Susan Bright

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	<title>Susan Bright</title>
	<link>https://susanbright.net</link>
	<description>Susan Bright</description>
	<pubDate>Mon, 22 Mar 2021 19:07:21 +0000</pubDate>
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		<title>Home</title>
				
		<link>https://susanbright.net/Home</link>

		<pubDate>Fri, 16 Nov 2018 09:38:17 +0000</pubDate>

		<dc:creator>Susan Bright</dc:creator>

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	Susan Bright is a curator based in London.


	About
ExhibitionsBooksWritingEtc.
email

	
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	<item>
		<title>about</title>
				
		<link>https://susanbright.net/about</link>

		<pubDate>Thu, 09 Jun 2011 02:36:22 +0000</pubDate>

		<dc:creator>Susan Bright</dc:creator>

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		<description>&#60;img width="637" height="790" width_o="637" height_o="790" data-src="https://freight.cargo.site/t/original/i/6bd65d61bcc989e21539b7dee7ca594cfb8f30db745c049007aef066bf24c9c9/Screenshot-2023-09-13-at-3.39.11-PM.png" data-mid="190646388" border="0" data-scale="100" src="https://freight.cargo.site/w/637/i/6bd65d61bcc989e21539b7dee7ca594cfb8f30db745c049007aef066bf24c9c9/Screenshot-2023-09-13-at-3.39.11-PM.png" /&#62;photo:&#38;nbsp;Mike Reynolds


Dr. Susan Bright (Aus/UK) is a curator, art 
historian, writer and lecturer with over two decades of experience 
curating exhibitions featuring both major international and emerging 
contemporary artists. While maintaining a broad curatorial practice, she
 specializes in lens-based art and has developed a reputation for strong
 scholarship combined with imaginative, intuitive and rigorous 
collaboration.She has been invited to 
curate exhibitions at prestigious institutions worldwide, including Tate
 Britain, The National Portrait Gallery (UK), Galleria Nazionale d'Arte 
Moderna (Italy), Princeton University Art Museum (USA), Lismore Castle 
Arts (Ireland), Serlachius Museum (Finland), and Fremantle Arts Centre 
(Australia), among others.As
 guest curator and artistic director for festivals across France, Spain 
and Germany, she has demonstrated versatility and leadership in cultural 
programming. 
She writes extensively on contemporary art, photography and 
culture. She has authored seven books and regularly contributes to 
exhibition catalogues, journals, magazines, and broadsheets, including 
The Financial Times, The Guardian and Vogue. She has written and broadcast
 for BBC Radio 4.&#38;nbsp;She has taught at leading institutions including Parsons School of Design 
in New York and University of the Arts London (UAL). She is frequently invited to deliver keynote addresses at museums and 
universities internationally and has participated on numerous juries 
and panels worldwide. Additionally, she consults for brands and 
organizations on cultural strategies and initiatives. &#38;nbsp;Runner and wild swimmer.&#38;nbsp;</description>
		
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		<title>exhibitions</title>
				
		<link>https://susanbright.net/exhibitions</link>

		<pubDate>Fri, 16 Nov 2018 10:25:38 +0000</pubDate>

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Exhibitions
Since 2006 Susan Bright has worked as an independent curator for museums and galleries internationally. Featured here are a selection of exhibitions she has curated.
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‘Don’t we touch each other just to prove we are still here?’ &#38;nbsp;

Princeton University Art Museum, USA (May - August 2024) 
Co-curated with Susannah Baker-Smith

Touch served as both the conceptual foundation and sensory connection throughout “Don’t we touch each other just to prove we are still here?”&#38;nbsp;


Taking its title from a poem by Vietnamese American writer Ocean Vuong the exhibition featured work by thirteen artists. It explored how touch can be expressed through photography, film, and video. The artworks examined a spectrum of physical encounters—from tender gestures between loved ones and charged interactions between strangers to tactile engagements with materials themselves.


Through these diverse works, the exhibition presented touch as a fundamental mode of communication, understanding and human connection. &#38;nbsp; 
 
photos: ©Jason Hu
	
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Franco Vimercati: The World in a Grain of Sand
Galleria Nazionale, Rome, Italy (June - September 2023) 
The World in a Grain of Sand featured photographs of everyday objects that Franco Vimercati (1940-2001) and his family used in their Milan home. The photographs' beauty and fascination lies in their seemingly contradictory blend of intimacy and rigorous objectivity, banality and poetry.


The exhibition highlighted one of Italy's most intriguing yet understudied conceptual artists. Vimercati strips away traditional still life symbolism to create a visual space that reveals countless subtle traits and characteristics within ordinary objects.


Organized in collaboration with Archivio Franco Vimercati and Galleria Raffaella Cortese, this five-room retrospective featured works from 1974-2001, exploring Vimercati's conceptual and poetic approach to seriality and repetition. 
photos: ©Adriano Mura&#38;nbsp;


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	To Walk in the Image
St Carthage Hall, Lismore Castle Arts, Ireland (March - May 2023)


To Walk in the Image directly responded to St. Carthage Hall's history as a former chapel, exploring themes of spirituality, ritual and humanity's relationship with the land. Early Christian chapels were often built on ancient pagan worship sites, where respect was woven into human behavior around the natural rhythms by which the land breathes, grows, dies back, and regenerates.


This circular, seasonal, and spiritual understanding of the land underpins the work shown in the exhibition. Phoebe Cummings, Sabine Mirlesse and Alexander Mourant explored both collective and individual connections, allowing materials to flourish, emerge, and re-emerge while considering what lies beneath us as well as beyond us.


  photos: ©Ros Kavanagh


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TRUST/vertrauen
Spinnerei, Leipzig (June - July 2021)


As Co-Artistic Director alongside Nina Strand, I led the creative vision for the 2021 edition of f/stop: Festival für Fotographie Leipzig. Together, we developed both online and on-site programming, taking full responsibility for the festival's concept, content, and presentation. Our approach was shaped by the challenges of operating during the pandemic.


The festival showcased work by: Hoda Afshar (IR/AUS), Viktoria Binschtok (GER), Ingrid Eggen (NO), Paul Mpagi Sepuya (USA), Laure Prouvost (FR), Carmen Winant (USA), and Guanyu Xu (CHN).


Digital programming included contributions from: Susanne Ø. Sæther, Onora O'Neill, Nigel Warburton, Lebohang Kganye, Salma Abedin Prithi, Dannielle Bowman, Clara Hausmann, Anthony Luvera, Fred Hüning, Delpire &#38;amp; Co, Whitney Hubbs, Katrina Sluis, and Jonas Lund.photos: ©Walther Le Kon


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¿Déjà Vu?Fernán Gómez Centro Cultural De La Villa; Museum Lázaro Galdiano; Museu Del Romanticismo, Madrid, Spain (June 2019 - Sept 2019)
PHotoESPAÑA, Madrid's International Festival of Photography and Visual Arts, is one of Europe's longest-running and most respected arts festivals. PHE provides a prestigious platform for established and emerging visual arts.

As guest curator my programme, titled ¿Déjà Vu?, was presented across three museum spaces and featured work by Elina Brotherus (Finland), Sharon Core (USA), Délio Jasse (Angola), Laura Letinsky (Canada), Patrick Pound (NZ/Australia), and Clare Strand (UK).


These artists engage with photography by critically examining its limitations, functions, expectations, history, and cultural legacy, challenging conventional understanding of the medium.photos: ©Sebastián Bejarano


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Playground: Elina Brotherus
Serlachius Museum Gustaf, Mänttä, Finland (June 2018 – Jan 2019) 
Elina Brotherus is a Finnish artist whose work over the past twenty years has oscillated between rigorous explorations of art history and deeply personal autobiographical inquiry. Working primarily in photography and video, Brotherus shifted her practice significantly after an intense period of exploring personal life narratives.


This pivotal change led her to draw inspiration from Fluxus 'event scores,' marking a new direction in her artistic approach. Playground featured work created between 2016-2018, representing the culmination of this transformative working method.


The resulting photographs and videos simultaneously question the artist's role and&#38;nbsp; photography and film's relationship to performance art. 
photos: ©Elina Brotherus


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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/b303ae5164df3d625ef6a38a52b3c847c3ca4ae048c8c6e910bc47c88a2374c0/FeastForTheEyes_Foam_CvdK41.jpg" data-mid="34491647" border="0"  src="https://freight.cargo.site/w/1000/i/b303ae5164df3d625ef6a38a52b3c847c3ca4ae048c8c6e910bc47c88a2374c0/FeastForTheEyes_Foam_CvdK41.jpg" /&#62;

	
Feast for the Eyes: The Story of Food in Photography
Co-curated with Denise Wolff


Louisiana Museum of Art and Science, Baton Rouge, USA (June 2018 - Sept 2018)
FOAM, Amsterdam (Dec 2018 - March 2019)C/O Berlin (June 2019 - Sept 2019)The Photographers' Gallery, London (Oct 2019 - Jan 2020)
Hasselblad Foundation, Göteborg, Sweden (Feb 2020 - September 2020)
The Polygon Gallery, Vancouver, Canada (March 2021 - May 2021) 

Food's formal complexity and rich symbolic meaning, combined with its everyday accessibility, has made it a frequently photographed subject. This exhibition explored food's representation and significance through three distinct themes.


Still Life served as the starting point, drawing from one of painting's most enduring genres. The photographs demonstrated how contemporary artists have drawn inspiration from this tradition and how the genre has evolved from the 19th century to the present day.


Around the Table examined how rituals and cultural identity&#38;nbsp; occur in food-centered gatherings, while Playing with Your Food showcased works that combine humor, playfulness, and irony in their approach.&#38;nbsp;


The exhibition also featured a display of cookbooks, connecting photographic representation with food's role in everyday life.
photos: ©Foam - Christian van der Kooy

 
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	Home Truths: Photography and MotherhoodThe Photographers’ Gallery and The Foundling Museum, London (Oct 2013 – Jan 2014) 
Museum of Contemporary Photography (MoCP), Chicago (April – July 2014)
Belfast Exposed, Belfast, Northern Ireland (Oct 2014 – Jan 2015)
Home Truths featured work exploring the lived experience and cultural symbolism of motherhood in contemporary Western society. Favoring autobiographical and documentary approaches, the exhibition drew on feminist traditions in both art-making and critical writing.


The project examined what it means to be a mother in the twenty-first century, confronting stereotypes, personal expectations, and cultural constraints while revealing the maternal self as possessing both agency and power.


Featured artists: Janine Antoni, Elina Brotherus, Elinor Carucci, Ana Casas Broda, Fred Hüning, Leigh Ledare, Hanna Putz, Katie Murray, Annu Palakunnathu Matthew, Tierney Gearon, Miyako Ishiuchi, and Ann Fessler.

Interview by The Photographers’ Gallery (video)
Interview by The Foundling Museum (video)
photos: ©Kate Elliot, Kai Caemmerer 


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&#60;img width="500" height="335" width_o="500" height_o="335" data-src="https://freight.cargo.site/t/original/i/2739bc9ba06df4a1f4276d1ee90601e0cc98a4d2219fb1f6b3965737fa47a537/How-We-Are-70.png" data-mid="32816200" border="0"  src="https://freight.cargo.site/w/500/i/2739bc9ba06df4a1f4276d1ee90601e0cc98a4d2219fb1f6b3965737fa47a537/How-We-Are-70.png" /&#62;

	
How We Are: Photographing BritainCo-curated with Professor Val Williams


Tate Britain, London (May-Sept 2007) 

How We Are marked the first exhibition dedicated to British photography at Tate, presenting a comprehensive survey spanning from the 1850s to the early 2000s. With over 500 objects, the exhibition showcased renowned figures including Anna Atkins, William Henry Fox Talbot, Lewis Carroll, Julia Margaret Cameron, Bill Brandt, and Madame Yevonde.


However, the exhibition extended far beyond canonical names to include postcards, family albums, medical photographs, propaganda materials, and social documents, offering a broader view of photography's role in British culture.


Crucially, the exhibition featured many women photographers and artists from diverse cultural backgrounds who have been historically underrepresented in British photography narratives, helping to reshape understanding of the medium's development in Britain.

How We Are: Photographing Britain &#124; TateShots&#38;nbsp;(video)photos: ©Softroom


&#60;img width="600" height="399" width_o="600" height_o="399" data-src="https://freight.cargo.site/t/original/i/a30969be137f000b843b0f2c5808db5d1957319b065e8da8dfaa9712791107e7/_PCA3572.png" data-mid="32816169" border="0"  src="https://freight.cargo.site/w/600/i/a30969be137f000b843b0f2c5808db5d1957319b065e8da8dfaa9712791107e7/_PCA3572.png" /&#62;
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&#60;img width="600" height="390" width_o="600" height_o="390" data-src="https://freight.cargo.site/t/original/i/f3b7fe8d21a9e0629d74ca66a87671d66921b82774d4a582e6bb382185541182/_PCA3867.png" data-mid="32816170" border="0"  src="https://freight.cargo.site/w/600/i/f3b7fe8d21a9e0629d74ca66a87671d66921b82774d4a582e6bb382185541182/_PCA3867.png" /&#62;


Face of Fashion
National Portrait Gallery, London (Feb-May 2007)

Face of Fashion explored the symbiotic relationship between contemporary portrait photography and fashion. Rather than attempting an encyclopedic or comprehensive survey, the exhibition offered a focused investigation into portraiture's evolving possibilities as it appeared in fashion magazines during the 1990s and early 2000s.


Featuring just five international photographers—Corinne Day, Mert &#38;amp; Marcus, Steven Klein, Paolo Roversi, and Mario Sorrenti—the exhibition allowed each artist's distinctive vision to emerge clearly. As a collective presentation it highlighted the significant transformations that have reshaped fashion imagery since the early 1990s. 

Designed by&#38;nbsp;Thomas Manss &#38;amp; Companyphotos: ©Manns &#38;amp; Company


</description>
		
	</item>
		
		
	<item>
		<title>books</title>
				
		<link>https://susanbright.net/books</link>

		<pubDate>Fri, 16 Nov 2018 10:30:28 +0000</pubDate>

		<dc:creator>Susan Bright</dc:creator>

		<guid isPermaLink="true">https://susanbright.net/books</guid>

		<description>Books


	&#60;img width="516" height="650" width_o="516" height_o="650" data-src="https://freight.cargo.site/t/original/i/ca3679912b48a2ae6f77770d8b2c600fb010bcc6544ea5f1c1ed1386fad9a09c/isbn9781781577332.jpg" data-mid="34490125" border="0"  src="https://freight.cargo.site/w/516/i/ca3679912b48a2ae6f77770d8b2c600fb010bcc6544ea5f1c1ed1386fad9a09c/isbn9781781577332.jpg" /&#62;


	Photography Decoded&#38;nbsp;
(Tate/Ilex, 2019; co-authored with Hedy van Erp)
Drawing from fifteen years of teaching experience, Photography Decoded makes complex photographic concepts accessible to a broad audience. The book uses multiple interpretative approaches to introduce readers to challenging images and critical debates in photography.


Organized into ten chapters, the book examines enduring photographic issues including realism, privacy, and editing. Each photograph is explored through guided questions and detailed analysis, considering the history, distribution, and context of diverse photographic works.


Beyond developing visual literacy skills, Photography Decoded demonstrates that the very definition of what constitutes a photograph is more contested today than ever before.
Design: She Was Only


	&#60;img width="1700" height="1930" width_o="1700" height_o="1930" data-src="https://freight.cargo.site/t/original/i/9f6e7c29e6c355b15070fb34751c01978bd0a9eb02f9a605dc4f4be674c431f0/71PiY--1DmL.jpg" data-mid="31310401" border="0"  src="https://freight.cargo.site/w/1000/i/9f6e7c29e6c355b15070fb34751c01978bd0a9eb02f9a605dc4f4be674c431f0/71PiY--1DmL.jpg" /&#62;

	
Feast for the Eyes: The Story of Food in Photography&#38;nbsp;
(Aperture, 2017)
Feast for the Eyes surveys the rich history of how food has been photographed in the histories of photography, revealing that images of food are rarely just about food itself.&#38;nbsp;


The photographers featured in this book demonstrate that photographs of food—like food itself—evokes profound questions and anxieties about consumption, aspiration, tradition, gender, race, desire, wealth, poverty, pleasure, revulsion, and domesticity.


Feast for the Eyes was shortlisted for the Historical Book Award at Les Prix du Livre, Arles 2018.
For an inside look, click here
Editor Denise Wolff on Feast for the Eyes (video)


	&#60;img width="773" height="924" width_o="773" height_o="924" data-src="https://freight.cargo.site/t/original/i/4aaced829fc682472c044eb2a5931ad22191fb82f73643ad06f07071914e3e9e/TPG_Home-Truths-Cover-final1.jpg" data-mid="31310045" border="0"  src="https://freight.cargo.site/w/773/i/4aaced829fc682472c044eb2a5931ad22191fb82f73643ad06f07071914e3e9e/TPG_Home-Truths-Cover-final1.jpg" /&#62;
	

Home Truths: Photography and Motherhood 

(Art / Books, 2013)
Published to accompany the exhibition at The Photographers' Gallery and The Foundling Museum in London, Home Truths examines how contemporary artists interpret the figure of the mother.


Featuring work by twelve international artists, the publication challenges stereotypical and sentimental views of motherhood perpetuated by traditional narratives. It explores how artists address evolving concepts of power, gender, domesticity, the maternal body, and female identity.


The featured works are deeply personal, often taking a documentary approach that places individual subjects at the center of each narrative. The book also includes art historical and autobiographical essays by Susan Bright, Nick Johnson, Simon Watney, and Stephanie Chapman.
Interviews with the artists&#38;nbsp;(videos)


	&#60;img width="503" height="600" width_o="503" height_o="600" data-src="https://freight.cargo.site/t/original/i/91dd51ac1da0ef6a3baa2ae07ea5bab969684553a5a30880de3db2918a53e42d/prt_503x600_1471197445.JPG" data-mid="28640444" border="0"  src="https://freight.cargo.site/w/503/i/91dd51ac1da0ef6a3baa2ae07ea5bab969684553a5a30880de3db2918a53e42d/prt_503x600_1471197445.JPG" /&#62;
	

Auto Focus: The Self Portrait in Contemporary Photography
(Thames &#38;amp; Hudson, 2010)

Written on the brink of the selfie phenomenon, Auto Focus was among the first comprehensive surveys to examine self-portraiture in contemporary photography. The book aimed to be as international as possible, featuring a diverse range of photographers and artists.&#38;nbsp;


The book demonstrates how questions of identity—whether national, sexual, racial, personal, or artistic—are central to understanding the work of many contemporary photographers. Organized into five chapters (Autobiography, Body, Masquerade, Studio and Album, and Performance), the book explores how the self becomes a vehicle for self-regard, self-preservation, self-revelation, and self-creation. ,&#38;nbsp;
Other editions include: Monacelli Press (USA) and Contrasto (Italy)


	&#60;img width="400" height="489" width_o="400" height_o="489" data-src="https://freight.cargo.site/t/original/i/b7f3b1f39b6e4a87c1191de06ced371604a1b266a079ef1b5871725411d4226b/prt_400x489_1471198086.png" data-mid="31310084" border="0"  src="https://freight.cargo.site/w/400/i/b7f3b1f39b6e4a87c1191de06ced371604a1b266a079ef1b5871725411d4226b/prt_400x489_1471198086.png" /&#62;
	

How We Are: Photographing Britain
(Tate, 2007: co-authored with Val Williams)
Published to accompany the How We Are exhibition at Tate Britain, this book follows the exhibition's chronological structure while examining overlapping themes and preoccupations in greater detail.


The publication explores several distinctive characteristics of British photography: a melancholic nostalgia and tendency to ‘hark back’ to the past, a deep appreciation for the ordinary and everyday, and an ongoing desire to capture the fluid and elusive concept of Britishness itself.


The book demonstrates how the act of photographing Britain in its many forms has played a crucial role in shaping the nation's complex, multi-faceted identity.
TateShots (video)


	&#60;img width="629" height="770" width_o="629" height_o="770" data-src="https://freight.cargo.site/t/original/i/c39c2a04fd1a2a5698ae5da92f4ae164d63e6b3ce24d1bacd9e3aff915a81fbd/Screen-Shot-2019-01-16-at-4.09.51-PM-1.png" data-mid="33027476" border="0"  src="https://freight.cargo.site/w/629/i/c39c2a04fd1a2a5698ae5da92f4ae164d63e6b3ce24d1bacd9e3aff915a81fbd/Screen-Shot-2019-01-16-at-4.09.51-PM-1.png" /&#62;
	

Face of Fashion

(National Portrait Gallery, 2007)
Published to accompany the exhibition at The National Portrait Gallery, Face of Fashion was released in multiple editions.&#38;nbsp;


The publication allowed for deeper exploration of the photographs' contexts, examining the relationships between fashion and art, celebrity culture, and collaborative practices in both editorial and advertising photography.


Featuring all works from the exhibition, the book also included an additional essay by American cultural commentator Vince Aletti.  
Other editions include: Aperture (USA)

Design: Thomas Manss &#38;amp; Company


	&#60;img width="1080" height="1222" width_o="1080" height_o="1222" data-src="https://freight.cargo.site/t/original/i/e4f097eb62e6f6d605c6464aaf1613f3719a91e529ef95113db8d5be23dcb1e0/image.jpg" data-mid="31310321" border="0"  src="https://freight.cargo.site/w/1000/i/e4f097eb62e6f6d605c6464aaf1613f3719a91e529ef95113db8d5be23dcb1e0/image.jpg" /&#62;
	

Art Photography Now
(Thames &#38;amp; Hudson, 2005;  2nd edition, 2011)

Art Photography Now was one of the first overviews of contemporary art photography and provides an extensive overview of eighty international artists who use photography as their primary medium. The book is divided into seven sections - Portrait, Landscape, Narrative, Object, Fashion, Document, and City - that explore the diverse subjects, styles, and methods of the leading practitioners. Introductions to each section outline the genres and consider why photographers are attracted to certain themes, and how issues like memory, time, objectivity, politics, identity, and the everyday are tied to their approaches.Other editions include: Aperture (USA), Textual (France), Edition Braus (Germany), Nerea (Spain), Korea Price Information Corp (Korea), IDEAFried (Taiwan), Post Wave Publishing Consulting Ltd (China)
</description>
		
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	<item>
		<title>Feast for the Eyes</title>
				
		<link>https://susanbright.net/Feast-for-the-Eyes</link>

		<pubDate>Thu, 20 Apr 2017 18:11:39 +0000</pubDate>

		<dc:creator>Susan Bright</dc:creator>

		<guid isPermaLink="true">https://susanbright.net/Feast-for-the-Eyes</guid>

		<description>
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	&#60;img width="1000" height="595" width_o="1000" height_o="595" data-src="https://freight.cargo.site/t/original/i/bfd742568619b522f2b5493f6b63e3a6e5f403516841262561834ebbf6c19dbe/FFTE-10.png" data-mid="30327795" border="0"  src="https://freight.cargo.site/w/1000/i/bfd742568619b522f2b5493f6b63e3a6e5f403516841262561834ebbf6c19dbe/FFTE-10.png" /&#62;
APERTURE: From basic sustenance to savory repasts, food awakens the senses and touches both private and public life. It can be political, religious, aspirational, commercial, creative, symbolic, national, and regional. Food’s complexity of form and meaning―and the fact that it’s often at hand―have made it a much-photographed subject throughout the history of photography. Interest in both food photography and food as a subject has risen in recent years, and this is the first book to cover food photography’s rich history―not only in fine art photography, but also in crossover genres such as commercial and scientific photography and photojournalism. Susan Bright’s introduction and commentary accompanying the photographs bring insight and intelligence to this spectacular subject, and trace the progression of the genre from photography’s beginnings to present day, featuring artists from all eras―Roger Fenton, Nickolas Muray, Edward Weston, Irving Penn, Stephen Shore, Laura Letinsky, Wolfgang Tillmans, Nobuyoshi Araki, and Martin Parr, to name a few. Through key pictures, Bright explores the important figures and movements of food photography to provide an essential primer.
9 ½ x 11 ½ in304 pages, hardcover978-1-59711-361-8
Published by Aperture

Available on Amazon


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︎Susan Bright&#38;nbsp;© 2018</description>
		
	</item>
		
		
	<item>
		<title>writing</title>
				
		<link>https://susanbright.net/writing</link>

		<pubDate>Fri, 16 Nov 2018 12:59:55 +0000</pubDate>

		<dc:creator>Susan Bright</dc:creator>

		<guid isPermaLink="true">https://susanbright.net/writing</guid>

		<description>Writing


 Susan Bright is regularly commissioned to contribute to artists monographs, museum catalogues and edited books. Included here are some selected examples.&#60;img width="972" height="1286" width_o="972" height_o="1286" data-src="https://freight.cargo.site/t/original/i/21e128dad6bbfd37630f8a95b4d7df5e31401d4f5dd564bd770a7b67210d6f6f/Screenshot-2025-07-31-at-11.59.35AM.png" data-mid="236491245" border="0"  src="https://freight.cargo.site/w/972/i/21e128dad6bbfd37630f8a95b4d7df5e31401d4f5dd564bd770a7b67210d6f6f/Screenshot-2025-07-31-at-11.59.35AM.png" /&#62;

	Double Feature
Saint Lucy Books (2025)


Over 200 vernacular images from the collection of artist Patrick Pound accompanied by ekphrastic texts from 44 writers exploring ideas of&#38;nbsp; doubling / layering / twinning / mimicked gestures / simultaneous realties / blurring boundaries evoked by the photographs. Edited by Mark Alice Durant.&#38;nbsp;
&#60;img width="1080" height="1348" width_o="1080" height_o="1348" data-src="https://freight.cargo.site/t/original/i/0dff174f5f35e0a7ae1de1c4b3472c83f3c43ee52265039c880cc39479f662f6/Screenshot-2025-06-11-at-6.06.06PM.png" data-mid="234469342" border="0"  src="https://freight.cargo.site/w/1000/i/0dff174f5f35e0a7ae1de1c4b3472c83f3c43ee52265039c880cc39479f662f6/Screenshot-2025-06-11-at-6.06.06PM.png" /&#62;

	Motherground: Dominique ReyWinnipeg Art Gallery – Qaumajuq (2024)

Motherground&#38;nbsp;(featuring Madeleine and Auguste Coar) presents the work of Franco-Manitoban artist, Dominique Rey, in a survey monograph in three ‘chapters’. These reflect the the distinct phases of her explorations into the complex tapestry of emotions and cultural constructs of motherhood. Contributors include Riva Symko, Susan Bright and Julia Lafreniere.


&#60;img width="3790" height="4438" width_o="3790" height_o="4438" data-src="https://freight.cargo.site/t/original/i/c481ef7df7023f464a9ea92f8eb3f2dee29fb787d602161ecd28affe6eca7864/Unknown.jpeg" data-mid="234410660" border="0"  src="https://freight.cargo.site/w/1000/i/c481ef7df7023f464a9ea92f8eb3f2dee29fb787d602161ecd28affe6eca7864/Unknown.jpeg" /&#62;

	Wilful Amateur: Sian BonnellNeverdone Press (2025)

Wilful Amateur presents a timely overview of Sian Bonnell’s practice from 1978 to the present. Arranged non-chronologically the book brings together early and later works into new correspondence. Essays by Aliki Braine, Sian Bonnell, Duncan Wooldridge, and a transcript of the artist in conversation with Susan Bright.&#38;nbsp;

&#60;img width="439" height="699" width_o="439" height_o="699" data-src="https://freight.cargo.site/t/original/i/84ee4345efc882d0048740abae67ddfa3b0d25261b8a0864a1460fc7ebe2278b/Screenshot-2024-05-23-at-5.19.18-PM.png" data-mid="211533048" border="0" data-scale="65" src="https://freight.cargo.site/w/439/i/84ee4345efc882d0048740abae67ddfa3b0d25261b8a0864a1460fc7ebe2278b/Screenshot-2024-05-23-at-5.19.18-PM.png" /&#62;

	worm, root, wort...&#38;amp; bane: Ann SheltonAlice Austen House Museum (2024)

Part artist book and part scrapbook, photo book, quotography, and exhibition catalogue, worm, root, wort… &#38;amp; bane reassembles
 fragments of historical knowledge surrounding the medicinal, magical, 
and spiritual uses of plant materials — and the wise women, witches, and
 wortcunners who kept this knowledge safe.&#38;nbsp; The book features new essays by Susan Bright and Victoria Munro. &#38;nbsp;


&#60;img width="1082" height="1504" width_o="1082" height_o="1504" data-src="https://freight.cargo.site/t/original/i/9c51fb7c7f40b2948295ab4ffdb4d38b312c06ecb53493268f271b33199b3c8a/IMG_2051.png" data-mid="193471511" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/9c51fb7c7f40b2948295ab4ffdb4d38b312c06ecb53493268f271b33199b3c8a/IMG_2051.png" /&#62;

	Photography: Real and ImaginedNational Gallery of Victoria (2023)

In this publication, photographs from the National Gallery of 
Victoria are 
 explored through 21 themes.&#38;nbsp; The book also includes three major essays including an introductory 
essay by Susan van Wyk; a text by Susan Bright examining the idea of 
the photograph as a document of the ‘real’; and a piece by David 
Campany exploring the imaginative capacity of photography.

	&#60;img width="505" height="663" width_o="505" height_o="663" data-src="https://freight.cargo.site/t/original/i/e01dd13fc526597746fc159b567f34d4d6f4ca671f6639f905aab5300909052f/Screenshot-2023-09-13-at-3.49.33-PM.png" data-mid="190848205" border="0" data-scale="88" src="https://freight.cargo.site/w/505/i/e01dd13fc526597746fc159b567f34d4d6f4ca671f6639f905aab5300909052f/Screenshot-2023-09-13-at-3.49.33-PM.png" /&#62;

	Tough Pleasures: Toni WilkinsonT&#38;amp;J Publishing / Chatwin Books (2023)

In Tough Pleasures,&#38;nbsp; Toni Wilkinson presents a series of domestic portraits which reinterpret the conflicted dynamics of femininity and food, playfully exploring provocative motifs of forbidden fruit, sexuality, religion and the absurd. Essay by Susan Bright.&#38;nbsp;

	&#60;img width="565" height="664" width_o="565" height_o="664" data-src="https://freight.cargo.site/t/original/i/ea1724ebd945a093becd1c6dcb5097d62bada86b5814499f840c4d40276d9f83/eleven_years-Cover_Main.png" data-mid="132725893" border="0"  src="https://freight.cargo.site/w/565/i/ea1724ebd945a093becd1c6dcb5097d62bada86b5814499f840c4d40276d9f83/eleven_years-Cover_Main.png" /&#62;
	eleven years: Brea SoudersSaint Lucy Books (2021)


This is the first monograph by the Brooklyn-based artist and features works from 2010 to 2021. Souders’ images capture fleeting materiality, as seen in her sculptural works created with static electricity and film cut-ups, paintings on film emulsion, and hand-colored photographs of disembodied human shadows imprinted upon the Western landscape. Essays by Kim Beil, Susan Bright and Mark Alice Durant.


&#60;img width="1500" height="1785" width_o="1500" height_o="1785" data-src="https://freight.cargo.site/t/original/i/0d47f4389766ce72e1cfe86ca3fcbf63e8286b6b3ee23a1821251cbdfb291530/Past-Paper-Cover.png" data-mid="132724499" border="0"  src="https://freight.cargo.site/w/1000/i/0d47f4389766ce72e1cfe86ca3fcbf63e8286b6b3ee23a1821251cbdfb291530/Past-Paper-Cover.png" /&#62;Past Paper // Present Marks: Responding to Rauschenberg
Radius Books (2021)In 2018, Jennifer Garza-Cuen and Odette England spent a week at the Robert Rauschenberg Foundation Residency in Captiva, Florida, collaborating on a series of nearly 200 photograms.The images were made in Rauschenberg’s swimming pool using expired 1970s gelatin silver paper found in his darkroom. Essays by Susan Bright, David Campany and Nicholas Muellner. 
&#60;img width="627" height="819" width_o="627" height_o="819" data-src="https://freight.cargo.site/t/original/i/768694846c1fe38bd4e181edde0c249fbd4bbe071febe4a2dafedf2c27c120ea/Running-web-01.png" data-mid="101165498" border="0"  src="https://freight.cargo.site/w/627/i/768694846c1fe38bd4e181edde0c249fbd4bbe071febe4a2dafedf2c27c120ea/Running-web-01.png" /&#62;Running Falling Flying Floating Crawling Saint Lucy Booked (Edited by Mark Alice Durant, 2021)
 
Running Falling Flying Floating Crawling is a loose compendium of photographs and texts that picture, examine, explore, and / or suggest the human body in states of abandon, helplessness, terror, subjugation, serenity, and transcendence. 
 

&#60;img width="682" height="989" width_o="682" height_o="989" data-src="https://freight.cargo.site/t/original/i/e8d3c13276666bc4f2ad210960aea56f037fb558be296c48def71e1583a63230/Screen-Shot-2019-06-27-at-9.27.18-PM.png" data-mid="45836865" border="0"  src="https://freight.cargo.site/w/682/i/e8d3c13276666bc4f2ad210960aea56f037fb558be296c48def71e1583a63230/Screen-Shot-2019-06-27-at-9.27.18-PM.png" /&#62;¿Déjà Vu?PHotoESPAÑA (2019)

Commissioned to coincide with the Guest Curation of PHotoESPAÑA 2019 this publication draws on the commonalities between the work exhibited. This includes: art history, painting, miscommunication, collaboration and the archive. Available in both Spanish and English. 


	&#60;img width="960" height="960" width_o="960" height_o="960" data-src="https://freight.cargo.site/t/original/i/c8fde0f476e89a9edaaf871ce775ab62bb2224fd331672b93d9a65958f8222d8/cover-copy.jpeg" data-mid="45836636" border="0"  src="https://freight.cargo.site/w/960/i/c8fde0f476e89a9edaaf871ce775ab62bb2224fd331672b93d9a65958f8222d8/cover-copy.jpeg" /&#62;
	Mountains of Kong: Jim Naughten
Hoop Editions (2019)The introduction to this book considers Naughten’s questioning of the veracity of the photograph; the authenticity of map making; the desires for reality and fantasy; and the malleability of history.


	&#60;img width="250" height="213" width_o="250" height_o="213" data-src="https://freight.cargo.site/t/original/i/1a56235caac34ab14dcc239d542bc1a3c6b3b9056402e60ad765da92498fe54b/elina_brotherus_2_600.png" data-mid="35437913" border="0"  src="https://freight.cargo.site/w/250/i/1a56235caac34ab14dcc239d542bc1a3c6b3b9056402e60ad765da92498fe54b/elina_brotherus_2_600.png" /&#62;
	Playground: Elina BrotherusParvs (2018)
Susan Bright, Candy Graphics and Elina Brotherus conceived this handmade box to coincide with Brotherus’ solo exhibition at Serlachius Museum in Finland. It contains an essay by Susan Bright and is limited to 200. It contains 80 cards representing work from 2016 – 2018. All editions are signed by the artist.


	&#60;img width="250" height="355" width_o="250" height_o="355" data-src="https://freight.cargo.site/t/original/i/be33ae659c0b6389be988d0989167cd736f32c95f212d69db79312e3aaf3c34a/9780500544709_std_old_future_1.png" data-mid="35437922" border="0"  src="https://freight.cargo.site/w/250/i/be33ae659c0b6389be988d0989167cd736f32c95f212d69db79312e3aaf3c34a/9780500544709_std_old_future_1.png" /&#62;
	

Old Future: Erik Madigan HeckThames and Hudson (2017)
Susan Bright interviewed and wrote an overview of fashion photographer Erik Madigan Heck’s work to date in his first monograph.


	&#60;img width="416" height="390" width_o="416" height_o="390" data-src="https://freight.cargo.site/t/original/i/cee4fe7d3eba102ecbbbfa176273108de0b6fba372eb1c2e07817a77ae887d78/9780500500996-416x390.jpg" data-mid="31142563" border="0"  src="https://freight.cargo.site/w/416/i/cee4fe7d3eba102ecbbbfa176273108de0b6fba372eb1c2e07817a77ae887d78/9780500500996-416x390.jpg" /&#62;
	

My Horizon: Tracey MoffattThames and Hudson (2017)
Published to coincide with the 57th International Art exhibition of the Venice Biennale, My Horizon is edited by Natalie King. Contributing authors include: Germano Celant, Adrian Martin, Moira Roth, Susan Bright, Djon Mundine, Alexis Wright, and Romaine Moreton.


	&#60;img width="2200" height="2047" width_o="2200" height_o="2047" data-src="https://freight.cargo.site/t/original/i/7ca07783fe31459b3c99ce305b0a15d4d11bcd9d2be176d3644bbe58074bc235/7103nDvHyOL.jpg" data-mid="31142562" border="0"  src="https://freight.cargo.site/w/1000/i/7ca07783fe31459b3c99ce305b0a15d4d11bcd9d2be176d3644bbe58074bc235/7103nDvHyOL.jpg" /&#62; 
	

Le Gendarme sur la Colline: Alessandra SanguinettiAperture (2017)
As part of the 'Immersion, A French-American Photography Commission' between Aperture and the Fondation d’entreprise Hermès, Susan Bright mentored Alessandra Sanguinetti as she travelled around France. In addition she wrote an accompanying essay for the book which she also helped edit.


	&#60;img width="250" height="174" width_o="250" height_o="174" data-src="https://freight.cargo.site/t/original/i/d928251e934bc5b095660ef70341067fea907356c5455a442d57d3fc628ee49a/Maqueta-Kinderwunsch-1_o.png" data-mid="35437929" border="0"  src="https://freight.cargo.site/w/250/i/d928251e934bc5b095660ef70341067fea907356c5455a442d57d3fc628ee49a/Maqueta-Kinderwunsch-1_o.png" /&#62; 
	

Kinderwunsch: Ana Casas BrodaLa Fabrica (2013)
In this moving project, Mexican photographer Ana Casas Broda explores the complexity of motherhood and her relationship with her two sons. Susan Bright advised on the editing of the book and wrote an essay based on both Casas Broda’s photographs and texts.


	&#60;img width="480" height="630" width_o="480" height_o="630" data-src="https://freight.cargo.site/t/original/i/5040e6ed793b76d2fbde97d71f9be2fd78494e765767920b43553af750e405b9/art-and-motherhood.jpg" data-mid="31142561" border="0"  src="https://freight.cargo.site/w/480/i/5040e6ed793b76d2fbde97d71f9be2fd78494e765767920b43553af750e405b9/art-and-motherhood.jpg" /&#62; 
	

How We Do Both: Art and MotherhoodSecretary Press (2012)
How We Do Both is a book of collected interviews based around the three following questions: How do you logistically balance art making and motherhood, does your artmaking require a “room of one’s own”? And did having children enhance your creativity? Susan Bright contributed a chapter to the book which featured a range of photographers, artists and those working in creative fields.


	&#60;img width="400" height="476" width_o="400" height_o="476" data-src="https://freight.cargo.site/t/original/i/cdc5d2b28061b05cf600b64681953d484e7a83a701f0e3657d55f62e080ac82a/Screen shot 2012-02-27 at 21.54.08_o.png" data-mid="31142255" border="0"  src="https://freight.cargo.site/w/400/i/cdc5d2b28061b05cf600b64681953d484e7a83a701f0e3657d55f62e080ac82a/Screen shot 2012-02-27 at 21.54.08_o.png" /&#62;
	

Artist and Her Model: Elina BrotherusLe Caillou Bleu (2012)
In this artists monograph, Susan Bright concentrated on four photographs in her essay. Two from the beginning of Brotherus’ career and two from recent projects. The monograph is a contemplation on midlife and being a midcareer artist. It explores the themes of art history and autobiography that reverberate through Brotherus’ work.


	&#60;img width="226" height="174" width_o="226" height_o="174" data-src="https://freight.cargo.site/t/original/i/a148cfb76b487bdb342eddfea4dc2567482c15b82f375eebea7f350fac5a881f/DOUBLELIFE_o.png" data-mid="35438678" border="0"  src="https://freight.cargo.site/w/226/i/a148cfb76b487bdb342eddfea4dc2567482c15b82f375eebea7f350fac5a881f/DOUBLELIFE_o.png" /&#62;
	

Double Life: Kelli ConnellDecode Books (2011)
In this essay Susan Bright linked the work of Connell to the intricate 19th Century albums made by Kate Gough and the writer Virginia Wolff. By connecting these women she was able to examine the themes of time and twinning across different mediums and circumstances. 
	

	&#60;img width="238" height="274" width_o="238" height_o="274" data-src="https://freight.cargo.site/t/original/i/1f2ef977eab6555769f7308fc4645762dc534e1f68fbc2f14b535ac9bfa75f52/Screen-shot-2011-07-19-at-10.22.53-AM_o.png" data-mid="35438686" border="0"  src="https://freight.cargo.site/w/238/i/1f2ef977eab6555769f7308fc4645762dc534e1f68fbc2f14b535ac9bfa75f52/Screen-shot-2011-07-19-at-10.22.53-AM_o.png" /&#62;
	

Out of The Dark Room: The David Kronn CollectionIMMA (2011) 
Released to coincide with an exhibition at the Irish Museum of Modern Art (IMMA) Susan Bright’s essay focused on how children and their carers had been photographed in the collection. Additional texts by Seán Kissane, David Kronn and Carol Squiers.


	&#60;img width="250" height="300" width_o="250" height_o="300" data-src="https://freight.cargo.site/t/original/i/2b869656ef0ee91274c7bb5fa5f4f8f7a0ed71ef4bcd93b4139f4a7c3c633301/mossless_o.png" data-mid="35437972" border="0"  src="https://freight.cargo.site/w/250/i/2b869656ef0ee91274c7bb5fa5f4f8f7a0ed71ef4bcd93b4139f4a7c3c633301/mossless_o.png" /&#62; 
	

Mossless 1: Alone TogetherMossless (2011)
Edited by Romke Hoogwaerts, this collection of four contemporary artists was the first in a series of book like magazines (or magazine style books) that brought together young artists that considered America, both individuality and a through a collective consciousness. It was shown at MoMA’s exhibition Millennium Magazines and is held in the collection.


	&#60;img width="226" height="245" width_o="226" height_o="245" data-src="https://freight.cargo.site/t/original/i/59436ece7a3752ce60f1566371439c28e5ae4ac8ff788ff36122372f6b9baa17/Silence_Cover_Hires_rgb_o.png" data-mid="35438715" border="0" data-scale="100" src="https://freight.cargo.site/w/226/i/59436ece7a3752ce60f1566371439c28e5ae4ac8ff788ff36122372f6b9baa17/Silence_Cover_Hires_rgb_o.png" /&#62; 
	

Silence: Brad RimmerT&#38;amp;G Publishing (2010)
This project by Brad Rimmer contemplates the act of returning ‘home’ and ideas of a community that has been left behind. Susan Bright wrote the accompanying essay that considered Rimmer’s quiet meditation on familiarity and alienation, beauty and poverty. 


</description>
		
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	<item>
		<title>etc</title>
				
		<link>https://susanbright.net/etc</link>

		<pubDate>Mon, 22 Mar 2021 19:07:21 +0000</pubDate>

		<dc:creator>Susan Bright</dc:creator>

		<guid isPermaLink="true">https://susanbright.net/etc</guid>

		<description>Etc.
Featured here are a section of talks, interviews, panels and juries Susan Bright has participated in.&#38;nbsp;


	&#60;img width="2834" height="1296" width_o="2834" height_o="1296" data-src="https://freight.cargo.site/t/original/i/edaf05a99e7a2922d98b7340e7886809c21c04fd7a1585707fbf02eb8bbfd18a/Screenshot-2025-09-11-at-11.11.50AM.png" data-mid="238100648" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/edaf05a99e7a2922d98b7340e7886809c21c04fd7a1585707fbf02eb8bbfd18a/Screenshot-2025-09-11-at-11.11.50AM.png" /&#62;


	Sian Bonnell and curator Susan Bright collaborated on the launch of Bonnell’s new book Wilful Amateur, at the Photographers’ Gallery in 
London.&#38;nbsp; The book&#38;nbsp;presents a timely overview of Sian Bonnell’s art practice from 1978 to the present. 


	&#60;img width="2322" height="1294" width_o="2322" height_o="1294" data-src="https://freight.cargo.site/t/original/i/3b908d93dab3b942729f520f2bcd564b332d24f02b34a69b8dd8b6834a6d2571/Screenshot-2025-08-21-at-2.26.39PM.png" data-mid="237328088" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/3b908d93dab3b942729f520f2bcd564b332d24f02b34a69b8dd8b6834a6d2571/Screenshot-2025-08-21-at-2.26.39PM.png" /&#62;

	Olivia
 Arthur and curator Susan Bright collaborated on the launch of Arthur's 
new book, Murmurings of the Skin, at the Photographers' Gallery in 
London.&#38;nbsp; Arthur's work explores the relationship between the human body, technology, and connection.


&#60;img width="800" height="1049" width_o="800" height_o="1049" data-src="https://freight.cargo.site/t/original/i/f0d056f0c5c3e2f262c5013547ecb0edabd1782669c12ba321ccc66122f408cd/Dominique_Ingres_-_Mme_Moitessier.jpg" data-mid="219317570" border="0" data-scale="100" src="https://freight.cargo.site/w/800/i/f0d056f0c5c3e2f262c5013547ecb0edabd1782669c12ba321ccc66122f408cd/Dominique_Ingres_-_Mme_Moitessier.jpg" /&#62;
	Susan Bright has curated a special series for National Gallery members, inviting various arts professionals to share insights about their favorite paintings. Rather than focusing solely on the artwork itself, the series encourages deeper conversations that extend beyond the physical object. Each painting serves as a catalyst for exploring the personal stories, memories, and emotions it inspires in the speaker.
&#60;img width="478" height="830" width_o="478" height_o="830" data-src="https://freight.cargo.site/t/original/i/b1c5219879c5da10c1912a9d53573274aa7d906675e9a3a4ca770de8fca72861/Screenshot-2024-08-12-at-2.52.44-PM.png" data-mid="216226050" border="0" data-scale="89" src="https://freight.cargo.site/w/478/i/b1c5219879c5da10c1912a9d53573274aa7d906675e9a3a4ca770de8fca72861/Screenshot-2024-08-12-at-2.52.44-PM.png" /&#62;

	
  Join
 the artist Phoebe Cummings, together with curators Susannah Baker-Smith
 and Susan Bright, for a virtual discussion of Cummings’s short 
films Towards a Flower,&#38;nbsp;which are featured in the exhibition “Don’t we touch each other just to prove we are still here?”: Photography and Touch.&#38;nbsp;Cummings explores ceramics 
as a time-based medium. The physical connection between artist and material remains visible throughout the work. Clay becomes more than a passive medium—it acts as an active participant, performing its own gradual transformation as it drips, dries, shrinks, and develops cracks over time. 


      &#60;img width="500" height="620" width_o="500" height_o="620" data-src="https://freight.cargo.site/t/original/i/20f0aea07ca301dc0c203dd239a0bf7bd990a8bb38ce73453878afe286390a68/Screenshot-2023-09-13-at-3.39.11-PM.png" data-mid="191226998" border="0"  src="https://freight.cargo.site/w/500/i/20f0aea07ca301dc0c203dd239a0bf7bd990a8bb38ce73453878afe286390a68/Screenshot-2023-09-13-at-3.39.11-PM.png" /&#62;

	In August 2023 Susan Bright was interviewed for the British Journal of Photography’s Any Answers feature.&#38;nbsp;


&#60;img width="1599" height="820" width_o="1599" height_o="820" data-src="https://freight.cargo.site/t/original/i/06cd29287962b30f3ba0d70356e21449bd75893b5e101e001c5b4836f9d3fa8c/Screenshot-2023-09-18-at-11.11.11-AM.png" data-mid="191091333" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/06cd29287962b30f3ba0d70356e21449bd75893b5e101e001c5b4836f9d3fa8c/Screenshot-2023-09-18-at-11.11.11-AM.png" /&#62;

	Representations of care in photography was an online talk with Australian artists Ying Ang, Odette England and Lisa Sorgini, chaired by Susan Bright. The panel explored themese of family, care, motherhood, place and belonging.&#38;nbsp;

	&#60;img width="2880" height="1592" width_o="2880" height_o="1592" data-src="https://freight.cargo.site/t/original/i/e25f49fe247229b8645f1450e290dfae83a7c436668168ab06ffcc8d0b1fe555/Screen-Shot-2022-02-07-at-11.21.57-AM.png" data-mid="132727387" border="0"  src="https://freight.cargo.site/w/1000/i/e25f49fe247229b8645f1450e290dfae83a7c436668168ab06ffcc8d0b1fe555/Screen-Shot-2022-02-07-at-11.21.57-AM.png" /&#62;
	The Anaphora Program is a mentorship program for visual artists who have an incarcerated parent. It provides two artists $15,000 (each) to help produce work while receiving mentorship from five industry leaders over the course of a year. The goal is to assist artists in creating a professional portfolio that can lead to employment, exhibition, publication, or higher education. We believe this program will impact our culture's perspective on incarceration and empower a new wave of artists.Founded by Carrie Levy with support from Susan Bright, Stephen Frailey, Alexander Ho and Jessica Ingram.&#38;nbsp;


	&#60;img width="2000" height="2770" width_o="2000" height_o="2770" data-src="https://freight.cargo.site/t/original/i/4772ce4de154ff457434c4e91e8de0537ef4c8042656194e8bfed9d9cd84aa02/-MANIFESTO_COVER_V2_.jpg" data-mid="132726960" border="0"  src="https://freight.cargo.site/w/1000/i/4772ce4de154ff457434c4e91e8de0537ef4c8042656194e8bfed9d9cd84aa02/-MANIFESTO_COVER_V2_.jpg" /&#62;
	The Norwegian arts platform Objektiv published 'A Criticism Review’, a manifesto where different writers reflect on how we can make changes within the writing community, carving out new ideas about how to work and be published.


	&#60;img width="483" height="760" width_o="483" height_o="760" data-src="https://freight.cargo.site/t/original/i/72d583fba31e641cd8a4c61fd2abd8e7c6d69ff62f03a4c1633b98d15aa841c2/nypl.digitalcollections.510d47e1-30d8-a3d9-e040-e00a18064a99.001.w.jpg" data-mid="132726628" border="0"  src="https://freight.cargo.site/w/483/i/72d583fba31e641cd8a4c61fd2abd8e7c6d69ff62f03a4c1633b98d15aa841c2/nypl.digitalcollections.510d47e1-30d8-a3d9-e040-e00a18064a99.001.w.jpg" /&#62;
	

For the month of January 2022, Kim Beil, Susan Bright, Mark Alice Durant and Brea Sounders took over the New York Public Library Picture Collection Instagram account.


	&#60;img width="420" height="420" width_o="420" height_o="420" data-src="https://freight.cargo.site/t/original/i/7f9e979c53b5dcd35a14945e1daa607b25ab3ed1c9463ec064e64f4c8dfd778c/375722_697317006979304_1929929197_n.jpg" data-mid="132726396" border="0"  src="https://freight.cargo.site/w/420/i/7f9e979c53b5dcd35a14945e1daa607b25ab3ed1c9463ec064e64f4c8dfd778c/375722_697317006979304_1929929197_n.jpg" /&#62;
	Susan Bright talks to Brett Rogers OBE about her career from her early curatorial work in Australia, her years as Deputy Director of Visual Arts at the British Council, and her role as Director of The Photographers’ Gallery, London.&#38;nbsp;

	&#60;img width="800" height="512" width_o="800" height_o="512" data-src="https://freight.cargo.site/t/original/i/54e50393e6d8657adaf57064243b1a3003448dda81f853253e6e59fbff887c34/800-00938.jpeg" data-mid="132721513" border="0"  src="https://freight.cargo.site/w/800/i/54e50393e6d8657adaf57064243b1a3003448dda81f853253e6e59fbff887c34/800-00938.jpeg" /&#62;
	

The Taylor Wessing Photographic Portrait Award is prestigious yearly prize held at the National Portrait Gallery in London. Susan&#38;nbsp;Bright was on the panel alongside Mariama Attah (Curator of Open Eye Gallery), Misan Harriman (Photographer and chair of the South Bank Centre) and Magda Keaney (Senior Curator, National Portrait Gallery). Chaired by director of the National Portrait Gallery, Nicholas Cullinan.


	&#60;img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/3cd39e5b335f74546105b69e3f5d31fdb688e50e2873fd598f5336a5bd72bb5e/Screen-Shot-2022-02-07-at-10.29.06-AM.png" data-mid="132720252" border="0"  src="https://freight.cargo.site/w/1000/i/3cd39e5b335f74546105b69e3f5d31fdb688e50e2873fd598f5336a5bd72bb5e/Screen-Shot-2022-02-07-at-10.29.06-AM.png" /&#62;
	

The Platform is an experimental forum: 4 days of conversations with personalities from the world of art and photography held at Paris Photo every year. For a day of conversations organized and presented by Nathalie Herschdorfer,&#38;nbsp;Susan&#38;nbsp;Bright contributed to a discussion on women supporting women in November 2021. 


	&#60;img width="2000" height="1252" width_o="2000" height_o="1252" data-src="https://freight.cargo.site/t/original/i/a6b9a4e3157d3448f1b85656b85cb4434750d79333262eacf68bb4bbaf1d9b46/header_essay-final-par297832.jpg" data-mid="102902941" border="0"  src="https://freight.cargo.site/w/1000/i/a6b9a4e3157d3448f1b85656b85cb4434750d79333262eacf68bb4bbaf1d9b46/header_essay-final-par297832.jpg" /&#62;
	My Friend, My Self looks at female friendship in contemporary literature and TV. This essay for Aeon Magazine reveals how complicated and vulnerable people can be and how we must nurture and attend to our friends — and ourselves.
“A few years ago, a curator I know professionally invited me to Arizona to give a lecture. The talk would be in Phoenix and we would stay at her house in Tucson. The invitation made me nervous – not due to the public speaking, or the fact I was travelling to a part of the United States that I had not been to before, but because it would involve several two-hour car journeys with somebody I didn’t know well.” &#38;nbsp; Read more


	&#60;img width="640" height="360" width_o="640" height_o="360" data-src="https://freight.cargo.site/t/original/i/e90c1bc9698a47f5fc0d3764e7e3c5564511146933c72c0abd4c30bf0bf2942f/p089jcwg.jpg" data-mid="102902943" border="0"  src="https://freight.cargo.site/w/640/i/e90c1bc9698a47f5fc0d3764e7e3c5564511146933c72c0abd4c30bf0bf2942f/p089jcwg.jpg" /&#62;
	In this episode of BBC’s Art of Now Susan Bright interviews sculptors, performance artists and filmmakers who use animal parts as their raw material.

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	commonplace is an Instagram exchange with the artist Susannah Baker-Smith. It takes its name from commonplace books, which were traditionally a repository for observations, excerpts, and images.

	
&#60;img width="1371" height="853" width_o="1371" height_o="853" data-src="https://freight.cargo.site/t/original/i/18e762d53b70be862508a3a5dc8d51f463334c704901bf482971f500755619ec/Screen-Shot-2019-07-02-at-12.43.25-PM.png" data-mid="102903048" border="0"  src="https://freight.cargo.site/w/1000/i/18e762d53b70be862508a3a5dc8d51f463334c704901bf482971f500755619ec/Screen-Shot-2019-07-02-at-12.43.25-PM.png" /&#62;
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	Running, for me, is not something I do — I have become a runner. This subtle shift in language and attitude is a welcome addition to my identity, and one of which I am immensely proud.

	&#60;img width="960" height="1166" width_o="960" height_o="1166" data-src="https://freight.cargo.site/t/original/i/f5aef7e0b0f0deff32c6473c95761c1d7da83d5864564417ae120a02e00f7bb2/unnamed-5.jpg" data-mid="102903055" border="0"  src="https://freight.cargo.site/w/960/i/f5aef7e0b0f0deff32c6473c95761c1d7da83d5864564417ae120a02e00f7bb2/unnamed-5.jpg" /&#62;

	Why is it almost a shock to see a photograph of oneself when we see ourselves in the mirror every day? Susan Bright, curator of influential exhibitions such as Home Truths: Photography and Motherhood and guest curator of PHotoESPAÑA 2019, muses on the strangeness of being photographed.

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	Sabine Mirlesse interview. Excerpt below:
SM: What are some of the first elements you consider when you began the making of an exhibition in general? Can you walk us through your thought process a little?
SB: Every exhibition is different. It can start with an idea or a feeling, which I then drill down to something tighter or it can start with an artwork that I think resonates with another and a theme emerges. I must say I work pretty intuitively and often what I am trying to say comes clearer to me as the project evolves – I guess that is a pretty common creative process. I tend to work very closely with artists – this process reflects the idea of ‘conversation as creative practice’, whereby many private thoughts become public through the act of curation. It’s very much a joint effort. But a lot of curating is hard admin and this needs to be made clear as I think many people are not fully aware of this and think its rather glamorous. There are endless checks on prints, sizes, transport, plans, etc. It’s the beginning and end of the process that feel more fluid and creative. I learn something about the work from every installation. It’s always a wonderful surprise to see something I so clearly have in my head manifest into physical space. It’s like magic.
Read the rest here.

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	A conversation with Elina Brotherus inside her show at Serlachius Museum.

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	CCP presented Unseen and Undiscovered in 2017. This event featured a series of daily presentations where curators, collectors, and editors each showcased five emerging or overlooked photographers they had discovered over the past year. The second installment featured Susan Bright (curator and writer) and Simindokht Dehghani (Director Ag Galerie). The five emerging or overlooked photographers Susan Bright mentioned were Anne Eder, Caroline McQuarrie, Keirnan Monaghan and Theo Vamvounakis, Jesse Chun, and Anne de Gelas.

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	2014 interview with Dr. Daniel Palmer (Associate Dean of Research and Innovation in the School of Art at RMIT University, Melbourne). Read full conversation here.


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	Over the last decade, Susan Bright's editing, curating, and teaching has focused on bringing photography to the center of discussions about fine art. Her fascination with music videos (denigrated films or art in their own right) is only fitting. Curating for MOCAtv, Bright gives us four fine art photographers turned video directors, who execute photographic strategies of portraiture and performance to deftly navigate the laden terrain between mass media and art.

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	Each year Massey University's College of Creative Arts brings an internationally significant photographic historian, theorist or artist to Wellington to deliver the annual Peter Turner Memorial Lecture. In 2016 writer and curator Susan Bright delivered the Peter Turner Memorial Lecture. Her practice covers both the making of exhibitions and the writing and editing of books. Throughout these projects a level of intimacy is involved. This manifests itself in both the process of her curatorial work and the&#38;nbsp; projects she is attracted to. In exhibitions, Bright seeks to create a connection with audiences that challenges the relationship with photographs that today takes place primarily on the screen as a part of every day life. &#38;nbsp;Projects explored in this lecture included&#38;nbsp;Home Truths: Photography and Motherhood, Face of Fashion, Auto Focus and forthcoming exhibitions, alongside books that highlight the pivotal role of the curator when dealing with highly personal, intimate subjects in an ever autobiographical culture.

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	Curator Susan Bright talks about Home Truths: Photography, Motherhood and Loss at the Foundling Museum. 11 October 2013 - 5 January 2014.


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	An interview with Susan Bright, curator of Home Truths: Photography, Motherhood and Identity at The Photographers' Gallery (11 October 2013 - 5 January 2014).

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	Contextualizing Sarrah Pickering’s work within a trajectory of British photography, Bright talks about the "melancholy" and "deadpan" qualities. &#38;nbsp; 
Introducing her series Public Order, a project exploring the Metropolitan Police Public Order Training Center, Pickering describes the works impetus as being in part about the way "Institutions are always trying to plan for the unexpected and trying to control and manage something that can't be controlled."This conversation between photographer Sarah Pickering and Susan Bright, took place March 31, 2010, on the occasion of the publication of Pickering's first monograph: Explosions, Fires and Public Order. This monograph brings together four of Sarah Pickering's photographic series which collectively present a visually arresting glimpse into the secret world of civil defense.

	&#60;img width="1024" height="684" width_o="1024" height_o="684" data-src="https://freight.cargo.site/t/original/i/8da8392733cf34301d8aecf53bea3f762d4864ace485ba596974c2f828da3253/PPA-selected-jpg_thr6799003-1024x684.jpg" data-mid="102903698" border="0"  src="https://freight.cargo.site/w/1000/i/8da8392733cf34301d8aecf53bea3f762d4864ace485ba596974c2f828da3253/PPA-selected-jpg_thr6799003-1024x684.jpg" /&#62;

	Pride Photo Award is an annual international photo contest for photos about sexual and gender diversity. Susan Bright was on the jury in 2016 alongside Ayperi Karabuda Ecer, Hideko Kataoka, John Fleetwood and Sunil Gupta. The winning image was by Turkish photographer Akin Celiktas with a photo of the banned 2016 Istanbul Gay Pride.

	&#60;img width="258" height="106" width_o="258" height_o="106" data-src="https://freight.cargo.site/t/original/i/464658809b0ec2b1ec7fc5bcdc9ac2424bf2f226dd47b47cb03b33f435669126/prt_258x106_1471028289.png" data-mid="102903900" border="0"  src="https://freight.cargo.site/w/258/i/464658809b0ec2b1ec7fc5bcdc9ac2424bf2f226dd47b47cb03b33f435669126/prt_258x106_1471028289.png" /&#62;

	Have all these years of being involved in photography, on so many levels, changed your way of seeing the world?

SB: I obviously love my profession, but I also think its vital to get a healthy distance from it and retain a part of your life that is utterly separate. I find I can do this very easily and love moments in life that have absolutely nothing to do with photography. This is the usual stuff - friends, family, cooking, reading fiction, dancing, running. These things all bring me joy on a much deeper level.&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; Read more from this 2016 interview with Klaus Fruchtinis for Urbanautica.

	
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	Center Awards Project Development Prize awarded to Megan E. Doherty for her project Back of The Yards.

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	Susan Bright participated in the i3: Images, Ideas, Inspiration lecture series, presented by MPS Digital Photography at SVA, which features presentations by digital photographers, hardware and software developers and industry experts.

	
	Jury member for or the Festival International de Mode et de Photographie, at Villa Noailles, Hyères 21st-15th April 2016 with Chris Littlewood, Lesley Martin, Clare Strand, Jean Paul Goude, Gareth Pugh, Pierre Louis Denis, Chantal Webber, Jean-Michel Bertin and Heval Okcuoglu.
 The Hyères Festival promotes young artists in the fields of fashion and photography. The Villa Noailles organizes competitions, exhibitions and conferences to highlight ten fashion designers and ten photographers, who are selected by a jury consisting of members of each profession. Artists include Anaïs Boileau; Jojakim Cortis &#38;amp; Adrian Sonderegger; Maja Daniels; Louise Desnos; Jason Larkin; Emilie Regnier; Ilona Szwarc; Fleur van Dodewaard; Vendula Knopova and Sasha Kurmaz. This year's jury awarded Vendula Knopova with the 15,000 Euro prize. 

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	Lecture at Columbia College Chicago and MoCP to talk about Home Truths (April 2014)


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	The summer 2014 issue of Creem Magazine is on issuu. Conceived, shot, edited and designed by Erik Madigan Heck, it is a veritable treasure trove of interviews and a wonderful collection of portraits and stories.

	&#60;img width="400" height="599" width_o="400" height_o="599" data-src="https://freight.cargo.site/t/original/i/db07a0edb4797fe57a920e11e0eaa3425df423d0377379e0876d2ff2312fe1ce/carucci_o.png" data-mid="102905501" border="0" data-scale="100" src="https://freight.cargo.site/w/400/i/db07a0edb4797fe57a920e11e0eaa3425df423d0377379e0876d2ff2312fe1ce/carucci_o.png" /&#62;

	In conversation with Elinor Curucci, October 2013 The School of Visual Arts. Watch it on iTunes here.

on left: Elinor Carucci, Mother, 2012Archival Ink Jet Print, 35x45 inches

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	Jury member ICP Infinity Awards

Since 1985, the annual ICP Infinity Awards have recognized major contributions and emerging talent in the fields of photojournalism, art, fashion photography, and publishing. The 2013 recipient selection committee included Susan Bright, Curator/Writer, New York, NY;&#38;nbsp;Douglas Nickel, Andrea V. Rosenthal Professor of Modern Art, History of Art and Architecture,&#38;nbsp;Brown University; and&#38;nbsp;Ramon Reverte, Editor in Chief and Creative Director, Editorial RM,&#38;nbsp;Mexico/Barcelona.

	
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	Jury member W. Eugene Smith Grant in Humanistic PhotographyThe W. Eugene Smith Grant in Humanistic Photography is presented annually to a photographer whose past work and proposed project, as judged by a panel of experts, follows the tradition of W. Eugene Smith’s concerned photography and dedicated compassion evidenced during his 45-year career as a photographic essayist. Juror member alongside Kira Pollock (TIME Director of Visual Enterprise) in 2012.

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	Jury member The Aaron Siskind Individual Photographer's FellowshipThe Aaron Siskind Foundation offers a limited number of Individual Photographer's Fellowship grants of up to $10,000 each, for artists working in photography and photo-based art. Recipients will be determined by a panel of distinguished guest judges on the basis of artistic excellence, accomplishment to date, and the promise of future achievement in the medium in its widest sense. The Foundation seeks to support artists/photographers who demonstrate a serious commitment to the field, who are professionally active or employed in the field. Juror in 2011 alongside Alexa Dilworth and Jamie Wellford.

	
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	Jury member The Google Photography PrizeTo coincide with the Out of Focus exhibition held at the Saatchi Gallery in London in 2012 the gallery partnered Google for a student prize. The large international panel awarded Swedish photojournalism student Viktor Johansson the prize.

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	Jury member, Flash Forward - Emerging Photographers.


Established in 2004 in Toronto, The Magenta Foundation is a trailblazing charitable arts publishing house that consistently showcases the work of talented artists on a global scale, drawing attention to underrepresented photographers in powerful exhibitions and a roster of impressive international publications. The emerging photographers competition supports all young photographers working in all forms of photography.

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	Host of an evening with Adam Broomberg &#38;amp; Oliver Chanarin in October 2009 at The School of Visual Arts theater. Watch it on iTunes.

on left: Adam Broomberg &#38;amp; Oliver ChanarinFig. 3 (c-type print, 5x4", 2007)

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	In November 2010 Aperture Foundation at The New School hosted Confounding Expectations: Revisiting "In, Around and Afterthoughts on Documentary Photography". 
Participating artists included: &#38;nbsp;Chris Verene, Michael Wolf and LaToya Ruby Frazier.

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	Talks at SVA available on iTunes U:From Ink to iPadWith W.M. Hunt on The Unseen Eye

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	Invited speaker at Toronto's Flash Forward Festival.

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	Early research interview on representation of mothers (June 2012)

on left: Hanna Putz,&#38;nbsp;Untitled (A.M. 1), 2011Color Photograph, 80×100 cm 
Edition: 6 + 3 A.P.

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	So why is it that there is still a complicated, rivalrous relationship between the worlds of art and photography? Why is photography still referred to in a semi-derogatory way? What is it about photography that makes it, for some people, inherently of less worth when held up against other art mediums? In April 2012 Susan Bright was invited by the Saatchi Gallery (London) to participate in a discussion with Mitch Epstein, Geoff Dyer and Hannah Starkey to explore the status, display and appreciation of photography in the art world.</description>
		
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