Andre Bradley lives and works in Philadelphia, PA. Bradley’s work explores the subject of Adverse Childhood Experiences (ACEs) and the black community, using lectures, photography, photo books, and installation as forms of ideological resistance.

Bradley is a graduate of Ithaca College’s ImageText (2016-2022) and the Rhode Island School of Design’s Photography MFA programs. Bradley also completed coursework at the Maryland Institute College of Art’s Curatorial Pracitce MFA program. During his studies at the Maryland Institute College of Art, Bradley was named a George Ciscle Scholar in Curatorial Practice.  During his studies at the Rhode Island School of Design, Bradley was a recipient of the T.C. Colley Award for Photographic Excellence.

Bradley's first photo-book Dark Archives, I-41 was shortlisted for the Photo-Text Book Award at Les Recontres De La Photographie and the Paris Photo-Aperture Foundation First PhotoBook Award, both in 2016. Bradley has been a fellow at the Arc Baltimore, Image Text Ithaca, and the Tilt Institute for The Contemporary Image, his work is in the collections of public and private art collections and libraries including the RISD Museum of Art, the Studio Museum in Harlem, and Scripps College's Ella Strong Denison Library Rare Book Room.


 Private Garden/Vacant Corner

2018 - Ongoing 

PrivateGarden/Vacant Corner is diptych that explores Adverse Childhood Experiences (ACEs) and the black community. Hinging a photo-book and video as the dyad products of a decade long artistic practice in photography, writing, curatorial practice, and imagetext. In a forthecoming photobook fabricated to look and feel like a planter box Bradley sets a trap for attention Through his own poetics of social engagement Bradley shares specific events, and at the same time creates metaphors, and abstract, notions about traumatic experiences. Using multiple "personas" -- he, I, etc. to tell his story.

In a joint video, these literary personas share one voice, foregrounding disassociation as a narrative device. Bradley allows viewers to experience disassociation through him. One voice narrates a video collage of archival photographs from the Library of Congress, portraits of black boys, landscape photographs and recent video of Philadelphia, cut with talking head footage of the artist reading from his poem Private Garden/Vacant Corner which gets its name from a landscape design solution proposed for vacant lots in disinvested areas of Philadelphia in the early 2000’s. 

“What If Photography is Forgiveness?”

“I Never Taught @ Brown!” (After Fred Moten)

I’m Here to Talk About Feelings

Gel ink, oil-based paint pen, alcohol-based marker, pencil on 100% post-consumer waste recyled paper
2019 - 2023    

Group Exhibition:
The Performative Self-Portrait
May 13 - Nov 12 
RISD Museum of Art 

I Learned About Race Today (Detail), 2015 

This exhibition explores the work of photographers who turn the camera back upon themselves. From capturing themselves in shadows and reflections to trying on alternative or speculative identities,The Performative Self-Portrait explores the body as material and medium and photography as vehicle to consider ways artists use self-portraiture to enact the self, question history, and articulate identity.

Made between 1930 and the present, works in the exhibition range from new acquisitions to older works on view for the first time.

Curated by Conor Moynihan, Assistant Curator, Prints, Drawings & Photographs, and Matthew Kluk, Brown PhD 2025, History of Art and Architecture. 

Where’s Walter?
Digital media

Where’s Walter? (Gentle on My Mind), 2020 asks the viewer to play a game. In appearing images, a digital cut-out of Walter Scott (1965 -2015) "runs." Outside the local news frame in which we typically reference his and other’s experiences, into a distorted, image-text treatment of the classic children's book Where’s Waldo? Re-presenting the public haunt of unarmed black women and men killed by police. Culled from the artist's series American Slideshows, 2015-Ongoing, Where's Walter? is set to a soundtrack of songs by NWA ("100 Miles and Running"), Frank Sinatra and Aretha Franklin ("Gentle on My Mind"). The artist serves a cut-out figure that runs into and out of America’s archive of National Parks landscape imagery as a flattened, and appropriated image of mourning. 

It’s life or death across the American landscape, through burning wildfires, o’er snow and evergreen, through hell and high water.


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