Where Art Belongs

Where Art Belongs

by Chris Kraus
     
 

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

Overview

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.

Editorial Reviews

From the Publisher

Semiotext(e)

The New York Times "ArtsBeat" - Holland Cotter

Chris Kraus [is] one of our smartest and most original writers on contemporary art and culture.

Bookforum

Writer and filmmaker Chris Kraus is searingly aware of the discourse in which she functions, and transforms it into something redolent of Simone Weil's poeticism and its daunting theoretical undercurrents.

Glasgow Review of Books

Kraus's text is not a collective call to arms, but an incitement to find art, to read in a heroic way, and to create a moment -- as an individual or within a group -- where one's relationship to the past is dictated only by the chance nature of what the present has thrown at you.

The Millions

Chris Kraus's nuanced approach is akin to a cultural anthropologist who considers creativity in its natural habitats, the spaces where art comes into being.

Kaleidoscope - Aliina Astrova

In Where Art Belongs, art theory becomes political philosophy: art matters insofar as it remains a practice, not a product. For Kraus,
such practice is a means for establishing a way of life outside accepted capitalist conventions.

www.agioteurs.com - Jon Leon

[A] super fascinating thing in this book is an essay called 'Indelible
Video'... This essay is a total milestone...'Indelible Video' is so fascinating and consequential that it can't be summarized here, however it is way worth the price of the book.

Library Journal
This brief, disjointed collection of four multipart essays about art outside the mainstream documents a diverse bunch of creative persons who struggled, mostly unsuccessfully, to expand the boundaries of art content over the past 40 years. The writing is meandering, and the subjects rendered uninteresting. In a diaristic opening piece about a short-lived gallery experiment called Tiny Creatures, filmmaker and experimental fiction writer Kraus makes what was likely a moment of edgy aesthetic synchronicity in a community of young people come off as shallow and dissolute. Kraus manages to convey the geographic inevitability of such a cultural happening on the fringes of downtown Los Angeles in the first decade of the 21st century, but her book goes downhill from there. She also mulls over her feelings about the 1960s feminist sex magazine Suck and the Dutch-Angelino conceptual artist Bas Jan Ader, offers a tour of porn actors' unremarkable in-your-face performances, and indulges in nostalgia for pre-glasnost Russia. VERDICT This short, forgettable book would appeal only to students at art schools specializing in the avant-garde.—Douglas F. Smith, Berkeley P.L., CA

Product Details

ISBN-13:
9781584350989
Publisher:
Semiotexte/Smart Art
Publication date:
03/01/2011
Series:
Semiotext(e) / Intervention Series, #8
Pages:
176
Sales rank:
623,941
Product dimensions:
4.50(w) x 6.90(h) x 0.60(d)
Age Range:
18 Years

What People are saying about this

From the Publisher
"For Kraus, art is something that happens when flows of ideas and images come together in a place people make together, usually somewhere out of the way a bit. There could be some struggle involved. Some of the people might be fuck-ups (ditto the ideas, images, etc). She has a finely tuned radar for the political economy of art worlds, which is a distinctive hum in the background of the otherwise well oiled machine of the prose. While not ignorant (or faux ignorant)of the Artworld, there's a certain studied indifference to it. What matters in the long run is whether art is a rubric under which somebody did something interesting; for, with or to anybody else. If they made a living off it without being assholes about it, well good luck to them, but that's a tangential story. So in this book we get post-post-punk angelinos, sex worker art works, a tribute to an artist who sailed away off the edge of the world. There's also Bernadette Corp atGreen Naftali (tres chic!) but only because they are interesting...So if any of those things are of interest, buy this book when it comes out." McKenzie Wark

Semiotext(e)

McKenzie Wark

For Kraus, art is something that happens when flows of ideas and images come together in a place people make together, usually somewhere out of the way a bit. There could be some struggle involved. Some of the people might be fuck-ups
(ditto the ideas, images, etc). She has a finely tuned radar for the political economy of art worlds, which is a distinctive hum in the background of the otherwise well oiled machine of the prose. While not ignorant (or faux ignorant) of the
Artworld, there's a certain studied indifference to it. What matters in the long run is whether art is a rubric under which somebody did something interesting; for, with or to anybody else. If they made a living off it without being assholes about it,
well good luck to them, but that's a tangential story. So in this book we get post-post-punk angelinos, sex worker art works, a tribute to an artist who sailed away off the edge of the world. There's also Bernadette Corp at Green Naftali (tres chic!) but only because they are interesting...So if any of those things are of interest, buy this book when it comes out.

Meet 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.

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