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BIBLIOGRAPHY

Shawn Hill, “Deborah Bright at Bernard Toale Gallery,” artsMEDIA, February/March
2002, pp 8-9.


Cate McQuaid, “Deborah Bright: Manifest,” Boston Globe, January 12, 2002.

Paul Parcellin, “Art Around the Town: Deborah Bright,” Retro-Rocket.com, Boston’s
Journal of Visual Art, Film, Video, February 2, 2002.

Lewisboro Ledger, “Horse Tales: American Images and Icons,” October 4, 2001.

Christopher West Davis, “Affairs of the horse,” New York Times Westchester, November 4, 2001.

Erin Valentino, The Passionate Camera (review), International Journal of Sexuality
and Gender Studies, 5:3, July 2000, pp 289-93.


Margaret R. Higonnet, ed. Lines of Fire: Women Writers and World War I, New
York and London: Plume, p. 559.

Grant Kester, The Passionate Camera (review), Art Journal, Winter 1999.

Martha Buskirk, Fractured Mirrors/Broken Windows (review), Art On Paper, December 1999.

Geoffrey Batchen, “Constructing Intelligibility,” Camerawork 26:2, Fall/Winter 1999,
pp 4-7.

Cate McQuaid, "Black-hole visions, interrupted yoga, and anger," Boston Globe, October 7, 1999.

Gary Duehr, "Taken as a whole, 'Fractured Mirrors' sends a message," Boston townonline.com website, September 27, 1999.

Anna Scott, "Exhibit celebrates diversity and rebellion," Boston University Bridge, September 21, 1999.

Gen Doy, The Passionate Camera (review), The Art Book, 6:3, June 1999, p. 48.

Martha Buskirk, "Art Around the Hub," Art in America, June 1999, pp 57-63.

Eloy J. Hernandez, "Lens of Desire," Afterimage, March/April 1999, p. 19.

Cynthia Young, "Rochester's Women and Photography conference," Afterimage, July/August 1998, p 2.

Miles Unger, “Deborah Bright at Bernard Toale Gallery,” Art New England, June/July 1998, p 33.

Shawn Hill, “Transience and Sentimentality at the ICA,” artsMEDIA, May 1998, p 24.

Mary Sherman, “Is art really location, location, location?” The TAB, April 1-13, 1998, p9B.

Marcia Morphy, "Image-makers: Eight prominent women photographers present lectures in collaborative symposium," Brighton-Pittsford Post, March 30, 1998.

Elizabeth Forbes, "Feminist Focus: Photography conference highlights the work and influence of women," Rochester Democrat and Chronicle, March 29, 1998, 3C.

Christopher Mills, “Hubba, hubba: A sexy Boston art show at the ICA,” Boston Phoenix, Arts section, March 20, 1998, p 13.

Shawn Hill, “Background stories,” Bay Windows, March 12, 1998, p 29.

Scott Rothkopf, “Modernism to Kitsch and Right Back Again,” Harvard Crimson, March 6, 1998.

Cate McQuaid, “Galloping passion of girls for horses,” Boston Globe, March 5, 1998, p E1.

Lia Gangitano, “On Leaving,” catalog essay for Transience and Sentimentality, Boston: Institute of Contemporary Art, 1998.

Christina LeBeau, "Art Imitates Work," Rochester Democrat and Chronicle, March 2, 1998, 1F.

Christine Temin, “Lumpy stew of Boston-linked art,” Boston Globe, February 27, 1998.

Expanded Visions: The Panoramic Photograph, exhibition catalogue, Andover: The Addison Gallery of American Art, 1998.

Bill Van Siclen, “Focusing on the post-industrial landscape,” Providence Journal, January 23, 1998.

Gayle Nelson, "Bright Eyes Industrial Wasteland,"Siren magazine, March 1998.

Stephanie Ellis, "Work/Space: Visual Relations Incorporate," parallax, No. 5, September 1997.

Harper's Magazine, August 1997, (reproduction) p 28.

Linda Wong, "Interview with Deborah Bright," Sojourner, June 1997.

Who's Who of American Women 1997-present, Marquis Publications.
Lucy R. Lippard, The Lure of the Local, New York: The New Press, 1997.

Cathy Byrd, "Solid Gold: Deborah Bright at Atlanta College of Art," Creative Loafing, February 22, 1997.

Jerry Cullum, "Any way you want it," Atlanta Journal-Constitution, February 7, 1997.

Grant Kester, "Swept Away: Deborah Bright and the Fossils of Late Capitalism," All That Is Solid, (Christopher Scoates, ed.) Atlanta: Atlanta College of Art,1997.

Michael Budd, "Framing Capitalism," Afterimage, November/December 1996.

Jeff Hoone, "Deborah Bright," Contact Sheet, Fall 1996.

Katrina Roberts, "Erotic Horseplay," Harvard Magazine, Sept.-Oct. 1996.

Catherine Lord, "Unsolved Crimes,"Gender, fucked, Seattle: Center on Contemporary Art, 1996.

Sheila Farr, "Gender discomforts," Seattle Weekly, July 31, 1996.

Matthew Kangas, "Lesbians express angry feelings through art," The Seattle Times, July 15, 1996.

Tricia Romano, "gender, fucked?" The Daily of the University of Washington, July10, 1996.

Lucy R. Lippard, "Undertones: Ten Cultural Landscapes," in Diane Neumaier, ed.,

Reframings: New American Feminist Photographies, Philadelphia: Temple
University Press, 1995.

Martha Vicinus, ed., Lesbian Subjects, Bloomington: Indiana University Press, 1996.

Marsha Meskimmon, The Art of Reflection: Women Artists' Self Portraiture in the 20th
Century, London: Scarlet Press, 1996.

Shawn Hill, "Herself as subject," Bay Windows, February 1, 1996.

Patty Caya, "What Is Photography?" Cambridge Chronicle, October 19, 1995.

Lucy R. Lippard, The Pink Glass Swan, New York: The New Press, 1995.
Jane Richards, "War, a female perspective," The Independent, January 22, 1995.

Val Williams, "Prints of darkness," The Guardian Weekly, January 22, 1995.

Amanda Hopkinson, "Pieces of war," The British Journal of Photography, January 18,
1995.

Sacha Craddock, "Around The Galleries," The Times, January 17, 1995.

Jane Ehrlich, "Warworks on show," The American, December 16, 1994.

Val Williams, Warworks: Women, Photography and the Iconography of War, London: Virago, 1994.

Kiss & Tell, Her Tongue on My Theory: Images, Essays and Fantasies, Vancouver: Press Gang Publishers, 1994.

Clare Whatling, "Fostering the Illusion," in Diane Hamer et al., The Good, The Bad
and The Gorgeous, London: Pandora, 1994.

Emanuel Cooper, The Sexual Perspective, London: Routledge, 1994.
Naomi Rosenblum, A History of Women Photogaphers, New York: Addison House, 1994.

Alisa Solomon, "Not Just A Passing Fancy: Note on Butch," Theatre, 24:2, 1993.

B. Ruby Rich, "The Authenticating Goldfish," 1993 Biennial catalogue, Whitney Museum of American Art, 1993.

Jan-Erik Lundstrom, "Real Stories," Katalog, June 1992.

Cathy Cade, "Stolen Glances," Off Our Backs, July 1992.

Cathy Curtis, "Symbolism Etched in Stone," Los Angeles Times, April 6, 1992.

Kelly Wise, "Bracing and original landscapes by women," Boston Globe, March 4, 1992.

Grant Kester, "Slouching Toward Clarity," The New Art Examiner, February-March 1992.

Noreen C. Barnes, "What Makes Us Lesbians?" Bay Area Reporter, Feb. 20, 1992.

Roberta Smith, "Working," New York Times, January 10, 1992.

Jill Pollack, "Sign of intelligent life," Vancouver Courier, December 1, 1991.

John Bentley Mays, "Lost Illusions," Globe and Mail, November 16, 1991.

Denise Oleksijczuk, "Nature in History: A Context for Landscape Art," Lost Illusions: Recent Landscape Art, Vancouver Art Gallery, 1991.

Jean Fraser and Tessa Boffin, "Tantalizing Glimpses of Stolen Glances: Lesbians Take
Photographs," Feminist Review, 38, Summer 1991.

Doug Ischar, "Labor Stories: Constructive Criticism in the City That Works," Afterimage, Summer 1991.

Alexander M. Frankfurter, "Sexuality and the Politics of Obscenity," Views, Spring 1991.

Mark Alice Durant, "Lost and Found," Artscribe, January 1991.

Andrea Liss, "Doom With A View," Afterimage, December 1990.

Leigh Kane, Four Photo Feminisms, New Bruswick: Rutgers University, 1990.

Karen Bousquet-Penhallow, "Hera makes contribution to freedom of expression," Narragansett Times, November 14, 1990.

Johnette Rodriguez, "Dirty Pictures? Personal Politics at Hera," The New Paper, November 1, 1990.

Ed Hill and Suzanne Bloom, "Landscape vs. Environment," Spot, Winter 1990.

Joan Hugo, "Reading the Landscape," Artweek, July 5, 1990.
Peter Goin, "The Nuclear Survey," Center Quarterly, 45, 1990.

Edward W. Earle, Polemical Landscapes, Riverside: California Museum of Photography, 1990.

Bill Van Siclen, "RISD's Staff: They practice what they teach," Providence Journal,
October 9, 1988.

Nancy Gonchar, Deborah Bright: Textual Landscapes, (exhibition catalogue) Binghamton: The University Art Museum at SUNY, 1988.

Vince Leo, "Photography's New Frontier," Artpaper, February 1988.

Julie Yanson, Beyond the Frame, MCAD Gallery, Minneapolis College of Art and Design,
1988.

David Bonnetti, "Installment Plans," Boston Phoenix, July 3, 1987.

Charles Giuliano, "Boston Now: Projects," Art New England, September 1987.

Ken Johnson, "Boston Now: Projects," The New Art Examiner, November 1987.

Daniel Scott, "Environmental Visions," South End News, July 2, 1987.

Nancy Stapen, "Topical winds blow through 'Boston Now,'" Boston Herald, July 3, 1987.

Robert Taylor, "Art that widens the boundaries," Boston Globe, June 29, 1987.

Henry Scarupa, "Photography with a political conscience," Baltimore Sun, March 18, 1986.

Kelly Wise, "Landscapes as assemblages," Boston Globe, March 31, 1986.

Anita Douthat, Photomosaics, Boston: Photographic Resource Center, 1986.

Richard Huntington, "Images of war," Buffalo News, November 29, 1985.

Alan Thomas, "Political Photographs," The New Art Examiner, March 1985.

Susan Blake, "Deborah Bright: Battlefield Panoramas," The New Art Examiner, February 1983.

John Alderson, "Deborah Bright: Battlefield Panoramas," Chicago Sun-Times, January 2, 1983.

Anthony Bannon, "Artists Cast New Light on Photos," Buffalo Evening News, September 23, 1982.

Hedy Weiss, "Deborah Bright: Goose Island Photographs," The New Art Examiner, March
1982.

David Elliot, "Deborah Bright: Goose Island Photographs," Chicago Sun-Times, January 22, 1982.

James Cassell, "Deborah Bright: Goose Island Photographs," The Washington Star,
October 25, 1980.

Carole Harmel, "Deborah Bright: Goose Island Photographs," The New Art Examiner,
April 1980.

Chuck Nicholson, "Nighttime Views," Artweek, October 25, 1980.

 
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