This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these messages)
|
Chris Kraus | |
---|---|
Born | 1955 (age 68–69) New York City, U.S. |
Occupation |
|
Alma mater | Victoria University of Wellington |
Literary movement | The Artists Project |
Chris Kraus (born 1955[1]) is a writer and critic. Her work includes the novels I Love Dick, Aliens and Anorexia, and Torpor, which form a loose trilogy that navigates between autobiography, fiction, philosophy, and art criticism,[2] and a sequence of novels dealing with American underclass experience that began with Summer of Hate.[3] Her approach to writing has been described as ‘performance art within the medium of writing’[4] and ‘a bright map of presence’.[5] Her work has drawn controversy through its equalisation of high and low culture, mixing critical theory with colloquial language and graphic representations of sex.[6] Her books often blend intellectual, political, and sexual concerns with wit,[7] oscillating between esoteric referencing and parody.[8] She has written extensively in the fields of art and cultural criticism.
Kraus has also produced numerous plays and films, including the feature film Gravity & Grace. Her work has featured in publications such as Artforum, Art in America, Modern Painters, Afterall, The New Yorker, The New York Times Literary Supplement, The Paris Review, The Los Angeles Review of Books, Bookforum, and Texte zur Kunst.[9] She taught creative writing and art writing at The European Graduate School/EGS for ten years and has been Writer in Residence at ArtCenter College of Design. Kraus is the recipient of a Guggenheim Fellowship for General Non-Fiction (2016), a Warhol Foundation Arts Writing Grant (2011), and Frank Jewett Mather Award for Art Criticism from the College Art Association (2008).[10] Kraus is co-editor of the publishing house Semiotext(e). Her bestselling novel, I Love Dick, was adapted for television by Joey Soloway and released on Amazon Video (2018). Holland Cotter has described her as ‘one of our smartest and most original writers on contemporary art and culture’.[11]