In my opinion, Chris Kraus is the art writing queen. "Where Art Belongs" is part philosophy, part manifesto, part criticism. Kraus tells stories of artists and how they do it and how what they do is considered art, if not by all, by some, and by them, and how belonging is mostly the act of making oneself belong.— Rachel
Art-making and lovemaking are one and the same. They are radical utopias where anyone and everyone can belong. But how and where and by who is art commodified? And how can art -- can art? -- resist commodification? Kraus examines, with her amazing brain, the micro- and macro-worlds where art springs to life, shimmers in the sun, and then dies, or doesn't, or comes back to life.— Sarah G.
Kraus smarts. Still, the only art criticism I've ever read comfortably on the subway.— Carly
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.
About the Author
Chris Kraus is the author of Video Green: Los Angeles Art and the Triumph of Nothingness (2004) and the novels Aliens and Anorexia (2000), I Love Dick (new edition, 2006), and Torpor (2006), all published by Semiotext(e). The 2007 recipient of the Frank Mather Award in Art Criticism and a 2010 Warhol Foundation Arts Writer's grant, she has taught art writing in graduate programs at University of California, Irvine, European Graduate School, Art Center College, and Columbia College Chicago.