New portfolio publications Biography Contact



Deborah Bright, ed. The Passionate Camera: photography and bodies of desire, London and New York: Routledge, 1998.


Deborah Bright and Erica Rand, "Queer Plymouth," GLQ: A Journal of Lesbian and Gay Studies, 12:2, Spring 2006.

“Horse Crazy,” Horse Tales: Two Centuries of American Cultural Icons.” Katonah: Katonah Museum of Art, 2001.

“Currencies of the Body,” Harvard Photography Journal, Visual and Environmental Studies Program. Cambridge: Harvard University, 2001.

“Back to Basics: The New Paintings of Julie Shelton Smith,” Rebuilding the Body: Julie Shelton Smith, Newport: Newport Art Museum, 2001.

“Souvenirs of Progress: The Second Empire Landscapes,” The Photography of Adolph Braun, Providence: Museum of Art, Rhode Island School of Design, 1999.

“Mirrors and Window Shoppers,” OverExposed (Carol Squiers, ed.), New York: The New Press, 1999.

“Pictures, Perverts and Politics,” The Passionate Camera: photography and bodies of desire, London and New York: Routledge, 1998.

“Exposing Family Values: Family Photography and Sexual Dissent,” A Family Affair (Christopher Scoates, ed.), Atlanta: Atlanta College of Art Gallery, 1995.

“Sex Wars: Photography on the Frontlines,” exposure 29:2/3, 1994.

“Reactionary Modernism: Lee Friedlander’s Nudes for the Nineties,”Afterimage, January 1993.

“Family Practices,” Views, 13:3, Summer1992.

“The Machine in the Garden Revisited: American Environmentalism and Photographic Aesthetics,” Art Journal, 51:2, Summer1992.

“Lesbians, Photography and AIDS,” Stolen Glances: Lesbians Take Photographs (Tessa Boffin and Jean Fraser, eds), London: Pandora, 1991.

“Paradise Recycled: Art, Ecology, and the End of Nature,” Afterimage, September 1990.

“Victory Gardens: The Public Landscape of Postwar America,” Views, Spring1990.“Wait Till Donald Trump Buys the Whitney,” Michigan Quarterly Review, 29:1, Winter 1990.

“Engendered Dilemmas,” Views, Spring1989.

Option/Shift (with Esther Parada), co-authored book project, Art Department, University of Colorado, Boulder, CO, 1988.

“Confusing My Students, Eating My Words,” exposure, 26:2/3, 1988.

“The ‘Other Body’ of British Photography, Afterimage, November 1987.

“Public Projections and Private Images, Afterimage, May 1987.

“Landscape As Photograph,” exposure, 25:1, 1987.

“The Museum Under Fire,” Afterimage, January 1987.

“Of Mother Nature and Marlboro Men: an inquiry into the cultural meanings of landscape photography,” exposure, 23:1, 1985.

“Many Are Called, Few Are Chosen,” Afterimage, Summer1985.

“Once Upon A Time In The West,” Afterimage, October 1984.

“Before Photography,” The New Art Examiner, June 1982.

“Double-Edged Constructions: The Work of Barbara Crane,” Afterimage, October 1981.

“Transformations in Photography,” The New Art Examiner, July 1981.

“By Arrangement,” The New Art Examiner, February 1981.
“Reconsidering the Stieglitz Era,” The New Art Examiner, March 1980.

“Michael Bishop and The Mystique of Mediocrity,” The New Art Examiner, April 1979.

Short Bio
  Solo/Two-Person Exhibitions
Group Exhibitions
Public Collections
Academic Positions
Visiting Artist
Printable Copy