Difference between revisions of "Chris Kraus"

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|birth_date = {{birth date|1955|3|5|mf=y}}
 
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* ''Scherbentanz. Roman'', Frankfurt: Frankfurter Verlagsanstalt, 2002, 199 pp; repr., Zürich: Diogenes, 2020, 208 pp. {{de}}
 
* ''Scherbentanz. Roman'', Frankfurt: Frankfurter Verlagsanstalt, 2002, 199 pp; repr., Zürich: Diogenes, 2020, 208 pp. {{de}}
  
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* ''Torpor'', New York: Semiotext(e) (Native Agents), 2006; new ed., intro. Fanny Howe, 2015, 312 pp; repr., London: Tuskar Rock, 2017, 292 pp. [http://semiotexte.com/?p=490] [https://mitpress.mit.edu/books/torpor] [https://mitpress.mit.edu/books/torpor-0]
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* ''Torpor'', New York: Semiotext(e) (Native Agents), 2006, 285 pp, [https://archive.org/details/torpor0000krau IA]; new ed., intro. Fanny Howe, 2015, 312 pp; repr., London: Tuskar Rock, 2017, 292 pp. [http://semiotexte.com/?p=490] [https://mitpress.mit.edu/books/torpor] [https://mitpress.mit.edu/books/torpor-0]
 
** ''Torpor. Roman'', trans. Stephanie Wurster, afterw. Karolin Meunier, Berlin: b-books, 2015, 276 pp. [http://www.b-books.de/verlag/torpor/index.html] {{de}}
 
** ''Torpor. Roman'', trans. Stephanie Wurster, afterw. Karolin Meunier, Berlin: b-books, 2015, 276 pp. [http://www.b-books.de/verlag/torpor/index.html] {{de}}
 
** ''Sopor'', trans. Cecilia Pavón, Buenos Aires: Eterna Cadencia, 2018, 320 pp. [https://www.eternacadencia.com.ar/blog/editorial/catalogo/item/sopor.html] {{es}}
 
** ''Sopor'', trans. Cecilia Pavón, Buenos Aires: Eterna Cadencia, 2018, 320 pp. [https://www.eternacadencia.com.ar/blog/editorial/catalogo/item/sopor.html] {{es}}
  
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* ''Summer of Hate'', New York: Semiotext(e) (Native Agents), 2012, 256 pp. [http://aaaaarg.fail/thing/51c58bfe6c3a0eda0b238300 Part 1], [http://www.joylandmagazine.com/regions/new-york/summer-hate Excerpt]. [https://mitpress.mit.edu/books/summer-hate]
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* ''[[:File:Kraus_Chris_Summer_of_Hate_2012.pdf|Summer of Hate]]'', New York: Semiotext(e) (Native Agents), 2012, 256 pp, [https://archive.org/details/summerofhate0000krau/ IA]. [http://aaaaarg.fail/thing/51c58bfe6c3a0eda0b238300 Part 1], [http://www.joylandmagazine.com/regions/new-york/summer-hate Excerpt]. [https://mitpress.mit.edu/books/summer-hate]
 
** ''Verano del odio'', trans. Cecilia Pavón and Claudio Iglesias, Buenos Aires: Eterna Cadencia, 2014, 269 pp. [https://www.eternacadencia.com.ar/blog/editorial/catalogo/item/verano-del-odio.html] {{es}}
 
** ''Verano del odio'', trans. Cecilia Pavón and Claudio Iglesias, Buenos Aires: Eterna Cadencia, 2014, 269 pp. [https://www.eternacadencia.com.ar/blog/editorial/catalogo/item/verano-del-odio.html] {{es}}
 
** ''Summer of Hate'', trans. Jenny Högström, Stockholm: Modernista, 2019, 256 pp. {{sw}}
 
** ''Summer of Hate'', trans. Jenny Högström, Stockholm: Modernista, 2019, 256 pp. {{sw}}
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** ''Video green: el arte de Los Ángeles y el triunfo de la nada'', trans. Cecilia Pavón, Bilbao: Consonni, 2018, 253 pp. {{es}}
 
** ''Video green: el arte de Los Ángeles y el triunfo de la nada'', trans. Cecilia Pavón, Bilbao: Consonni, 2018, 253 pp. {{es}}
  
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* with Jan Tumlir and Jane McFadden, ''LA Artland: Contemporary Art from Los Angeles'', 2005.
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* with Jan Tumlir and Jane McFadden, ''LA Artland: Contemporary Art from Los Angeles'', London: Black Dog, 2005, 222 pp, [https://archive.org/details/laartlandcontemp0000krau IA].
  
 
* ''Where Art Belongs'', New York: Semiotext(e) (Interventions), 2011, 176 pp. [http://aaaaarg.fail/thing/52d9b810307888a043000015 Chapter 1]. [http://semiotexte.com/?p=798] [https://mitpress.mit.edu/books/where-art-belongs]
 
* ''Where Art Belongs'', New York: Semiotext(e) (Interventions), 2011, 176 pp. [http://aaaaarg.fail/thing/52d9b810307888a043000015 Chapter 1]. [http://semiotexte.com/?p=798] [https://mitpress.mit.edu/books/where-art-belongs]
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* Mira Mattar (ed.), ''[https://monoskop.org/log/?p=14264 You Must Make Your Death Public: A Collection of Texts and Media on the Work of Chris Kraus]'', London: Mute, 2015, 134 pp.
 
* Mira Mattar (ed.), ''[https://monoskop.org/log/?p=14264 You Must Make Your Death Public: A Collection of Texts and Media on the Work of Chris Kraus]'', London: Mute, 2015, 134 pp.
 
* Leslie Jamison, [http://www.newyorker.com/culture/cultural-comment/this-female-consciousness-on-chris-kraus "This Female Consciousness: On Chris Kraus"], ''The New Yorker'', 9 Apr 2015.
 
* Leslie Jamison, [http://www.newyorker.com/culture/cultural-comment/this-female-consciousness-on-chris-kraus "This Female Consciousness: On Chris Kraus"], ''The New Yorker'', 9 Apr 2015.
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* Alex Kitnick, [https://sci-hub.se/10.1162/octo_a_00332 "I, etcetera"], ''October'' 166, Fall 2018, pp 45-62.
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* Alex Kitnick, [https://sci-hub.st/10.1162/octo_a_00332 "I, etcetera"], ''October'' 166, Fall 2018, pp 45-62.
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* Lauren Fournier, ''[http://libgen.rs/book/index.php?md5=A21EFE5CC5BA22708D3050B3C3E78D50 Autotheory as Feminist Practice in Art, Writing, and Criticism]'', MIT Press, 2021, [http://libgen.rs/book/index.php?md5=AD2F23C05A12B33DFB5E199A45B39ED1 EPUB].   
  
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[[Series:Writers]] [[Series:Art writers]]
 
{{DEFAULTSORT:Kraus, Chris}}
 
{{DEFAULTSORT:Kraus, Chris}}

Revision as of 13:12, 20 December 2023

Born March 5, 1955(1955-03-05)
New York City, United States
Lives in Los Angeles, United States
Web UbuWeb Film, Aaaaarg, Wikipedia

Chris Kraus (1955) is a writer and filmmaker. She is author of novels I Love Dick and Aliens & Anorexia and books of art and cultural criticism. Her films include Gravity & Grace, How To Shoot A Crime, and The Golden Bowl, or, Repression. In 1996, Kraus curated The Chance Event: Three Days in the Desert: Primm, Nevada. Her first novel, I Love Dick, was adapted for television in 2017. Kraus is a co-editor of the independent press Semiotext(e), alongside Hedi El Kholti and Sylvère Lotringer. She is a frequent contributor to Artforum, Bookforum and other magazines. She now lives in Los Angeles, and teaches part-time at Art Center.

Works

Films

Fiction

  • I Love Dick, New York: Semiotext(e) (Native Agents), 1997, 275 pp, ARG; repr., Los Angeles: Semiotext(e), 2006, 277 pp.
    • Ai ravu dikku, trans. Augustmoon Ochiishi, Tokyo: Shinchosha, 2000, 283 pp. (Japanese)
    • Amo a Dick, trans. Marcelo Cohen, Barcelona: Alpha Decay, 2013, 339 pp. (Spanish)
    • I love Dick, trans. Alice Zeniter, Paris: Flammarion, 2016, 269 pp. (French)
    • I Love Dick, Stockholm: Modernista, 2016, 288 pp. (Swedish)
    • I love Dick, trans. Evi Hoste and Anniek Kool, Amsterdam: Lebowski, 2016, 271 pp. (Dutch)
    • I love Dick, trans. Kevin Vennemann, Berlin: Matthes & Seitz, 2017, 250 pp. (German)
    • I love Dick: roman, trans. Louise Ardenfelt Ravnild, Copenhagen: Gyldendal, 2017, 302 pp. (Danish)
    • I love Dick: romanzo, trans. Maria Nadotti, Vicenza: BEAT, 2018, 300 pp. (Italian)
    • I Love Dick, trans. Pavel Černovský, ed. Tereza Stejskalová, intro. Lubica Kobová, Prague: tranzit.cz, 2018, 216 pp. [1] (Czech)
    • Ai reobeu Dik [아이 러브 딕: 크리스 크라우스 장편소설], Paju: Chaek Ingneun Suyoil: Hanguk Mulga Jeongbo, 2019, 439 pp. (Korean)
    • Wo ai Dike [我爱迪克], trans. Li Tongzhou, Shanghai: Shanghai san lian shu dian, 2019, 326 pp. (Chinese)
  • Aliens & Anorexia, Brooklyn, NY: Semiotext(e) (Native Agents), 2000, 236 pp; new ed., forew. Palle Yourgrau, 2013, 264 pp; repr., London: Tuskar Rock Press, 2018, 269 pp. [2] [3] [4]
    • Aliens & anorexia, trans. Patrizia Brighi, Milan: O barra O, 2011. (Italian)
  • Scherbentanz. Roman, Frankfurt: Frankfurter Verlagsanstalt, 2002, 199 pp; repr., Zürich: Diogenes, 2020, 208 pp. (German)
  • Torpor, New York: Semiotext(e) (Native Agents), 2006, 285 pp, IA; new ed., intro. Fanny Howe, 2015, 312 pp; repr., London: Tuskar Rock, 2017, 292 pp. [5] [6] [7]
    • Torpor. Roman, trans. Stephanie Wurster, afterw. Karolin Meunier, Berlin: b-books, 2015, 276 pp. [8] (German)
    • Sopor, trans. Cecilia Pavón, Buenos Aires: Eterna Cadencia, 2018, 320 pp. [9] (Spanish)
  • Summer of Hate, New York: Semiotext(e) (Native Agents), 2012, 256 pp, IA. Part 1, Excerpt. [10]
    • Verano del odio, trans. Cecilia Pavón and Claudio Iglesias, Buenos Aires: Eterna Cadencia, 2014, 269 pp. [11] (Spanish)
    • Summer of Hate, trans. Jenny Högström, Stockholm: Modernista, 2019, 256 pp. (Swedish)
    • Dans la fureur du monde, trans. Alice Zeniter, Paris: Flammarion, 2019, 292 pp. (French)
  • Das kalte Blut, Zürich: Diogenes, 2017, 1187 pp. (German)
    • La fabrique des salauds, trans. Rose Labourie, Paris: 10-18: Belfond, 2020, 1099 pp. (French)
  • Sommerfrauen, Winterfrauen, Zürich: Diogenes, 2018, 412 pp; 502 min. Also published as audio book read by Lars Eidinger and Paula Beer. [12] (German)

Nonfiction

Books
  • with Jan Tumlir and Jane McFadden, LA Artland: Contemporary Art from Los Angeles, London: Black Dog, 2005, 222 pp, IA.
  • Where Art Belongs, New York: Semiotext(e) (Interventions), 2011, 176 pp. Chapter 1. [13] [14]
    • Sanat Nereye Aittir?, trans. Zeynep Anlı, Ankara: Dost, 2016, 119 pp. (Turkish)
  • Kelly Lake Store and Other Stories, Portland, OR: Douglas F. Cooley Memorial Art Gallery (Companion Editions), 2012, 39 pp; repr. in n+1 17, Fall 2013. [15]
  • Social Practices, South Pasadena, CA: Semiotext(e), 2018, 296 pp. Essays on and around art and art practices. [17] [18]
Book chapters, articles
  • "Introduction", in Willa Cather, O Pioneers!, New York: Barnes & Noble Classics, 2003.
  • "Hunger – Technology – Emotion", in Biting The Error: Writers Explore Narrative, eds. Mary Burger, Robert Gluck, Camille Roy, and Gail Scott, Coach House, 2004. [19]
  • "Art School", in Akademie X: Lessons in Art + Life, ed. Rebecca Morrill, London: Phaidon, 2015.
  • "Littoral Madness", Afterall 41, Spring/Summer 2016, pp 136-141. [20]

Interviews

Literature

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