Cecilia Dougherty is a video artist, photographer, and writer. She has screened and exhibited her work in numerous film festivals, galleries and museums internationally for over twenty-five years. Her videos are included in many university and private film collections and are archived at the Pacific Film Archive in Berkeley. In addition to explorations in electronic media, her themes range from lesbian and female sexual identity to family psychologies, the political nature of personal life, and outsider experience of popular culture. She has contributed articles, interviews, and other writing to publications ranging from chapbooks to anthologies to art periodicals. Much of her writing is about film, video and the contemporary cultural moment. She has published poetry and short stories as well. Her first book, The Irreducible I: Space, Place, Authenticity, and Change, was published in 2013. She is currently writing a feature film script based on the award-winning novel Zipper Mouth by Laurie Weeks. She holds a PhD in Media Philosophy.
BA Art, University of California, Berkeley, honors
MFA, Performance and Video, San Francisco Art Institute
PhD, Media Philosophy, European Graduate School, honors
The Irreducible I: Space, Place, Authenticity, and Change, New York and Dresden: Atropos Press, 2013.
“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.
CHAPTERS IN BOOKS
“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.
Pixelvision, Film Society Lincoln Center, panel discussion and screenings
Way Bay 2, Berkeley Art Museum, University of California
Way Bay, Berkeley Art Museum, University of California
Desire as Politics, Valade Gallery at College for Creative Studies, Detroit
Closing event for Longcat by Luba Drozd, commissioned by In-Between Theories
Communal Presence, Roxie Theater, San Francisco
Fishing for Some Friends, 115 Little Smith Street, Melbourne, installation & screening
Focus on Women Filmmakers, Film/Video Studio Program, Wexner Center for the Arts, Columbus
Writers Who Love Too Much, New Narrative Writing 1977-1997, reading, Artists Space, New York
Interstitial Space, Segue Reading Series, Brooklyn
Coal Miner’s Granddaughter, Microscope Gallery, Brooklyn
Histories of Sexuality, The New Museum, New York
Hall Pass, panel discussion, the New Museum, NY
Time/Image, Blaffer Art Museum, Houston
My First 3D, Microscope Gallery, New York
Negative Joy, Roxbury Abbey, Roxbury, NY
Stein Times, Gridspace, Brooklyn
Art of the Real, with Mike Kelley and Paul McCarthy, Film Society Lincoln Center, NY
Video art, documentary practice; animation, coding, internet practices; critical theory, media studies, digital arts theory, Buddhist studies, literature, poetry, philosophy, fine arts, architecture, prehistoric/Paleolithic art
Drugs and Media
Networked Media & Society