In March, Performance Space New York (formerly Performance Space 122) hosted a month-long program as part of its “East Village Series,” dedicated to the works of Kathy Acker, an experimental novelist, post-punk poet, and feminist. The series featured readings of Acker's works, video screenings, and an exhibition curated by artistic director Jenny Schlenzka alongside artist Bjarne Melgaard. This renewed focus on Acker follows the recent publication of Chris Kraus's biography, *After Kathy Acker,* and Douglas A. Martin’s book of criticism, *Acker,* both released late in the previous year.
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Acker is a fitting, albeit ironic, figure for the East Village, having grown up in New York and spent a significant portion of her life there, yet leading a nomadic existence across cities such as San Diego, San Francisco, and London. She became an icon of New York's downtown scene just as she relocated to London in 1984, coinciding with the rising popularity of *Blood and Guts in High School*, her first work published by a mainstream press. In the 1990s, particularly for those on the West Coast, Acker was closely associated with the Bay Area’s leather dyke scene. This programming at Performance Space illustrates how the term “East Village” has become more about nostalgia for a countercultural ethos rather than a specific location, aiming to extend the legacy of Acker’s influence into contemporary culture.
Throughout her life, Acker, who passed away from cancer in 1997 at the age of 53, published nine works of fiction, along with collected works, a libretto, a screenplay, and early self-published serials. She drew influence from various sources including William Burroughs and French Critical Theory, blending high theory with pulp styles and rigorously experimenting with form. Toward the end of her life, Acker increasingly turned to music and performance, advising young creatives to explore those mediums over writing.
The exhibition at Performance Space, titled *Who Wants to be Human All the Time*, quotes Acker’s own words and nods to her sardonic attitude. Kraus’s biography approaches Acker’s life by exploring her ambitions and the challenging journey to achieve recognition, illustrating how Acker often expressed her drive for fame and more profound meaning in her writings. Kraus examines Acker’s financial struggles and the precarious nature of being an avant-garde artist, noting that she only received one significant literary award during her lifetime.
Kraus’s work aims to demystify Acker's mythology while establishing her rightful place in feminist literature. This involves a comprehensive analysis of Acker’s writings and personal accounts, juxtaposing the truths of her life with the myths she cultivated. However, some of Kraus's investigations may dilute her objectives, raising questions about Acker's relationships, particularly regarding Kraus's own connections to her.
Tina Satter, founder of Half Straddle, remarked on Acker's enduring relevance after an Acker-themed reading, noting the visceral connections Acker’s writing fosters. Acker’s distinctive look and presence were integral to her influence, remembered through her unique style and the punk aesthetic she embraced.
Both Kraus and contemporary voices offer varied perspectives on Acker’s complicated character, which included creative brilliance paired with manipulative tendencies. Despite her complexity, the influence of Acker’s work, particularly regarding fluidity in gender and themes of power, continues to resonate. Kraus expresses concern that Acker’s multifaceted qualities may not receive the recognition they deserve amid her more sensationalized aspects.
Overall, the performance series acknowledges the diverse facets of Acker's impact, showcasing her disciplined approach to art, her challenging relationship with institutions, and her dynamic mix of high and low cultural commentary. Ingrid Dudek, a Brooklyn-based writer, has contributed to various publications, including *Art Asia Pacific* and *Art in America*.