My early video, The Drama of the Gifted Child, at Spectacle in Brooklyn, Nov 14, 2024

Show of queer work curated by filmmaker Jacob Aguilar

Poster for queer experimental film screening at Spectacle in Brooklyn on Nov 14, 2024

Jacob Ace Aguilar (@jacobaceaglr) tells me that the one-night-only screening of six queer experimental films at Spectacle screening space in Brooklyn on Thursday, Nov. 14, was a crowd-pleaser. Jacob arrived a little late and the crowd was already pushing past him through the finally-unlocked doors to grab the best seats. Seduce. Provoke. Destroy. In that order!

College of Staten Island Film Festival 2024

At the Film Festival, May 14, Best Time Ever!

Patrick Regan, Anthony Flores & Cecilia Dougherty at the CSI 2024 Film Festival
Film Students Patrick Regan & Anthony Flores with Cecilia Dougherty at the CSI 2024 Film Festival

Yesterday’s Film Festival at CSI screened 15 student films from 5 to 15 minutes long in all genres. The intensity and quality of the films screened raised the bar on all of our film students. And as you can see from the smiles all around, it was a fun evening.

Patrick Regan’s film Blanked won an Honorable Mention in both the Writing and Story categories. Anthony Flores’s Les Voix de Paris won Honorable Mention in the Documentary category. Congratulations!

More pics from the blue carpet:

Winner for Best Art Film, Jayden "j1m" Metellus (2nd from left) with competition judge Kenneth L. Clemons, Jr., and Honorable Mention winner Karena Pang and Festival Producer Mitchell Lovell.
Winner for Best Art Film, Jayden “j1m” Metellus (2nd from left) with competition judge Kenneth L. Clemons, Jr., and Honorable Mention winner Karena Pang and Festival Producer Mitchell Lovell.
Karena Pang, winner in the Short Film category for her film, Girl With A Movie Camera, and Keith Clemons, Honorable Mention, with his film Boxing Legends. Festival Producer Mitchell Lovell on the left.
Karena Pang, winner in the Short Film category for her film, Girl With A Movie Camera, and Keith Clemons, Honorable Mention, with his animated film Boxing Legends. Festival Producer Mitchell Lovell on the left.
Robert Lenza, winner in several categories with his film, Will. And Mohamed Alasri, winner in 4 categories including Best Film with his two films, Hear Me Out (comedy) and Part of Me (experimental).
Robert Lenza, winner in several categories with his film, Will. And Mohamed Alasri, winner in 4 categories including Best Film with his two films, Hear Me Out (comedy) and Part of Me (experimental).

Thread Waxing Space presents Cecilia Dougherty

Nov 13, 1998. There was a 3-day event at Thread Waxing Space to screen my video works to date. The event was packed, sold out, standing room only for all three screenings.

A found ticket to a 1998 screening of work by Cecilia Dougherty at Thread Waxing Space, a gallery on lower Broadway in New York run by Lia Gangitano. The precursor to Participant, Inc., Lia's current gallery.

Thread Waxing Space was a non-profit (not-for-profit?) gallery in lower Manhattan that operated from 1994 to 2001.

I remember seeing a great show there once about architecture, including the work of the Archigram collective. The gallery had given a lot of space to architectural models of fantasy scenarios in that show – whole communities living in the air, buildings like bubbles, transport like effortless movement in space. This was a great gallery with smart shows.

I wore my new Adidas cropped blue jacket to one of my screenings. The jacket is the only one of its kind that I have ever seen, and was made in Paris. I wore jeans, boots and a studded belt with it. I still have the jacket.


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.


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.

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)

More Information

Cecilia Dougherty in conversation with Amanda Mendelsohn

Monday, Feb 27, 7PM (EST)

Video still, Gone, 2001

The work of Cecilia Dougherty explores the nature of queer women’s relationships to one another, society, and the everyday as well as providing 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 social realm.

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.” The event is a conversation between Cecilia Doughery and Amanda Mendelsohn of the Video Data Bank at the School of the Art Institute of Chicago.

Register here: https://forms.gle/cg3w6S9eNGHM44Dv5

The event will be held in Zoom.

Chaos Theory (Remembering Dale Hoyt)

Curated by Steve Seid
program online January 12–Febuary 7, 2023

Includes work by Cecilia Dougherty, Azian Nurudin, Leslie Singer, Marshall Weber, Dale Hoyt, Paula Levine, Emjay Wilson, Andy Heustis, and Ivar Smedstad.

Video still from Your World Dies Screaming by Dale Hoyt

SCREENING: Your World Dies Screaming (1981) by Dale Hoyt; Garbage Head (1981) by Marshall Weber; The Madonna Series, Parts 1–5 (1987) by Leslie Singer; Fuck You, Purdue (1987) by Cecilia Dougherty; Jungle Gym (1981) by Andrew Huestis; Mirror, Mirror (1987) by Paula Levine; High Fidelity (1986) by Ivar Smedstad; Funk Is Its Own Reward (1981) by Marshall Weber; Malaysian Series, Parts 1–6 (1987) by Azian Nurudin; My Pal Foot (excerpt) (1981) by Andrew Huestis; Donkey-Skin (1988) by Emjay Wilson.

RELATED: This online screening is presented as accompaniment to the one-time-only screening Dale is Dead presented February 7, 2023, 7:30PM, at The Lab (full details here) and the publication of An Urgent S.O.S through a Sea of Static: Writings by Dale Hoyt and Natalie Welch published by San Francisco Cinematheque a zine compendium of Dale’s writings (details here).

Remember Dale Hoyt! Support video art and artists!

CHAOS THEORY
by Steve Seid

How would you describe a gathering group of unruly artists? A fortuitous anarchism, or just trouble on the way? And if such a faction existed in one particular moment and in one particular place, the SFAI, providing unruly succor for its constituent parts, what would you call that moment? A discordant convergence? 

Just such a thing occurred at the San Francisco Art Institute in the early-and-mid eighties when a gaggle of singular young artists converged on the recently formed Performance/Video Department and all (heaven and) hell broke loose. A moment, such as it was.

With every upheaval, whether aesthetic or political, there are ringleaders, and among them at the P/V Dept. was a bratty pact—Dale Hoyt, along with his pals Marshall Weber (who would go on to found Artists’ Television Access) and Andrew Huestis—and Cecilia Dougherty, leading an insurgent group of women artists that included Leslie Singer, Azian Nurudin, Didi Dunphy, Jill Garellick and others. The creative energy welling from this convergence was enough to overheat nearby North Beach. If you add to that mix a core faculty of Howard Fried, Paul Kos, Sharon Grace, Doug Hall, Kathy Acker and Tony Labat, you had fissionable artistic material.

program notes by Steve Seid

Read the entire program notes here.