Born in Germany, 1955, American citizen, works in France and England
Masters: History of art, Goldsmiths College, University of London, 1995
Doctorate: University of Reading, History of Art Department, 2002
Research Associate of the Centre for Freudian Analysis and Research, London
Reader in Fine Art, School of Cultural Studies, Sheffield Hallam University, England
Tutor in Critical Practice, MA and MA Drawing, Wimbledon College of Art, University of the Arts, London, 2011 to 2013

Sharon Kivland was editor in chief of Transmission: Speaking and Listening (Site Gallery, Sheffield – 5 volumes). She was co-editor of The Rules of Engagement (Artwords, London – 14 volumes), and guest-editor, with Jaspar Joseph-Lester, of 'Art and Text', theory section, www. art-omma.org. She is editor of Transmission Annual, whose pilot issue on hospitality was published to coincide with a major conference at Sheffield Hallam University, co-convened by Kivland in 2010. The 2011 issue was on the theme of provocation; in 2012, on catastrophe; and in 2013, on labour, work, and action, in collaboration with Art Sheffield 2013, for which Kivland served on the advisory board.

She has been working on a series of books on the holidays of Sigmund Freud, the first of which, Freud Dreams of Rome was published by information as material in 2006; the second, A Disturbance of Memory, was published by cubearteditions and information as material in 2007; Volume three of Freud on Holiday was published in autumn 2011, with two appendices – on Freud's dining and weather, and two further appendices in 2012, on Freud's hotels and Freud's shopping. Volume IV, A Cavernous Defile. Part I was published in December 2013 by cubearteditions, and was translated and published in Italian in 2016. She has worked on a second series of occasional books, derived often from conference papers, of which the latest, co-authored with Forbes Morlock, Freud and the Gift of Flowers, was published by information as material in 2009. An series on the instances of railway-related material in the life and work of Sigmund Freud, entitled Reisen, is also published by information as material. She is currently working on the second part of A Cavernous Defile.

She was Visiting Fellow in the Institute of Germanic and Romance Studies (now the Institute of Modern Languages), University of London, from 2006 to 2011, where she convened a conference strand of 'Freud in Translation, Freud in Transition', in 2006, followed by a series of five seminars, and co-convened the conference 'Vicissitudes. Histories and Destinies of Psychoanalysis', in 2008, with Naomi Segal. A book, entitled Vicissitudes. Histories and Destinies of Psychoanalysis, following the conference was published in 2013, edited by Kivland and Segal.

 In addition to exhibitions and projects below, her work has been shown at many art fairs in Athens, Lisbon, Berlin, Cologne, Brussels, Miami, Rotterdam, Turin, Paris, Rome, and Vienna. Her work is represented by Galerie Bugdahn & Kaimer, Düsseldorf, Galerie des petits carreaux, St-Briac and Paris, and Johan Deumens gallery, Amsterdam. The FRAC Bretagne recently acquired works for its collection, as did Penguin Books. At Senate House Library, University of London, she curated Reading as Art. Turning the Pages of Victorian Psychology, in October 2013, which imagined a wind, like the figure of the reader, blowing through the library, and devised another event with Sami Jalili and the journal E.R.O.S on the move from spoken to silent reading in April 2014, entitled Their eyes travel across the pages and their hearts seek out meaning. She is a commissioning editor for E.R.O.S.

Kivland was an editor at Artwords Press, with Ben Hillwood-Harris. Recent books published by this modest imprint include Scraps from the Bottom of my Pocket, by Vincent Dachy, with an Introduction by Paul Buck; a monograph on the photographic work of David Bate, entitled ZONE; and Mutual Dependencies, edited by Kate Meynell; an illustrated thriller by Russian artist Pavel Pepperstein. More recently she has established her own imprint MA BIBLIOTHÈQUE, which addresses models of reading.