Where Art Belongs

Quite sensibly, ‘Where Art Belongs’ attests to Chris Kraus’ belief 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 1960’s 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 utopian visions, whilst demonstrating 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 the use of lived time as material, Where Art Belongs describes the nature of 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 that ensued. Kraus casts a cool eye over such attempts to produce artistic work through collaboration and integration with ‘every day’ experiences, but is no less moved by their efforts and intentions once the group in question has moved on. A particularly good review and contextual analysis can be found on the website of the consistently excellent n+1, a literary magazine (online and in print) based in the U.S which features social criticism, political commentary, essays, art, poetry, book reviews, and short fiction - See here: https://nplusonemag.com/issue-13/reviews/female-trouble/

Art, Visual art
Chris Kraus
The MIT Press

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