Daniel C. Blight is a writer based in London. He works on various forms of the essay, fiction and poetry, and has written for 1000 Words, Aperture, Foam, frieze, The Guardian, Notes on Metamodernism, Philosophy of Photography, Photoworks, Vogue Italia, Manchester Art Gallery, UCL Art Museum, Art Museum of Estonia, FOMU Belgium and the Australian Centre for Photography. His first book, The Image of Whiteness: Contemporary Photography and Racialization, was co-published by SPBH Editions and Art on the Underground in September 2019.
He is Lecturer (Assistant Professor), Historical & Critical Studies in Photography, School of Media, University of Brighton, and has been visiting lecturer at Camberwell College of Arts, Coventry University, Royal College of Art, University of Copenhagen, University of Oxford and Yale University.
For info about my teaching and research see the University of Brighton.
2020 – present: PhD Sociology, Goldsmiths, University of London
2006 – 2009: MPhil Communication Art & Design, Royal College of Art, London
2003 – 2006: BA(Hons) Sound Arts and Design, London College of Communication, University of the Arts London
2017 – present: Lecturer (Assistant Professor) in Photography (Historical & Critical Studies), University of Brighton
2016 – 2019: Visiting Lecturer (Adjunct Lecturer), Critical & Historical Studies, Royal College of Art, London
2016 – 2019: Content Editor, The Photographers' Gallery, London
2015 – 2016: Visiting Lecturer (Adjunct Lecturer) in Photography, University of Roehampton, London
2014 – 2016: Visiting Lecturer (Adjunct Lecturer) in Photography, Camberwell College of Art, University of the Arts London
2014 – 2016: Visiting Lecturer (Adjunct Lecturer) in Photography, Coventry University
2013 – 2016: Online Editor, The Photographers’ Gallery, London
2012 – 2013: Assistant Talks Programmer, The Photographers’ Gallery, London
2009 – 2016: Visiting Lecturer (Adjunct Lecturer) in Photography (Historical & Critical Studies), University of Brighton
The Image of Whiteness: Contemporary Photography and Racialization. (London: SPBH Editions/London: Art on the Underground) 2019.
‘Ways of Seeing Whiteness’ in Ducey, K. (Ed.) George Yancy: A Critical Reader. (Lanham, MD: Rowman & Littlefield). Forthcoming.
‘What Happened to the Expert Curator?’ in Ho, O., E. L. & Marstine, J. (Eds.) Curating Art.(London: Routledge/Taylor & Francis). Forthcoming.
‘A Cloud to the Back’ in Fredericksen, A., Pearlman, N. & Winter, K. (Eds.) Re-launch. (London: UCL Art Museum) 2015.
‘Cold Children’ in Jesson, K. (Ed.) Pat Flynn: Half-life of a Miracle. (Manchester: Manchester Art Gallery) 2015.
‘Underneath’ in Kuimet, P. (Ed.) Notes on Space. (Tallinn: Art Museum of Estonia/Tallinn: Lugemik) 2013.
‘TV Casualty’ in Feuerhelm, B. (Ed.) TV Casualty. (London: AMC Books) 2013.
‘Images of whiteness: Can we imagine a world without white eyes?’ in The Guardian. (New York: Guardian Media) [online] 2019.
‘How do white people see?’ in Vogue Italia. (Milan: Condé Nast International) [online] 2019.
‘Perfect White Family’ in Buck Ellison: Tender Option. (London: The Sunday Painter) exhibition catalogue essay [online] 2018.
‘Of Water and Triangles’ in 1000 Words ten-year anniversary print edition. (London: 1000 Words Ltd.) 2018.
‘KOUD, SAAI, BLEEK: Het beeld van blankheid’ (Cold, Dull, Ashen: The Image of Whiteness), EXTRA. (Antwerp: Foto Museum Antwerp) 2018.
‘White Gaze: Michelle Dizon and Viêt Lê’ in 1000 Words. (London: 100 Words Ltd.) [online] 2018.
‘Be it in light or shadow: Photography and the Essay’ in Viewpoints. (London: The Photographers' Gallery) [online] 2018.
‘Claimed Memories of Previous Lives’ in Foam. (Amsterdam: Foam Fotografiemuseum Amsterdam) 2017.
‘Path to Clouds’, in Periodo Ipotetico. (Milan: T14 Contemporary) 2017.
‘Incoming: Photography and Whiteness’ in American Suburb X. (California: American Suburb X LLC) [online] 2017.
‘Talking to Myself About Death: Edgar Martins' Siloquies and Soliloquies on Death, Life and Other Interludes’ in 1000 Words.(London: 100 Words Ltd.) [online] 2017.
‘The Time of Prison Writing: Amy Elkins' Black is the Day Black is the Night’ in 1000 Words.(London: 100 Words Ltd.) [online] 2017.
‘Louise Parker: Pieces of Me’ in Foam. (Amsterdam: Foam Fotografiemuseum Amsterdam) 2016.
‘Maxime Guyon: Technological Exaptation’ in Foam. (Amsterdam: Foam Fotografiemuseum Amsterdam) 2016.
Recent Public and University Presentations
The Image of Whiteness, Goldsmiths Centre for Contemporary Art, London, UK. Forthcoming.
Open Rooms #8: Photography and Racialisation, Open Eye Gallery, Liverpool (with Ali Eisa and Yasmin Gunaratnam).
The Image of Whiteness, Royal Academy of Art, The Hague, NL.
The Image of Whiteness, University of Fine Arts of Hamburg, GER.
The Image of Whiteness, Open Eye Gallery, Liverpool, UK.
The Image of Whiteness, Photo Vogue Festival, Milan, IT (with Ekow Eshun and Chiara Bardelli Nonino).
The Image of Whiteness, University Centre Farnborough, UK.
The Image of Whiteness, MoMA PS1, New York, USA (with David Birkin, Sutapa Biswas, Claudia Rankine and Stanley Wolukau-Wanambwa).
The Image of Whiteness, Yale Centre for British Art in collaboration with the Ethnicity, Race and Migration programme, Yale University, New Haven, USA (with Claudia Rankine and Leah Mirakhor).
The Image of Whiteness, Royal College of Art, UK.
The Image of Whiteness, Photography Studies College, Melbourne, AUS.
‘White Whirlwind: From Racial Equivalence to Anti-whiteness,’ introduction to the symposium What Should White Culture Do? Commissioned by Art on the Underground and hosted by the Royal College of Art, UK.
‘Squid-Eye Thinking,’ Does Photography Need Theory?, pic.london festival and symposium, Fyvie Hall, University of Westminster, UK.
‘Photography, Death and Reincarnation,’ Photo Oxford symposium, Weston Library, Bodleian Libraries, University of Oxford, UK.