As well as writing regularly for the arts media Susan Bright is commissioned to contribute to artist monographs, museum catalogues and edited books. Included here are some selected examples.
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.
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.
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.
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.
Susan Bright, Candy Graphics and Elina Brotherus together 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.
Susan Bright interviewed and wrote an overview of fashion photographer Erik Madigan Heck’s work to date in his first monograph.
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.
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.
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 on based on both her photographs and texts.
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.
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 mid life and being a midcareer artist. It explores the themes of art history and autobiography that reverberate through Brotherus’ work.
In this essay Susan Bright linked the work of Connell to the intricate 19th Century albums made by Kate Gough the writer Virginia Wolff. By connecting these women she was able to examine the themes of time and twinning across different mediums and circumstances.
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.
Edited by Romke Hoogwaerts, this collection of four contemporary photographers 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.
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.