killian (eds.). New York: Nightboat Books, 2017, 356-60.

“Stories from a Generation: Video Art at the Woman’s Building,” From Site to Vision: The Woman’s Building in Contemporary Culture, Sondra Hale and Terry Wolverton (eds.). Los Angeles: Otis College of Art and Design, 2011, 302-27.

“Grapefruit Ripening: Ten Years of Video Art in San Francisco, 1985-1995.” Radical Light: A History of the Avant Garde Moving Image in the San Francisco Bay Area, 1945-2005, Steve Anker, Kathy Geritz, and Steve Seid (eds.). Berkeley: University of California Press, 2010, 245-247.

 “6-minute essays,” Dog Under Porch. New York: Little Socks Press, 2008, 17-20.

“Dig Where You Stand,” Thread Waxing Space Artist’s Book. Participant Inc. New York, 2006.

“Flying in Dreams,” Papers, Katie Holten (ed.). Published in conjunction with Laboratorio della Vigna. Irish Pavilion, 50th Venice Biennale, 2003.

“Core Sample,” Core Sample: Portland Art Now, Randy Gragg and Matthew Stadler (eds.). Portland: Clear Cut Press, 2003.

“Veg Out,” Cookin’ With Honey, Amy Scholder (ed.). Ann Arbor: Firebrand Books, 1996, 64-68.

“I Came to New York Last Summer.” Witness: An Exquisite Corpse,XXX Fruit Magazine, Anne-Christine D’Adesky (ed.), Winter 1995/96, 99.

 “70s Chronicle,” Framework January 1995, 7.

“Sue,” Some Weird Sin II, Wayne Smith and Rex Ray (eds.), 1994.

“Letter to Jane” Some Weird Sin, Wayne Smith and Rex Ray (eds.), 1993.


Mirage #5: Period(ical), “After the Fact Quasi-Conversation, July 1997, Bard College,” with Yvonne Rainer, December 2018.

“In Transit: Food Trucks and School Cafes,” Put an Egg on It, Number 14, September 2017.

“Summer 2000,” Picture Lock: 25 Years of Film/Video Residencies at the Wex, Wexner Center for the Arts, Ohio State University, 2015.

FELIX: A Journal of Media Arts and Communication, Leah Gilliam, Elisabeth Subrin, and C. Dougherty, “Dearest Cecilia,” Volume 2 Number 2, 1999, 232-234. Collaborative text.

Afterimage, “Stories from a Generation: Early Video from the LA Woman’s Building.” Volume 26 Number 1, Summer 1998, 8-11.

Untitled Drawings, Grand Larceny Vol. 2, Monica Chau, Ken Gonzales Day, Kelly Martin, and Hillary Mushkin (eds.), 1995, 20.

 “freedom oh! freedom/Los Feliz,” Rick Jacobsen and Wayne Smith (eds.). This is Not Her. San Francisco: Rick Jacobsen, 1995, 8.

Untitled artist’s page, Grand Larceny Vol. 1, Monica Chau, Ken Gonzales Day, Kelly Martin, and Hillary Mushkin (eds.), 1994, 23.

I (heart) Amy Carter, “Pathetic.” Tammy Rae Carland (ed.), Spring 1994.

Blocnotes, “Los Angeles, ‘Jardin d’herbes folles’– Growing Weeds in L.A.: A roundtable discussion with Cecilia Dougherty, M. A. Greenstein, Terry R. Myers, Lari Pittman, and Sue Spaid,” Number 7 Fall 1994, 124.

Mirage #4: Period(ical), “Joe-Joe,” August 1993, Number 19.

LA Press, “Made the American Way,” Vol. 1, Lawrence Andrews (ed.), 1989, 6.


Art in America, Trisha Baga: Whitney Museum and Greene Naftali, March 2013, 149-150.

Temple Bar Magazine, bi-monthly book reviews, Dublin: HKM Publishing, Ireland, 2006–2007.

Nest, “Temporary Headquarters: Paintings by Hilary Harkness,” Winter 2001-02, 162-171.

Artbyte Magazine, “Leah Gilliam goes Apeshit and renegotiates art, politics, and outmoded computers along the way,” May-June 2000, 72.

Artbyte, “Ghostcatching/Bill T. Jones,” April-May 1999, 63.

New Art Examiner, “No One Said It Would Be Easy: The New York Lesbian and Gay Film Festival,” October 1996, 34-36.

New Art Examiner, “Identity Crisis at the University Art Museum,” September 1995, 29-37.


Le Tigre World, Interview, Le Tigre, <>, currently offline.    Available at <>.

San Francisco Bay Guardian, “Meet Your Makers: An Earful,” June 27, 1992, 38.


Shanidar, interractive and web-native speculative fiction
Zen Center Diary (as yet untitled), fiction
Zipper Mouth, screenplay for video installation


Karin Eriksson, “New York-bon Cecilia Dougherty firade Trumps åtal i natt: underbart,’” Dagens Nyheter, Världen, 03/31/23. Chaos Theory (Remembering Dale Hoyt), program notes, 2023.

Amanda Mendelsohn, Make Believe, It’s Just Like the Truth Clings to It: In Conversation with the Work of Cecilia Dougherty, unpublished graduate thesis, 2023.

Amanda Mendelsohn, “Butch and Femme, Not Us vs. Them: Cecilia Dougherty’s Gay Tape on Subverting the Evidence of Experience and the Cinematic Male Gaze,” Video Data Bank TV (VDBTV), August-September, 2022.

Jamie Chan, “a circle is a thought pattern,” curator’s statement, Essex Flowers Gallery, New York, 2022.

Daniel Trowbridge, Femexfilmarchive, Interview With Feminist Experimental Filmmakers: Cecilia Dougherty,, February 2021.

Jean-Thomas Tremblay, “Together, in the First Person,” Chicago Review, < >, Nov 2020.

Tony Huffman, “Excavating Humanity: Cecilia Dougherty’s Time Before Memory,” Arcade Project, < >, June 23, 2020.

Cynthia Chris, “The Practices of a Faculty,” Media Culture Faculty Exhibition: 2018, The Art Gallery of the College of Staten Island, September – October, 2018, pp. 7-11.

Sonia Shechet Epstein, “Pixelvision,” Sloan Science and Film, September 26, 2018, < >.

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

Susie Tommaney, “Coal Miner’s Granddaughter,” Houston Press, November 6, 2015. <>.

Glasstire, Texas Visual Art, “Cecilia Dougherty: Coal Miner’s Granddaughter,” October 21, 2015. <>

Rachel Del Giudice, “Art of the Real: Cecilia Dougherty, ‘Grapefruit,’” FilmLinc Daily, April 18, 2015. <>.

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

Ruby Rich, “New Queer Cinema,” Critical Visions in Film Theory, September 1992. Rpt. in Critical Visions in Film Theory, Timothy Corrigan and Patricia White (eds.). Boston: Bedford/St. Martin’s, 2011, 772.

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

Kevin Killian, “Cecilia Dougherty – In A Station, Petals,” Right Window August 2, 2011 <>.

Dodie Bellamy, “Morning Light,” Belladodie August 8, 2011 <>.

Sarah Schmerler, “Cecilia Dougherty: Participant, Inc.” Art in America February 2011, 102-103.

“Cecilia Dougherty ‘The Fourth Space’ with Aleksei R. Stevens ‘Moving Parts,’” NY Art Beat: Info and Opinion on NY Art & Design October 2010 <>. Accessed October 2010, no longer online.

Elizabeth Freeman, Time Binds: Queer Temporalities, Queer Histories. Durham: Duke University Press, 2010, 21-33.

Kara Williamson, “Gone: Video by Cecilia Dougherty,” 2006 <>.

Michael Fox, “Speed: What would you do with one weekend to write, shoot, and edit a short movie?” San Francisco Weekly October 8, 2003.

Amy Sillman, “Cecilia Dougherty,” Swingset Issue 3 Winter 2003, 49-54.

Diana Burgess Fuller, Daniela Salvioni, Art, Women, California 1950-2000: Parallels and Intersections. Berkeley: University of California Press, 2002, xi.

Sarah L. Stifler, “Slippery When Wet: An Exhibition Dossier,” GLQ: A Journal of Lesbian and Gay Studies Volume 8, Number 1-2. Durham: Duke University Press, 2002, 241-249.

Victor Fan, “New York Underground Film Fest,” Film Festival Reporter Spring/Summer 2001, 22. “Gone video begins gallery series,” Provincetown Banner July 12, 2001, 39.

Andrew Lewis Conn, “Notes from the Underground,” Film Comment May-June 2001, 67-68.

Melissa Anderson, “Superstar: The Pat Loud Story/Double Fantasy,” The Village Voice, March 13, 2001 <,anderson,22853,20.html>.

Judith Halberstam, “The Joe-Joe Effect,” GLQ/Gay and Lesbian Quarterly. Durham: Duke University Press, 2000, 359-363.

Alexandra Juhasz, “Bad Girls Come and Go, But a Lying Girl Can Never Be Fenced In,” Visible Evidence Volume 5: Feminism and Documentary. Minneapolis: University of Minnesota Press, 1999, 105-107.

Laura Cottingham, “Eating from the Dinner Party Plates,” Seeing through the Seventies: Essays on Feminism and Art. New York: Routledge, 1999, 152.

Leah Gilliam and Elisabeth Subrin. “The Failure to Assimilate: The Video Works of Cecilia Dougherty. FELIX: A Journal of Media Arts and Communication Volume 2 Number 2, 1999, 235-237.

Laurie Weeks, “Specimen: The Video Works of Cecilia Dougherty,” FELIX: A Journal of Media Arts and Communication Volume 2 Number 2, 1999, 238-241.

Isabel Sanduri, Lyn Love, and Jeremy Lehrer, “Profiles,” The Independent Film & Video Monthly March-April 1999, 39.

Lia Gangitano (ed.), The Failure to Assimilate: The Video Works of Cecilia Dougherty. New York: Thread Waxing Space, 1998 (monograph).

Nayland Blake, “Cecilia Dougherty,” Out Magazine, November 1998.

Claire Jackson and Peter Tapp (eds.), The Bent Lens, A World Guide to Gay and Lesbian Film. Victoria: Australian Catalogue Company, 1997, 92, 151, 178 and 225.

Nicholas de Villiers, “Dyke Camp: The Queer Connection,” unpublished paper, 1997.

Chris Straayer, Deviant Eyes, Deviant Bodies: Sexual Re-Orientation in Film and Video, New York: Columbia University Press, 1996, 204 and 218.

Michael Sarver, “Skin Deep, A White Guy Looks at Criticism, Exclusion, History, and Power,” Art Calendar December 1996, 11-12.

Sarah Schulman, “We Try Harder,” Mix Festival Catalog 1996, 6-9.

Edward Rubin, “Cecilia Dougherty: Walter Reade Theatre at Lincoln Center,” New Art Examiner February 1996, 41.

Maria Troy and Thompson Owen, “Failure: a new tape by Cecilia Dougherty,” P-Form, Winter 1995/96, 20-22.

Gwendolyn Audrey Foster, Women Film Directors: An International Bio-Critical. Westport: Greenwood Press: 1995, 74.

Steve Seid, “Film Notes,” University Art Museum – Pacific Film Archive January/February 1995, 18.

Johnny Ray Huston, “Riot Biiitch,” San Francisco Weekly July 6, 1994, 12-13.

Liz Kotz, “An Unrequited Desire for the Sublime: Looking at Lesbian Representation Across the Works of Abigail Child, Cecilia Dougherty, and Su Friedrich,” Martha Gever, John Greyson and Pratibha Parmar (eds.), Queer Looks: Perspectives on Lesbian and Gay Film and Video. London: Routledge, 1994, 86-102.

Eileen Myles, “Joe-Joe,” Art in America April 1994, 129.

Christine Tamblyn, “Multiple Identities,” The Independent March 1994, 25-26.

David Bonetti, “A pair of exhibitions held back by their agendas,” San Francisco Examiner October 8, 1993, D19.

Erin Blackwell, “Joe Orton’s Double-Dyke Life,” Bay Area Reporter October 7, 1993, 39.

Elizabeth Pincus, “What’s New,” San Francisco Weekly October 6, 1993, 20.

Judith Halberstam, “Transgenderism – Coming to a Theatre Near You,” On Our Backs Sept/Oct, 1993, 10-11.

Bruce C. Steele, “Get Me to The Fest On Time,” Out Magazine July 1993, 14.

Glen Helfand, “Come Together,” San Francisco Weekly June 16, 1993, 19.

Susan Gerhard, “Humor Me,” The San Francisco Bay Guardian June 16, 1993, 52.

Brandan Judell and Carletta Joy Walker, Arts Magazine. Live radio interview with Cecilia Dougherty and Leslie Singer. WBAI Radio, New York, June 7, 1993.

Liz Kotz, “Video Drone,” Artforum May 1993, 15-16.

Harry Kloman, “Trying to do the Impossible,” In Pittsburgh April 28, 1993, 17.

David Bonetti, “Artists roll out the purple carpet for Prince,” San Francisco Examiner April 10, 1993, 44-45.

Catherine Saalfield, “Let’s Talk About Sex: New York’s Lesbian and Gay Experimental Film Festival,” The Independent April 1992, 20-21.

Ruby Rich, “A Queer Sensation: New Gay Film,” The Village Voice March 24, 1992, 41-44.

Film Arts Foundation. “The Camcorder Revolution.” Oral presentation on the work of Cecilia Dougherty and others. San Francisco Artspace, February 21, 1992.

Karl Soehnlein, “Unconventional Films and Videos Screen at New York Festival,” The Advocate August 1991, 81.

Mary Wings, “A Maverick Among Mavericks,” The Advocate September 10, 1991, 82-83.

Manohla Dargis, “Don’t Blink,” The Village Voice September 10, 1991, 64.

Sarah Schulman, “San Francisco International Lesbian and Gay Film Festival,” June 1991, 17.

Liz Kotz, “Re-mapping Boundaries: Video and Popular Culture.” Artists Space, New York, March 1991.

Valerie Soe, “Cecilia Dougherty/Grapefruit,” Cinematograph Fall 1991, 87-90.

Steve Seid, “The Body Politic: Recent Video Art by Bay Area Women,” Release Print September 1990.

Matthew Gilbert, “Gay film festival transcends stereotypes,” The Boston Globe August 3, 1990, 39.

Andrew Rasanen, “Chased,” Bay Windows August 16, 1990, 16.

Jeanne Finley, “Transgressions,” New Langton Arts Catalog of Programs 1989, 56.

Liz Kotz, “Ec-centric Identities.” Whitney Symposium, Whitney Museum of American Art, April 1990. Oral presentation on the work of Cecilia Dougherty and others.

Liz Kotz, “Smart and Subversive: Videos from the Lesbian & Gay Fest,” S F Weekly June 13, 1990, 19.

Valerie Soe, “Linchpin of San Francisco Art,” Artweek March 1990, 22.

Valerie Soe, “Bay Area Video: Cycling through pot, punk and politics,” Artweek December 7, 1989, 22.

Liz Kotz, “Interrogating the Boundaries of Women’s Art: New Work in Video by Women,” High Performance Winter 1989, 36-41.

Tony Labat and Anne MacDonald, “SFAI/PV,” Shift Magazine November 1989, videotape.

Sherry Lee Thomas, “Satisfying the Superlative,” Artweek October 21, 1989, 5.

Nayland Blake, National Association of Artist’s Organizations Annual Conference, Minneapolis, 1989. Oral presentation on the work of Cecilia Dougherty and others.

Kenneth Baker, “Five Artists Christen CCAC’s New Gallery,” San Francisco Chronicle September 19, 1989.

Steve Seid, University Art Museum Calendar, Pacific Film Archive program notes. August 1989, 9-10.

Christine Tamblyn, “Diamonds in the Rough,” Shift Magazine Number 5, 1989, 56-57.



Tanya Zimbardo, “Conversation with Steve Seid,” Artpractical March 17, 2015 <>.

Hoang Tan Nguyen, A View from the Bottom: Asian American Masculinity and Sexual Representation. Durham: Duke University Press, 2014.

Lucy Raven, “Radical Light. Alternative Film and Video in the San Francisco Bay Area, 1945–2000,” Bomb Magazine, Spring 2011 <>.

Ed Halter, “Bay Watch,” Artforum November 2010, 59-60.

Gerry Fialka, “PXL Triple Fake,” CineSource, October 5, 2010, <>.

Thomas Beard, “Life in Film: Thomas Beard & Ed Halter,” Frieze, September 1, 2010 <>.

Ferguson Ulrich, “The Lost Decade of Alternative Film and Video – 2000-2010,” Exinearticles, May 4, 2010 <—2000-2010&id=4218440>.

Aimee Walleston, “On the Hour: Artist-Curated Film Screening at CANADA Gallery,”

Art in America International Review July 30, 2009 <>.

Aimee Walleston, Interview Magazine, July 30, 2009 <>.

Kate Lenkowsky, Contemporary Quilt Art: An Introduction and Guide. Bloomington: Indiana University Press, 2008, x.

Ed Halter, “A Jones for Indiana,” The Village Voice July 3, 2007 <http://www.villagevoicecom/nyclife/0727,halter,77128,15.html>.

Fionn Davenport and Oda O’Carroll, “Temple Bar: Shop,” Lonely Planet Dublin 2007, 70.

“Temple Bar: Places,” Rough Guide to Dublin 2007, 100.

Rebecca Cleman, “Interview with Steve Seid,” Media Art Resource, Electronic Arts Intermix, Spring 2006 <>.

Steve Seid, “Gone and Hollywood Inferno: Cecilia Dougherty, Laura Parnes,” Pacific Film Archive Program Notes, 2006 <>.

Brandon Hayes, Staci Nicholson, “Video Art’s Popularity with Queer Artists,” 2002 <>.

Mary Kunz, “Movie Chatter: Going, going …” Gusto October 26, 2001, 4.

Jessica Branch, “New York Underground Film Festival,” New York City Search October 2001 <>.

Brian Miller, “Events, Oddballs, & Rep,” Seattle Weekly November 6-12, 2002, 79.

Gary Sullivan, “Interview with Kevin Killian,” Readme Issue #4 Spring/Summer 2001. <>.

Richard Baimbridge, “New York Underground Film Festival,” Res May/June 2001, 65.

Aaron Krach, “Festivals: Talent Show, 8th New York Underground’s Movie Mish Mash,” Indie Wire March 21, 2001 <>.

Irving Bellemead, “New York Underground Film Festival Report,” Splendid Zine March

2001 <>.

Dennis Lim, “Surreal Endgames, Seedy Glamour,” The Village Voice March 13, 2001.

Harmony Hammond, Lesbian Art in America, A Contemporary History, New York: Rizzoli, 2000, 142-43.

Kathleen Hanna, “Kathleen’s FAVES,” <>

Kathleen Hanna, Index, cover interview with Laurie Weeks, 2000.

Le Tigre, “Hot Topic,” Le Tigre, mention in song lyrics, 1999.

Laura Cottingham, “On the Origin of The Anita Pallenberg Story, Installment # 1,” 1999 <>.

Ruby Rich, “In the Name of Feminist Film Criticism (1978-79, 1980, 1991),” Chick Flicks: Theories and Memories of the Feminist Film. Durham: Duke University Press, 1998, 83.

Katia Noyes, “Film,” Night & Day, S. F. Weekly February 22, 1995, 21.

Clark Kent and Connie Casserole, “Out There,” Bay Area Reporter February 16, 1995, 34.

Sarah Schulman, My American History. New York: Routledge, 1994, xviii, 156 and 254.

Nancy Steidtmann, “Gay film fest: On society’s cutting edge,” Marin Independent, June 16, 1993.

Jan T., “Homo-Films in Botanique,” De Morgen April 21, 1992.

Beth McGillicuddy, “Lesbian and Gay Film Festival: A Refreshing Relief,” Sojourner: The Women’s Forum, October 1990.

Glen Helfand, “Art,” Night & Day, S. F. Weekly July 18, 1990, 21.

Steve Warren, “Out on Film,” The San Francisco Guardian June 13, 1990, cover photo & 25.

“Festival,” Windy City Times September 17, 1987, 29.