This page uses content from the Chris Kraus biography page on the English version of Wikipedia and is licensed under the GNU Free Documentation License. This list of authors can be seen in the page history. Rotten Tomatoes disclaims any and all warranties as to the accuracy or reliability of the content.

Chris Kraus is a filmmaker and an acclaimed author of three novels; I Love Dick, Aliens & Anorexia and Torpor. Video Green, Kraus' first non-fiction book examines the explosion of late 1990s art by high-profile graduate programs that catapulted Los Angeles into the epicenter of the international art world.

Bibliography

• I Love Dick, 1997 (Semiotext(e) / Native Agents).
• Aliens & Anorexia, 2000 (Semiotext(e) / Native Agents).
• Hatred of Capitalism: A Semiotext(e) Reader by Chris Kraus & Sylvere Lotringer, 2001.
• Video Green: Los Angeles Art and the Triumph of Nothingness, 2004 (Semiotext(e) / Active Agents).
• LA Artland: Contemporary Art from Los Angeles by Chris Kraus, Jan Tumlir, and Jane McFadden, 2005 (Black Dog Publishing Ltd).
• Torpor, March 2006 (Semiotext(e) / Native Agents).
• I Love Dick by Chris Kraus, Eileen Myles, Joan Hawkins; Sep 2006 (Semiotext(e) / Native Agents).

External links

• Semiotexte.com Chris Kraus bio

   I Love Dick made lots of reviews. It made National Public Radio.  There was a play made of it, staged in a New York avant-garde venue.  I read many of the reviews of I Love Dick and it was unfortunate that the reviews broke in a symmetrical mode—feminists thrilled at the “outing” of another progressive white-male with alleged misogynistic tendencies, others outraged at the project of using fiction to “out” someone in such a public way, a strategy lifted from such stalwart New York groups such as Act-Up.  By page seven of I Love Dick, its readers are explicitly told that Kraus in fact decided to obsess on Hebdige. On nothing more than her “noticing” his glances at her over dinner, Kraus concluded that “the idea that Dick may have proposed a kind of game between them is incredibly exciting.” On page 30, Lotringer tells his readers that he has secretly taped Hebdige. How could reviewers, especially academic ones equipped with the discipline of sleuthing or pursuing the least sign, not include such things when trying to figure out the conditions of the text’s sense?    Using Art Center as their base of operations, Lotringer and Kraus arguably goaded I Love Dick’s readers to engage in their own rubber-necking—p. 44 has Lotringer boasting to Kraus that “I got him in, it’s your turn now.”  On page 99 of same book: “Chris considered using her studio visits at Art Center to testify about Dick [to students], exhorting all the students there to write him.  ‘It will change your life’! She’d write a crazy tract called I Love Dick and publish it in Sylvere’s magazine...”.  Page 132: after getting Hebdige on the phone, Kraus proudly announces “when I reached you, you cryptically called the whole thing off.  And I hung up the phone, and in front of this roomful of art students in their 20's, let out a huge and uncontrollable sob.” I Love Dick was misread everywhere: it’s not fiction piggy-backed on non-fiction or vice versa, but a sustained critique of the laziness of its readers.

Permission is granted to copy, distribute and/or modify the biographical information on this page under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation.