Link to download Deportation Defense Manual
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
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!
Early Interview of Cecilia Dougherty by Artist Amy Sillman
Cecilia Dougherty: An Interview
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: Feminism, Film or Videomaking, LGBTQ, Sexuality
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.
Cecilia Dougherty in conversation with Amanda Mendelsohn
Monday, Feb 27, 7PM (EST)
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.
Make Believe, It’s Just Like the Truth Clings to It: In Conversation with the Work of Cecilia Dougherty
New writing on the work of Cecilia Dougherty
by Amanda Mendelsohn
Cecilia Dougherty got her start as a video artist in an unconventional way, fitting for her experimental body of work. As an undergraduate at the University of California, Berkeley, Dougherty was a painter. However, in her last semester of college, she took a video production class, changing the course of her education and career permanently. Dougherty fell in love with video art, and was inspired to singularly pursue the medium. Using the one video she made for that class,
Dougherty applied to the Performance and Video MFA program at the San Francisco Institute of Art in the late ‘80s, and the rest was history. Prior to this, she had very little knowledge about the history of video art, let alone the process of making it. Additionally, during this time period Dougherty was grappling with her identity as a lesbian in a heteronormative society, working to “find an adequate expression of it as a place to exist inside the social realm sexually, politically, and personally.”
She was simultaneously breaking ground in new territory as an artist, and that territory for lesbian expression was in no way near established for video art. Combining this aspect of her life with her practice, Dougherty created the following works included in this program: The Drama of the Gifted Child (1992), My Failure to Assimilate (1995), The dream and the waking (1997), and Gone (2001).
Read the entire article here
(All quotes attributed to Cecilia Dougherty from the author’s interview with Dougherty on July 15th, 2022.)
See and read PDF of this essay here.
This month (Jan 2023) in San Francisco
Dale is Dead
(a fact which saddens me beyond tears)
SCREENING: Your World Dies Screaming (1981); Dancing Death Monsters (1981); Ringo Zappruder (1981/82); Over My Dead Body (1983); The Complete Anne Frank (1985); Braille (1986); Transgenic Hairshirt (2001); Don’t Be Cruel (2004); Because (2006). All works by Dale Hoyt.
RELATED: Chaos Theory: An online program featuring works by Dale Hoyt’s contemporaries 1981–1988 (details here) and An Urgent S.O.S through a Sea of Static: Writings by Dale Hoyt and Natalie Welch published by San Francisco Cinematheque (details here).
From the program notes by curator Steve Seid:
Dale is Dead
by Steve Seid
Dale Hoyt (1961–2022)
Dale is Dead. Dale Hoyt who at age 19 was already showing his irascible works to perplexed audiences. Dale who five years in made a remarkable, sui generis video, The Complete Anne Frank, that still holds its own. Dale who, it was rumored, slept on the roof of the SFAI when his money got thin. Dale whose uncompromising ways never found welcome from grants panels of his supposed peers. Dale who left briefly to run the video program at New York’s The Kitchen, but faithfully returned. Dale who in later years haunted the Tenderloin like a sage and wily guy. Dale who left behind a chill absence where his vital life had once warmly sounded.
But let me tell you about Dale Hoyt’s body of videowork that streamed forth for a decade, then vanished for a time, only to return in his waning years. Dale came-of-rage in a fruitful moment, the late-70s/early-80s. From the scrap heap of punk culture, he snatched an aesthetic that was low-rent, appropriative and bratty. Video art had moved on from the performative documentation of the ‘70s to cut-and-paste storytelling from the likes of Tony Labat, the Yonemotos, Ilene Segalove, Tony Oursler and others. Dale deployed shreds of narrative, shrewd iconoclasm, and cut-and-paste tech, then coerced his artist-pals into enacting their own angst. The never-faltering early works, like Your World Dies Screaming (1981), Dancing Death Monsters (1981) and Ringo Zappruder (1981/82), drilled into the frontal lobe of juvenile yearning, marshaling pop icons, cascading pills, viscous props and grotesque wallowing as the stuff of post-pubescent misery. Atop this heap, Dale added a miasma of sound bites, pop song lifts, and plaintive dialogue to amass an unnerving swamp of sonorities.
Online screening of works by those of us who were in the same groove in San Francisco i the 1980s.
RELATED ONLINE SCREENING (January 12–31): Chaos Theory: Dale Hoyt and His Circle
How would you describe a gathering group of unruly artists? A fortuitous anarchism, or just trouble on the way? This online streaming accompaniment to Dale is Dead—also curated by Steve Seid—presents performance/video work from the turbulent Bay Area ‘80s, a selective sampler pack of works informing and informed Hoyt’s iconoclastic work. Artists include: Marshall Weber, Leslie Singer, Cecilia Dougherty, Andrew Huestis, Paula Levine, Ivar Smedstad, Azian Nurudin, Emjay Wilson and more from Hoyt himself. Details and complete program here.
And for some flavor, here’s Dale’s unofficial commencement address to the final San Francisco Art Institute (RIP!) graduating class:
This Just In: KUNSTHALLE BERN / KUNSTHALLE BAR PROGRAMM
CIRCLES
Community in den Filmen von
Peggy Ahwesh, Cecilia Dougherty und Hannah Quinlan & Rosie Hastings
DONNERSTAG, 23. AUGUST 2018, 19 Uhr
Here’s the description of the complete show, if you’re in Bern mañana:
In the late seventies, the filmmakers Lis Rhodes, Jo Davis, Felicity Sparrow and Annabel Nicolson founded the feminist film and video distribution network Circles in London. Circles was created in response to the need to have a platform for films by women. Previously, its founders had all been members of the London-based Film-Maker’s Co-op, and Circles was also a response to the lack of representation of women filmmakers in that co-op.
The screening at the Kunsthalle is part of a series of events and screenings focusing on filmmakers since the 1970s. The films screened are by Peggy Ahwesh, Cecilia Dougherty as well as by Hannah Quinlan and Rosie Hastings. They look in different ways at queer communities, playing with stereotypes, exploring the autonomy of community spaces and looking for individual forms of expressions within the communities.With an introduction by the organizers Ann-Kathrin Eickhoff (Author & Art Historian, Zurich) & Geraldine Tedder (Assistant Curator Kunsthalle Bern)
Image: Hannah Quinlan & Rosie Hastings, UK Gay Bar Directory, 2016, Still from Film
Mit einer Einleitung von den Organisatorinnen Ann-Kathrin Eickhoff (Autorin & Kunstwissenschaftlerin, Zürich) & Geraldine Tedder (Kuratorische Assistenz Kunsthalle Bern)
I’m showing two videos, Eileen, from 2000, and Joe, from 2018 in Circles.
Flat is Beautiful: The Strange Case of Pixelvision, at Lincoln Center
August 10 – 16 at the Film Society of Lincoln Center
The Film Society is showing a week’s worth of pixelvision with work by me (Cecilia Dougherty) as well as Michael Almereyda, Peggy Ahwesh, Joe Gibbons, and Eric Saks, and others. The show is curated by Thomas Beard.
here’s a link to the film society page for info:
https://www.filmlinc.org/press/fslc-announces-flat-beautiful-strange-case-pixelvision/
Stay tuned here for press!