Cultural Studies, Essays on art First Edition Softcover 295 pages Texts in English   New       EUR 21 ORDER

Chris Kraus, Social Practices, Semiotext(e), 2018

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 Practices

Mixing 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.

Artists' writings First Edition Hardcover 345 pages 24 x 16 cm Texts in English   New       EUR 26 ORDER

Chris Kraus, After Kathy Acker. A Biography, Allen Lane, 2017

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 ambitions. Using 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 path of the female artist. Is hell.

Fiction New edition Hardcover 288 pages Texts in English   New       EUR 17 ORDER

Chris Kraus, I Love Dick, Tuskar Rock Press, 2015

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 by Semiotex(e). 

Fiction First Edition Softcover 256 pages Texts in English   New       EUR 21 ORDER

Chris Kraus, Summer of Hate, Semiotext(e), 2012

Waking 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.

Criticism/Theory First Edition Soft cover, perfect binding 39 pages Texts in English   New       EUR 20 ORDER

Chris Kraus, Kelly Lake Store & Other Stories, Companion Editions, 2015

Kelly Lake Store and Other Stories is a unique extension of Kraus’s recent art writing, produced specifically for the Companion Editions series, an imprint of the Portland, Oregon-based Cooley Gallery. The series features one essay by a contemporary writer or scholar in relation to a singular artistic project. It was edited as a collaboration between the gallery’s director, Stephanie Snyder, Kylie Gilchrist and Megan Stockton.

Criticism/Theory First Edition Paperback 160 pages Texts in English   New       EUR 18 ORDER

Chris Kraus, Video Green: Los Angeles Art and the Triumph of Nothingness, Semiotext(e), 2004

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.

Criticism/Theory, Fiction Second revised edition Paperback 248 pages Texts in English   New       EUR 18 out of stock

Chris Kraus, Aliens & Anorexia, Semiotext(e), 2000

As the rope was tightening around my neck, an Alien made love to me. Belief is a technology for softening the landscape. The world becomes more beautiful when God is in it. Here is what happens inside a person's body when they starve.
 
Written in the shadow of Georg Buchner's Lenz at razor pitch, Aliens & Anorexia, first published in 2000, defines a female form of chance that is both emotional and radical. The book unfolds like a set of Chinese boxes, using stories and polemics to travel through a maze that spirals back into itself. Its characters include Simone Weil, the first radical philosopher of sadness, the artist Paul Thek, Kraus herself, and "Africa," her virtual S&M partner who's shooting a big-budget Hollywood film in Namibia while Kraus holes up in the Northwest Woods for the winter to chronicle the failure of Gravity & Grace, her own low-budget independent film.
In Aliens & Anorexia, Kraus argues for empathy as the ultimate perceptive tool, and reclaims anorexia from the psychoanalytic girl-ghetto of poor "self-esteem." Anorexia, Kraus writes, could be an attempt to leave the body altogether: a rejection of the cynicism this culture hands us through its food.

Fiction First Edition Paperback 296 pages Texts in English   New       EUR 18 ORDER

Chris Kraus, Torpor, Semiotext(e), 2006

Set at the dawn of the New World Order, Chris Kraus's third novel, Torpor loops back to the beginning of the decade that was the basis of I Love Dick, her pseudo-confessional cult-classic debut. It's summer, 1991, post-MTV, pre-AOL. 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 specious aim of adopting a Romanian orphan. Nirvana's on the radio everywhere, and wars are erupting across Yugoslavia.
Savagely ironic and deeply lyrical, Torpor explores the swirling mix of nationalisms, capital flows and negative entropy that define the present, haunted by the persistence of historical memory. Written in the third person, it is her most personal novel to date.

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