What to bring Something to write with – a laptop is preferred. And curiosity, along with any works in progress you may have.
Maximum number of participants 20
Participation fee € 600.– (€ 472.–)
Are you a curator whose work requires you to write both snappy press releases and theoretical catalogue essays? An emerging or established art critic? Are you an artist who works with text, an art blogger, or someone who simply enjoys translating visual experiences into words? Writing about contemporary art is never easy, no matter what its purpose. This workshop provides an array of tools to help art writers in all areas to find not only their individual voices, but also focus and flow.
We will consider different forms of art writing, along with their histories and idiosyncracies. We will practise skills such as focused research, close viewing, interviewing, and the all-important steps of self-revision and editing. We will learn how to approach the blank page or screen unafraid, and discover our own writing processes. We will discuss the business of art writing – from pitching to how to best work with editors. Through discussions, group sessions, exercises, and individual consultations and assessments, participants will learn how to “throw the clay” (write first drafts) and then shape those raw words into polished texts they can consistently feel good about.
An American based in Berlin and Vienna, Kimberly Bradley has long bridged the worlds of mainstream culture journalism (The New York Times, Monocle and others) and art criticism in art publications ranging from populist to theoretical (art-agenda, Artsy, Frieze, monopol, etc). She reviews exhibitions, profiles artists, and writes reportages on underexposed areas and issues of the art world.
Institutional work includes editing exhibition catalogues and monographs for museums including Hamburger Bahnhof, Berlin and Haus der Kunst, Munich (DE). Since 1999, Bradley has copy-edited a wide array of publications at the Akademie Schloss Solitude residency in Stuttgart (DE); she also copy-edited at the art journal Texte zur Kunst for several years. Since 2013, she has taught undergraduate courses on contemporary art practices and theory at New York University, Berlin.
“With Spiders and Space Dust, Tomás Saraceno Takes Off”, in: The New York Times, 21 October 2018
“Louise Bourgeois ‘The Empty House’”, review in: Art-Agenda, 5 July 2018.
“Cécile’s World”, profile on artist Cécile B. Evans, in: Nomad magazine, June 2018.
“Under Austria’s New Right-Wing Government, What Happens to Art?” in: Frieze, January 2018.
“Hito Steyerl Is an Artist With Power. She Uses it For Change”, in: The New York Times, 15 December 2017.
Apparitions, book and exhibition catalogue on Geta Brătescu, Romanian Pavilion at the 57th Biennale di Venezia, 2017.
All texts appearing in the documentary Human Flow, Studio Ai Weiwei, 2017.
Max Beckmann, Welttheater, Museum Barberini, Potsdam 2017. Forecast: Haus der Kulturen der Welt, Berlin 2017.