Joe

Taking queer artistic license, Dougherty and Singer together portray a gay male playwright who took 1960s London by storm. The result is a witty play on narcissism and split personality that captures the banality of stardom while paying tribute to promiscuity and transgression.

With an all-female cast, featuring Suzie Bright as John Lennon, Cecilia Dougherty's Grapefruit plays with the romanticized history of the iconic Fab Four, gently mocking John and Yoko’s banal squabbles and obsessive rituals of self-display. Based obliquely on Yoko Ono’s book, the piece works on many levels to reposition this mythic tale of the Beatles by casting '80s women in mod drag—effectively mapping the lesbian sub-culture onto heterosexual mass culture. Discounting the importance of reproducing facts and historical accuracy, Dougherty gives an incisive reading of the creation of pop culture icons: it doesn’t matter who plays John Lennon because ultimately John Lennon is not a person anymore. As a star, he is a projection of our society’s collective needs and desires.

"SICK is a video I made in 1986 while in grad school at the San Francisco Art Institute. The voice-over is extemporaneous, created after I had shot and edited the image. The effects were done in-camera - the Art Institute had a studio with a large Grass Velley switcher and it coould generate a lot of colors - whatever you wanted - and it wasn't digital, so the colors are all along an analogue spectrum." - Cecilia Dougherty

A portrait of poet Eileen Myles as she reads from her novel "Cool For You" and goes about the day in her East Village home.

This video is about the idea of narcissistic transference, sexual dependency, and the failure to distinguish between the self and the loved one. It is also about using love to create a border between oneself and political and psychological oppression.

Cecilia Dougherty’s first video, made while she was a student at Berkeley, Gay Tape: Butch and Femme applies “a little fine-tuning” to the question of representation, honing in on the subjective particularities of the butch-femme dynamic as experienced by members of Dougherty’s local Bay Area dating pool.

Shot primarily in Fisher-Price pixelvision, for the “murky look of memory," COAL MINER'S GRANDDAUGHTER is a profoundly moving family portrait focusing on the youngest daughter Jane, as she leaves her Pennsylvania home and finds sexual independence in San Francisco.