But its a perfect pairing, not only in light of Krauss post-punk roots, but also because it gives the films another level of credibility. Showing them at RFA taps into that hardest-to-access art economy, where younger artists validate older ones, and visa versa. And Kraus knows better than almost anyone the critical value of DIY spaces, having profiled, in Where Art Belongs (2011), L.A.s Tiny Creatures, a kind of non-artist/artist-space that showcased pan-creatives like Ariel Pink.
Her failure then is a partial fiction. Krauss experimental work was screened and reviewed in the 80s and 90s, and she got funding for a feature-length film. She didnt become Kathryn Bigelow, the former Lotringer student and collaborator who won an Academy Award for The Hurt Locker (2008), but its hard to imagine her in that context. Kraus is better in the art world, where failure can be theorized, as well as dramatizedor, in her case, used as a springboard for success.