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1000 tulosta hakusanalla Chris Kraus
Kathy Acker: Rich girl, street punk, scholar, stripper, victim, media-whore ... and cultural icon.The late Kathy Acker's legend and writings are wrapped in mythologies, many of them created by her. Twenty years after her untimely death aged just 50, Acker's legend has faded, but her writing has become clearer.A few years ago, the writer Chris Kraus, author of I Love Dick, found that her own experiences were becoming more and more like Kathy's. She began writing about Acker 'through the distance, but with this incredible frisson of feeling that often I could write "I" instead of "she."'This is 'literary friction': The first fully authorised biography of the avant-garde writer Kathy Acker, by the woman who arrived on the scene straight after her, who shared some of her boyfriends and friends, and her artistic ambitionsUsing exhaustive archival research and ongoing conversations with mutual colleagues and friends, Kraus traces the woman behind the notorious novels, and places her at the centre of a kaleidoscopic artistic world.
The European bestseller, an epic of two brothers, brought together and divided by betrayal, secrecy and self-delusion, spanning seventy years of German history: from the Russian Revolution, to World War II, to 1975.
Chris Kraus’ The Bastard Factory tells the story of an entire epoch: a drama of betrayal and self-delusion spanning the years 1905 to 1975, taking us from Riga and Moscow, Berlin and Munich, all the way to Tel Aviv.Hubert and Konstantin Solm are brothers, born in Riga at the beginning of the twentieth century. They will find themselves – along with their Jewish adopted sister, Ev Solm – caught up in in the maelstrom of their changing times.As the two brothers climb the rungs of society – working first for the government in Nazi Germany, then as agents for the Allied forces, and eventually becoming spies for the young West Germany – Ev will be their constant companion, and eventually a lover to them both. The passionate love triangle that emerges will propel the characters to terrifying moral and political depths.The story of the Solms is also the story of twentieth-century Germany: the decline of an old world and the rise of a new one – under new auspices but with the same familiar protagonists.Translated from the German by Ruth Martin
Video Green examines the explosion of late 1990s Los Angeles art driven by high-profile graduate programs.Video Green examines the explosion of late 1990s Los Angeles art driven by high-profile graduate programs. Probing the surface of art-critical buzzwords, Chris Kraus brilliantly chronicles how the City of Angels has suddenly become the epicenter of the international art world and a microcosm of the larger culture. Why is Los Angeles so completely divorced from other realities of the city? Shrewd, analytic and witty, Video Green is to the Los Angeles art world what Roland Barthes' Mythologies were to the society of the spectacle: the live autopsy of a ghost city.
Chris Kraus examines artistic enterprises of the past decade that reclaim the use of lived time as a material in the creation of visual art. In Where Art Belongs, Chris Kraus examines artistic enterprises of the past decade that reclaim the use of lived time as a material in the creation of visual art. In four interlinked essays, Kraus expands the argument begun in her earlier book Video Green that "the art world is interesting only insofar as it reflects the larger world outside it." Moving from New York to Berlin to Los Angeles to the Pueblo Nuevo barrio of Mexicali, Kraus addresses such subjects as the ubiquity of video, the legacy of the 1960s Amsterdam underground newspaper Suck, and the activities of the New York art collective Bernadette Corporation. She examines the uses of boredom, poetry, privatized prisons, community art, corporate philanthropy, vertically integrated manufacturing, and discarded utopias, revealing the surprising persistence of microcultures within the matrix. Chronicling the sometimes doomed but persistently heroic efforts of small groups of artists to reclaim public space and time, Where Art Belongs describes the trend towards collectivity manifested in the visual art world during the past decade, and the small forms of resistance to digital disembodiment and the hegemony of the entertainment/media/culture industry. For all its faults, Kraus argues, the art world remains the last frontier for the desire to live differently.
Baudrillard meets Breaking Bad in this stark and bleakly hilarious novel about a descent into an underclass world of born-again Christianity, self-help, and crack."In his journal, Paul liked to make lists: What he ordered from Commissary (shaving cream, toothpaste, deodorant, the transistor radio he had for a week before the guards took it away). The books he picked off the cart (The Bible, Dean Koontz, Stephen King, Codependent No More.) What phone calls he made and received; also, Bible Study certificates, letters and cards, his workout routines and his moods (Anxious, Nervous, Trusting in God, but mostly Depressed). Paul has a record of every push-up he did while he was in prison but he cannot remember shit about what happened before his arrest."-from Summer of HateWaking up from the chilling high of a near-death sex game, Catt Dunlop travels to Albuquerque in 2005 to reinvest some windfall real-estate gains and reengage with something approximating "real life." Aware that the critical discourse she has used to build her career as a visiting professor and art critic is really a cipher for something else, she hopes that buying and fixing slum buildings will bring her more closely in touch with American life than the essays she writes.In Albuquerque, she becomes romantically involved with Paul Garcia, a recently sober ex-con who has just served sixteen months in state prison for defrauding Halliburton Industries, his former employer, of $873. Almost forty years old, Paul is highly intelligent but has only been out of New Mexico twice. He has no information. With Catt's help, he makes plans to attend UCLA, only to be arrested on a ten-year-old bench warrant en route.Caught in the nightmarish Byzantine world of the legal system, Catt and Paul's empathic attempts to save each other's lives seems doomed to dissolve. Summer of Hate is a novel about flawed reciprocity and American justice, recording recent events through the prism of a beleaguered romance. As lucid and trenchant as ever, Kraus in her newest novel reminds us that the writer can be a first responder of sorts when power becomes invisible, or merely banal.
Essays on and around art and art practices by the author of I Love Dick.A border isn't a metaphor. Knowing each other for over a decade makes us witnesses to each other's lives. My escape is his prison. We meet in a bar and smoke Marlboros.-from Social PracticesMixing biography, autobiography, fiction, criticism, and conversations among friends, with Social Practices Chris Kraus continues the anthropological exploration of artistic lives and the art world begun in 2004 with Video Green: Los Angeles Art and the Triumph of Nothingness.Social Practices includes writings from and around the legendary "Chance Event-Three Days in the Desert with Jean Baudrillard" (1996), and "Radical Localism," an exhibition of art and media from Puerto Nuevo's Mexicali Rose that Kraus co-organized with Marco Vera and Richard Birkett in 2012. Attuned to the odd and the anomalous, Kraus profiles Elias Fontes, an Imperial Valley hay merchant who has become an important collector of contemporary Mexican art, and chronicles the demise of a rural convenience store in northern Minnesota. She considers the work of such major contemporary artists as Jason Rhoades, Channa Horowitz, Simon Denny, Yayoi Kusama, Henry Taylor, Julie Becker, Ryan McGinley, and Leigh Ledare. Although Kraus casts a skeptical eye at the genre that's come to be known as "social practice," her book is less a critique than a proposition as to how art might be read through desire and circumstance, delirium, gossip, coincidence, and revenge. All art, she implies, is a social practice.
When Chris Kraus, an unsuccessful artist pushing 40, spends an evening with a rogue academic named Dick, she falls madly and inexplicably in love, enlisting her husband in her haunted pursuit. Dick proposes a kind of game between them, but when he fails to answer their letters Chris continues alone, transforming an adolescent infatuation into a new form of philosophy. Blurring the lines of fiction, essay and memoir, Chris Kraus's novel was a literary sensation when it was first published in 1997. Widely considered to be the most important feminist novel of the past two decades, I Love Dick is still essential reading; as relevant, fierce and funny as ever.
It's Summer, 1991, the dawning of the New World Order; a post-MTV, pre-AOL generation. Jerome Shafir and Sylvie Green, two former New Yorkers who can no longer afford an East Village apartment, set off on a journey across the entire former Soviet Bloc with the intention of adopting a Romanian orphan. Unflinchingly dark, hilarious and moving - Torpor is at once a satire and philosophy of cultural history, social identity and failing relationships. Dipping into the trajectory of a life at different moments, Kraus interrogates convention and emotion, creating characters that are flawed, witty, and altogether true to life. Part prequel, part sequel, Torpor continues a project of life-writing; personal, unsparing, and triumphant. If I Love Dick is the book of your 20s, Torpor is the book of your 30s.
It's 1996, and Chris Kraus is in Berlin, seeking a distributor for her film Gravity & Grace, described alternately as 'an experimental 16mm film about hope, despair, religious feeling and conviction' and 'an amateur intellectual's home video expanded to bulimic lengths' ... It's 1942 in Marseille, and Simone Weil is waiting for the US entry visa that will save her from the Holocaust, while writing work described alternately as a 'radical philosophy of sadness' and 'immoral, trite, irrelevant and paradoxical' ... It's the late 90s, the millennium is approaching, and Chris Kraus is in Los Angeles, not eating, waiting for her s/m partner to reply to her emails ... It's 1943, and Simone Weil is in London, completing her project of transcendence by dying of starvation ... Filled with Chris Kraus' trademark wit and frankness, unfolding to reveal the lives of ecstatic visionaries and failed artists, Aliens & Anorexia is an audacious novel about failure, empathy and sadness.
An unforgettable new novel from the author of the modern classic I Love Dick — a witty, probing journey into a fractured America, culminating in the investigation of a teenage murder. On the Iron Range of northern Minnesota, at the end of the last decade, three teenagers shot and killed an older acquaintance after spending the day with him. In a cold, rundown town, the three young people were quickly arrested and imprisoned. No one knows why they did it. At the time of the murder, Catt Greene and her husband, Paul Garcia, are living nearby in a house they’d bought years earlier as a summer escape from Los Angeles. Undergoing a period of personal turmoil, moving between LA and Minnesota — between the urban art world and the rural poverty of the icy Iron Range — Catt turns away from her own life and towards the murder case, which soon becomes an obsession. In her attempt to pierce through the mystery surrounding the murder and to understand the teenagers’ lives, Catt also finds herself travelling back through the idiosyncratic, aspirational lives of her parents in the working-class Bronx and small-town, blue-collar Milford, Connecticut. Written in three linked parts, The Four Spent the Day Together explores the histories of three generations of American lives and the patterns that repeat over lifetimes, and is piercing commentary on the pressures of lives lived on the edge.
Chris Kraus er en mislykket eksperimentell filmregissør. Hun er gift med den betydelig eldre franske kulturteoretikeren Sylvère Lotringer. Forholdet deres skranter. En kveld spiser de middag med den amerikanske kulturkritikeren Dick og Chris blir hodestups forelsket. Hun begynner å skrive brev til ham. Mannen hennes er behjelpelig med brevskrivingen og er tilbøyelig til å se på det som et kunstprosjekt. Få av brevene blir sendt, men vi får lese dem. I boka visker forfatteren ut grensene mellom fiksjon, essays og selvbiografi. I love Dick er en kompromissløs utforskning av begjær, kjærlighet og makt og er utpekt som «den aller viktigste boka om menn og kvinner i det forrige århundret.» av Emily Gould i The Guardian. "I love Dick" er blitt en moderne klassiker.
Chris, en eksperimenterende filminstruktør på næsten 40, forelsker sig øjeblikkeligt og uopretteligt i sin 56-årige akademikermands yngre kollega Dick. Chris indvier manden Sylvère i sin voldsomme betagelse, og idéen om en slags kunstprojekt med Dick i centrum opstår. Fra hver sin position går parret sammen i gang med at skrive kærlighedsbreve til objektet Dick. Chris er i sin erotiske besættelse kreativt forløst som aldrig før, men pludselig befinder hun sig i spidsen af et altopslugende trekantsdrama, der udfordrer og truer hele hendes livsforståelse. I LOVE DICK er en afsindig vittig, selvironisk og tåkrummende roman om desperat forelskelse og en radikal og yderst konkret kunstnerisk afsøgning af størrelser som begær og patriarkat. ”Den bedste bog, der er skrevet om mænd og kvinder i det 20. århundrede.” The Guardian