||Deborah Bright (b. 1950) is a photographer, author, and professor whose "Dream Girls" series of inkjet photomontages is drawn from her memories of childhood afternoons spent watching old movies on a black-and-white television set.
Bright writes that the "'Dream Girls' series commenced as a project for a book on lesbians and photography (Stolen Glances, Boffin and Fraser, eds. London: Pandora, 1992). Conceived in the atmosphere of late 1980s AIDS activism and the strident backlash against the photographs of Robert Mapplethorpe and other sex-radical artists, I wanted to stand up and be counted by doing a body of explicitly queer photographs."
"The idea for 'Dream Girls' came from fond memories of the many afternoons I spent as a girl in the early 1960s watching old Hollywood movies on the black-and-white television screen. In films such as Rebecca, The Letter, Adam’s Rib, and Charade, I gravitated to particular actors, regardless of gender, who answered my own inchoate desire to both possess and be possessed by them. Meanwhile, feminist film theorists of the 1980s had largely ignored this kind of gender ambivalence in film spectatorship, seeing erotic identification as more fixed than fluid. 'Dream Girls' was my response to the times and set the stage for my next project exploring girlhood horse-love, the 'Being & Riding' series."
Bright's work has been shown internationally and is held in many museum collections in the United States including those of The Whitney Museum in New York City, The National Museum of American Art in Washington, D.C., and the Fogg Art Museum at Harvard University in Cambridge, Massachussetts.
Her book, The Passionate Camera (Routledge, 1998) was a Lambda Book Award finalist. Since 1989, Bright has been a professor at the Rhode Island School of Design.
More about Deborah Bright
To learn more about Bright and her work, please visit www.deborahbright.com. Collectors may reach the artist through her Web site.