Solo and Two Person Exhibitions

2011          “Destruction Layer,” Center for Visual Arts, University of Toledo, Toledo, OH

2009          “Destruction Layer,” Chazan Gallery, Providence, RI

2008          “Being & Riding,” Migdal Shalom Gallery, Tel Aviv, Israel

2008          “Being & Riding,” Fort Point Channel Gallery, Boston, MA

2006          “Being & Riding,” Contemporary Arts Collective, Las Vegas, NV

2005          “Being & Riding,” Anderson Gallery, Bridgewater State University, Bridgewater, MA

2002          “Manifest,” Bernard Toale Gallery, Boston, MA

2000          “Being & Riding,” New England Foundation for the Arts Gallery, Boston, MA

2000          “Being & Riding,” Massachusetts Cultural Council Gallery, Boston, MA

1999          “Being & Riding,” Atrium Gallery, School of Fine Arts, University of Connecticut,

                              Storrs, CT

1998          “Being & Riding,” Bernard Toale Gallery, Boston, MA

1998          “All That Is Solid,” Wheeler Gallery, Providence, RI

1997          “All That Is Solid,” Atlanta College of Art Gallery, Woodruff Arts Center, Atlanta, GA

1996          “Being & Riding,” Rothschild Gallery, Radcliffe Institute for Advanced Study,  

                             Cambridge, MA

1996          “All That Is Solid,” Sesnon Gallery, University of California, Santa Cruz, CA

1995          “All That Is Solid,” Art Department Gallery, Colgate University, Hamilton, NY

1992          “Chicago Stories,” University Art Gallery, University of California, Irvine, CA

1992          “Chicago Stories,” Mason Gross School of the Arts, Rutgers University,

                             New Brunswick, NJ

1990          “Chicago Stories,” Randolph Street Gallery, Chicago, IL

1990          “Battlefield Panoramas,” Photo Department Gallery, Massachusetts College of Art,

                             Boston, MA

1988          “Textual Landscapes,” University Art Museum, Binghamton State University,

                             Binghamton, NY

1987          “Beyond the Frame,” MCAD Gallery, Minneapolis College of Art, Minneapolis, MN

1986          “Battlefield Panoramas,” Photo Department Gallery, University of Southern Illinois,

                             Carbondale, IL

1986          “Battlefield Panoramas,” Noyes Cultural Arts Center, Evanston, IL

1985          “Battlefield Panorams,” Art Department Gallery, Prairie State College, Chicago

                             Heights, IL

1983          “Goose Island Photographs,” Photography Gallery, Univ. of Colorado, Denver, CO

1983          “Battlefield Panoramas,” Wicker Park Art Projects Gallery, Chicago, IL

1983          “Battlefield Panoramas,” Skokie Public Library, Skokie, IL

1982          “Battlefield Panoramas,” Chicago Cultural Center, Chicago, IL

1982          “Photomural Installations,” San Francisco Camerawork, San Francisco, CA

1982          “Goose Island Photographs,” Project Art Center, Cambridge, MA

1981          “Goose Island Photographs,” Koehnline Gallery, Oakton Community College,

                             Oakton, IL

1980          “Goose Island Photographs,” BC Space, Laguna Beach, CA

1980          “Goose Island Photographs,” Intuitiveye Gallery, Washington, DC


Selected Group Exhibitions

2017          “Performance & Photography,” Ernest G. Welch School of Fine Arts, Georgia State  

                             University, Atlanta, GA

2017          “Nasty Women,” Knockdown Center, Queens, NY

2016          “Voyage of the Beagle,” Radiator Gallery, Long Island City, NY

2016          “The Ladies Almanack,” (film premier), Museum of Contemporary Art, Chicago, IL

2016          “Cut-Ups,” Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY

2016          “Sublime Resonance,” The Rubelle and Norman Schafler Gallery, Pratt Institute,

                             Brooklyn, NY

2015        “Homosexualities,” Schwules Museum, Berlin, Germany 

2015          “On the Domestic Front,” Leslie Lohman Museum of Gay and Lesbian Art, NYC

2015          “The Artist as Provocateur,” Rubelle and Norman Schafler Gallery, Pratt Institute,

                             Brooklyn, NY

2014          “Permanent: Acquisitions to the Permanent Collection,” Leslie Lohman Museum of

                             Gay and Lesbian Art, New York, NY.

2013          “This Will Have Been: Art, Love and Politics in the 1980s,” curated by

                             Helen Molesworth, Institute of Contemporary Art, Boston, MA

2013          “Benefit for the Lesbian Herstory Archives,” Alexander Gray & Associates, NYC

2012          “The Mutable Portrait,” Clifford Chance, New York, NY

2012          “This Will Have Been: Art, Love and Politics in the 1980s,” Museum of

                             Contemporary Art, Chicago, IL

2012          “This Will Have Been: Art, Love and Politics in the 1980s,” Walker Art Center,

                             Minneapolis, MN

2012          “The Mutable Portrait,” Clifford Chance, NYC

2012          "Hide/Seek: Difference and Desire in American Portraiture," Brooklyn Museum, NY

2011          "Glacial Erratics, Plymouth, MA,” Pilgrim Hall Museum, Plymouth, MA

2011          “Faculty Biennial,” Gelman Gallery, RISD Museum of Art, Providence, RI

2011          “Visiting Faculty Exhibition,” Carpenter Center, Harvard University, Cambridge, MA

2010          "Hide/Seek: Difference and Desire in American Portraiture," National Portrait Gallery,

                             Washington, DC

2009          “Faculty Biennial,” Gelman Gallery, RISD Museum of Art, Providence, RI

2008          “This Show Needs You,” Institute of Contemporary Art, San Jose, CA

2008          “Pink and Bent,” Leslie Lohman Museum, New York, NY

2007          “Landscape: Fact and Fiction.” William Benton Museum of Art, Storrs, CT

2006          “Don’t Know Much About History.” ArtSpace, New Haven, CT

2006          “Disturbing the Peace.” Denise Bibro Fine Arts, New York, NY

2006          “Queer Eye.” Harbor Gallery, University of Massachusetts, Boston, MA

2006          “Summer Show,” Laconia Gallery, Boston, MA

2005          “Visiting Faculty Exhibition,” Carpenter Center, Harvard University, Cambridge, MA

2005          “375 Views of Boston on the City’s 375th Anniversary,” Boston City Hall, MA

2005          “The Art of Illness: Examining the Biomedical Paradigm,” SIUE Museum Gallery,

                             Southern Illinois University at Edwardsville, IL

2005          “Soft Boundaries,” Biggins Gallery, Auburn University, Auburn, AL

2004          “Land of the Free,” Clifford Gallery, Colgate University, Hamilton, NY

2004          “BANG! Weapons and War,” Clifford Gallery, Colgate University, Hamilton, NY

2004          “Photography and Place,” Museum of Art, RISD, Providence, RI

2004          “On Location,” Newport Art Museum, Newport, RI

2004          “Identities.” Northlight Gallery, Arizona State University, Tempe, AZ

2003          “Only Skin Deep: Changing Visions of the American Self.” International Center of

                             Photography, New York, NY (website)

2002          “Review/Preview: David Hilliard, Jocelyn Lee, Abelardo Morell, Deborah Bright,

                             Virginia Beahan, Laura McPhee.” Bernard Toale Gallery, Boston, MA

2002          “Evidencing: Drawing with Light and Pixels.” College of New Jersey, Trenton, NJ

2001          “Paradise In Search of a Future.” CEPA Gallery, Buffalo, NY

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

                             Katonah, NY

2001          “Backroom.” jennjoy gallery, San Francisco, NY

1999          “What Will You Miss?” School of Art and Design, Georgia State University, Atlanta, GA

1998          “Summer Show.” Debs and Co., New York, NY

1998          “Stay: Transience and Sentimentality.” Institute of Contemporary Art, Boston, MA

1998          “Expanded Visions: Panoramic Photographs.” Addison Gallery of American Art,

                             Phillips Academy, Andover, MA

1998          “Troubling Customs.” Ontario College of Art and Design, Toronto, Ontario

1998          “Troubling Customs.” School of the Museum of Fine Arts, Boston, MA

1998          “Subjects.” Rose Art Museum, Brandeis University, Waltham, MA

1998          “Work/Space.” Hartnett Gallery, University of Rochester, Rochester, NY

1997          “New England Women Photographers.” Bernard Toale Gallery, Boston, MA

1997          “Public Views: Landscape.” Laura Knott Gallery, Bradford College, Bradford, MA

1996          “Work/Space.” Southern Exposure, San Francisco, CA

1996          “Gender, fucked.” Center of Contemporary Art, Seattle, WA

1996          “Warworks: Women, Photography and the Iconography of War.” Canadian Museum of

                             Contemporary Photography, Ottawa

1996          “Beyond the Print.” NewSpace Gallery, Manchester Community College,

                             Manchester, CT

1996          “Lesbian and Bisexual Lives; hidden lives revealed.” Fort Point Arts

                             Community Gallery, Boston, MA

1995          “Fellows in Visual Arts.” Bunting Institute, Radcliffe College, Cambridge, MA

1995          “No Place to Hide.” Jan Kesner Gallery, Los Angeles, CA

1995          “Global Sweatshop.” Art In General, New York, NY

1995          “Warworks: Women, Photography and the Iconography of War.” Victoria and Albert

                             Museum, London (traveled to Nottingham, Wolverhampton, Sheffield

                             and Paisley)

1995          “Warworks: Women, Photography and the Iconography of War.”

                             Nederlands Foto Instituut, Rotterdam

1994          “Diagnosis: Breast Cancer.” Denise Bibro Fine Arts, New York, NY

1994          “Diagnosis: Breast Cancer.” Peter Madero Gallery, New York, NY

1994          “Lesbian Voices in the Arts.” Cork Gallery, Lincoln Center, New York, NY

1994          “Stonewall: Breakthroughs.” 494 Gallery, New York, NY

1994          “Telling. . .Stories.” Randolph Street Gallery, Chicago, IL

1994          “REAL STORIES: Revisions in Documentary and Narrative.” Museum Folkwang,

                             Essen, Germany

1993          “2 Much: The Gay and Lesbian Experience.” Lucy R. Lippard, curator.

                             UMC Fine Arts Gallery, University of Colorado at Boulder, CO

1993          “REAL STORIES: Revisions in Documentary and Narrative.

                             “Fotomuseum, Winterthur, Switzerland

1993          “New Acquisitions.” RISD Museum of Art, Providence, RI

1992          “A Relatively Narrow Space: Perspectives on Self Representation.”

                             Artemisia Gallery, Chicago, IL

1992          “REAL STORIES: Revisions in Documentary and Narrative.”

                             Museet for Foto Kunst, Odense, Denmark

1992          “Between Home and Heaven: Contemporary American Landscape Photography.”                              

                             National Museum of American Art, Smithsonian Institution, Washington, DC

1992          “Landscape, Politics and Culture.” University Art Gallery, New Mexico State University,

                             Las Cruces, NM

1992          “Body Takes.” Toronto Photographers Workshop, Toronto, Ontario

1992          “Curdled Nature.” Artists Foundation Gallery, Boston, MA

1992          “On A Queer Day You Can See Forever.” Eye Gallery, San Francisco, CA

1992          “The Country Between Us: Contemporary American Landscape Photographs.”

                             Huntington Gallery, Massachusetts College of Art, Boston, MA

1991          “Working: Six Media Installations.” Artists Space, New York, NY

1991          “Lost Illusions: Recent Landscape Art.” Vancouver Art Gallery, Vancouver, BC

1991          “Outrageous Desire: The Aesthetics and Politics of Representation.”

                             Walters Hall Gallery, Rutgers University, New Brunswick, NJ

1991          “Women In and Around the Documentary Tradition.”

                             Foreman Gallery, Hartwick College, Oneonta, NY

1991          “Stolen Glances: Lesbians Take Photographs.” Stills Gallery, Edinburgh, Scotland

1991          “Stolen Glances: Lesbians Take Photographs.” Cambridge Darkroom,

                             Cambridge, England

1991          “Visible For A Change.” Schlesinger Library, Radcliffe College, Cambridge, MA

1990          “Sexuality and the Politics of Obscenity.” Hera Gallery, Wakefield, RI

1990          “Polemical Landscapes.” California Museum of Photography, University of California at

                             Riverside, CA

1990          “Four Photo Feminisms: Deborah Bright, Diane Neumaier, Martha Rosler,

                             Clarissa Sligh.” Walters Hall Gallery, Rutgers University, New Brunswick, NJ

1989          “Landscape At Risk.” Houston Center for Photography, Houston, TX

1989          “Fix It.” Visual Studies Workshop, Rochester, NY

1988          “That’s What It’s All About.” Erector Square Gallery, New Haven, CT

1988          “Boston Area Women Artists.” Salem State College, Salem, MA

1987          “Boston Now: Projects.” Institute of Contemporary Art, Boston, MA

1986          “Expanding Commitment: Diverse Approaches to Socially Concerned Photography.”

                             Maryland Institute College of Art, Baltimore, MD

1986          “Photomosaics: The Landscape Reconstructed.” Photo Resource Center, Boston, MA

1986          “Images of War.” Hallwalls, Buffalo, NY

1985          “Wide Perspectives.” Museum of Contemporary Photography at Columbia College,

                             Chicago, IL

1985          “This Is Not About the Artist’s Ego.” Artemisia Gallery, Chicago, IL

1985          “Chicago Photographers Project.” Museum of Contemporary Photography, Chicago, IL

1985          “Artists Call Against Intervention in Latin America.” Puerto Rican Cultural Center,

                             Chicago, IL

1984          “Tenth Anniversary Show.” San Francisco Camerawork, San Francisco, CA

1984          “A Year in Grant Park.” Museum of Contemporary Photography, Chicago, IL

1984          “Midwest Photographers Exhibition.” Lightfantastic Gallery, Michigan State University,

                             East Lansing, MI

1984          “Chicago: The Architectural City.” Art Institute of Chicago, Chicago, IL

1982          “Unseen Light: Contemporary Color Photography.” Buscaglia-CastellaniGallery,

                             Niagara, NY

1982          “New Acquisitions.” California Museum of Photography, University of California at

                             Riverside, CA

1982          “Five Photographers.” Artemisia Gallery, Chicago, IL

1981          “Chicago Photographers.” Wicker Park Art Gallery, Chicago, IL

1981          “Recent Acquisitions.” Illinois State Museum, Springfield, IL

1980          “Midwest Photography Invitational.” University of Wisconsin, Green Bay, WI

1980          “Illinois Photographers 1980.” Illinois State Museum, Springfield, IL

1979          “Upper Midwest Color Print Show.” Elvehjem Museum, Madison, WI

1978          “Illinois Photographers 1978.” Illinois State Museum, Springfield, IL  


Public Collections

Addison Gallery of American Art, Phillips Andover Academy, Andover, MA

Boston Athenaeum, Boston, MA

California Museum of Photography, University of California at Riverside, CA

Center for Creative Photography, University of Arizona, Tucson, AZ

Fogg Art Museum, Harvard University, Cambridge, MA

Illinois State Museum, Springfield, IL

Leslie-Lohman Museum of Gay and Lesbian Art, New York, NY

National Museum of American Art, Smithsonian Institution, Washington, DC

Radcliffe Institute for Advanced Study, Harvard University, Cambridge, MA

RISD Museum of Art, Providence, RI

Rose Art Museum, Brandeis University, Waltham, MA

State of Illinois Center Permanent Collection, Chicago, IL

Trustman Art Gallery, Simmons College, Boston, MA

University Art Museum, State University of New York at Binghamton, NY

Victoria and Albert Museum, London, England

Whitney Museum of American Art, New York, NY


Fellowships and Awards

2012         Research Fellow, Photography, Plymouth University, Plymouth, UK

2012         Honored Educator, Society for Photographic Education, Northeast Region

2001         Artist in Residence Grant, CEPA Gallery, Buffalo, NY

1999         Artist Grant, Massachusetts Arts Council

1999         Finalist, Visual Arts, Lambda Literary Awards

1995         Bunting Fellowship, Radcliffe Institute for Advanced Study, Harvard University

1995         John R. Frazier Award for Excellence in Teaching, Rhode Is. School of Design        

1995         Somerville (MA) Arts Lottery Grant

1994         Artist Grant, Art Matters

1992         New Forms Grant, New England Foundation for the Arts

1989         David and Reva Logan Award, Photographic Resource Center

1988         National Endowment for the Arts

1986         Artist Grant, Illinois Arts Council

1985         National Endowment for the Humanities     

1983         Artist Grant, Illinois Arts Council

1980         Purchase Award, Illinois State Museum                                                                              

 


Curatorial Projects

 

2018          “Donna Gottschalk Retrospective,” Leslie-Lohman Museum, New York, NY

1999          “Fractured Mirrors, Broken Windows,” Bakalar Gallery, Photographic Resource Center,

                             Boston, MA


Television

 

In The Life, segment on “Lesbian Art in America,” aired April 2001

Culture Shock: The Shock of the Nude, PBS (WGBH-Boston), aired January 2000


Book

 

Deborah Bright, ed. The Passionate Camera: photography and bodies of desire.

London and New York: Routledge, 1998


Writings

“Photographing Nature, Seeing Ourselves,” America in View: Landscape Photography 1865 to Now, Providence: RISD Museum of Art, 2012.

“Queer Plymouth,” (with Erica Rand).  GLQ: A Journal of Lesbian and Gay Studies), Vol. 12, No. 2 (2006).

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

“Shopping the Leftovers: Warhol’s collecting strategies in Raid The Icebox I,” Other Objects of Desire, eds. Michael Camille and Adrian Rifkin, Oxford: Blackwell, 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, Jan. 1993.

“Family Practices,” Views, 13:3, Summer 1992.

 “The Machine in the Garden Revisited: American Environmentalism and Photographic Aesthetics,” Art Journal, 51:2, Summer 1992.

“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, Boulder, CO: University of Colorado, 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.


Press, Reviews

Zachary Small, “The Quintessentially Queer Art of Collage, Hyperallergic, Nov. 28, 2016.

Shirley Read and Mike Simmons, eds., Photographers and Research: The role of research in contemporary photographic practice. New York and London: Routledge, 2017. pp154-167.

Greg Cook, “Striving for Significance,” Providence Phoenix, Dec. 2, 2009

Bill Van Siclen, “RISD Biennial is politics-free,” Providence Journal, Feb. 26, 2009

Holland Cotter, “Disturbing the Peace,” New York Times, Friday, May 26, 2006.

Denez McAdoo, “A Different View,” The Mass Media (UMass, Boston), 10-11.

Terry Maddox, “The Art of Illness: Prognosis is good,” Belleville News-Democrat, January 22, 2005, C1.

Ivy Cooper, “Distaff Meeting,” Riverfront Times, January 19-25, 2005, 34.

Nancy Brokaw, “Making It Real,” The Photo Review, 25:4, 2003, 14-17.

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, Oct. 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, Sept.  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, p 9B.

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, Mar. 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, Feb.  1983.

John Alderson, "Deborah Bright: Battlefield Panoramas," Chicago Sun-Times, Jan. 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.