An American based in Berlin and Vienna, Kimberly Bradley
has long bridged the worlds of mainstream culture journalism (The New York Times
and others) and art criticism in art publications ranging from populist to theoretical (art-agenda
, 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.
Haus der Kulturen der Welt, Berlin 2017.