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Publications of Kristine Stiles    :chronological  alphabetical  combined  bibtex listing:

Books

  1. K. Stiles, Concerning Consequences: Studies in Art, Destruction, and Trauma, 1978-2014 (2014), University of Chicago Press (Forthcoming.)
  2. K. Stiles and Peter Selz, eds, Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings (2012), University of California Press (2nd, revised, expanded edition edited by Kristine Stiles.)
  3. K. Stiles, ed, Correspondence Course, An Epistolary History of Carolee Schneemann and Her Circle (2010), Duke University Press (With an Introduction and extensive annotations by Kristine Stiles.)
  4. “Cloud with its Shadow: Marina Abramovic” in Marina Abramovic, in Marina Abramovic (2008), Phaidon, London
  5. States of Mind: Dan & Lia Perjovschi (2007), Nasher Museum of Art at Duke University; distributed by Duke University Press, Durham, North Carolina (With contributions by Andrei Codrescu, Marius Babius and Ruxana Marcoci.)
  6. AmaLia Perjovschi (1996), Soros Foundation, Bucharest, Romania
  7. Dan Perjovschi's Postcards From America. (1995), Pont La Vue Press, New York
  8. Raphael Montanez Ortiz: Years of the Warrior, Years of the Psyche, 1968-1988 (1988), El Museo Del Barrio, New York
  9. Questions (1982), KronOscope Press, San Francisco (This artist's book contains essays on Kristine Stiles' art by Lynn Hershman, Kathy O’Dell, and Richard Irwin..)

Articles Published

  1. Kicking Holes in the Darkness: Rhys Ernst and Zackary Drucker, in Whitney Biennial 2014 (2014), pp. 56-61, Whitney Museum of American Art, ISBN 978-0300196870 (Authors of the catalog include the curators of the 2014 Whitney Biennial, Stuart Comer, Anthony Elms, Michelle Grabner..) [pdf]
  2. The Ideal Gifts of Istvan Kantor, in PERMANENT REVOLUTION: The Art of Istvan Kantor (2014), pp. 73-87, ISBN 978-0-9936249-0-2 (Edited by Linda Feesey, and co-edited by Mireille Bourgeois.)
  3. ‘…but a hammer with which to shape it.’: Media Art and Society 1959-2013, in Pioneering Values: WRO 15th Biennial (2014)
  4. with 'I’m Ready.' Thinking About Artists’ Writings in a Global Context, in Not a day without a line. Understanding artists' writings, edited by Helen De Prester (2013), pp. 177-203, Academia Press, Ghent, Belgium, ISBN 978-9038222202  [abs] [author's comments]
  5. Performance Art, in Oxford Bibliographies in Art History, edited by Thomas DaCosta Kaufmann (2013), Oxford University Press, Oxford and New York  [abs] [author's comments]
  6. Preface, in ARTPOOL The Experimental Art Archive of East-Central Europe., edited by György Galántai and Júlia Klaniczay (2013), pp. 8-10, Artpool Publications, Budapest, ISBN 978-963-08-7225-6  [abs]
  7. Wangechi Mutu’s Family Tree, in Wangechi Mutu: A Fantastic Journey, edited by Trevor Schoonmaker no. 51-79 (2013), Nasher Museum of Art at Duke University, Durham, ISBN 978-0938989363  [abs]
  8. Forward, in The Reflexive Photographer, edited by Rosie Miller, Jonathan Carson and Theresa Wilkie (2013), MuseumsEtc and School of Arts & Media at Salford University, Manchester, England, ISBN 978-1907697951
  9. Comments on my first interview with Gustav Metzger, in Gustav Metzger, Years without Art (2012), pp. 39
  10. Conversation with William Pope.L, in The Voice of Images (2012), pp. 181-193, Palazzo Grassi, Venice, Italy
  11. Peter d’Agostino’s World-Wide-Walks / between earth & sky, in Peter d’Agostino: World-Wide-Walks [Paseos a Nivel Planetario] / between earth & sky [entre la tierra y el cielo] / 1973 – 2012 (2012), pp. 22-34, Bizkaia de la UPV/EHU (Bilbao, Spain:.)
  12. Negative Affirmative: San Francisco Bay Area Art, 1974-1981, in Under the Big Black Sun: California Art 1974-1981, edited by Paul Schimmel (2011), pp. 27-43, Los Angeles Museum of Contemporary Art, ISBN 978-3791351391
  13. 7.47 a.m. (The Traumatic Visual Vocabulary of Maurice Benayoun’s So.So.So. Somebody Somewhere Some time), in Maurice Benayoun / OPEN ART 1980-2010 (2011), pp. 83-87, CDA d'Enghien and Les Nouvelles éditions Scala),
  14. Peggy Phelan and Kristine Stiles In Conversation, Millennium Film Journal no. 54 (2011), pp. 30-34
  15. Home Alone: ‘Reversal of Positions of Presentation’ and the Visual Semantics of Domesticity, in The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1990, edited by Nancy Princenthal and Helaine Posner (2011), pp. 50-67, Neuberger Museum of Art
  16. K. Stiles and Edward A. Shanken, “Missing in Action: Agency and Meaning in Interactive Art,”, in Context Providers: Meaning in Media Arts, edited by Margot Lovejoy, Christiane Paul, and Victoria Vesna (2011), pp. 31-54, Intellect
  17. Foreword, Or, Unbuckling the Belt of Fluxus through Billie Maciunas’ Experiences, in Billie Maciunas, The Eve of Fluxus (2010), pp. ix-xvi., Arbiter Press, Winter Park, Florida, ISBN 978-0615352169
  18. Art will be…2009-2034, Duke Alumni Magazine (May, 2009), Duke University
  19. Irregular Ways of Being in Time, in The Third Mind: American Artists Contemplate Asia 1860-1989, edited by Alexandra Munroe (2009), pp. 333-345, New York: Solomon R. Guggenheim
  20. The Trinity Session, in Future Species: Hybrids, Exoskel, Cybor Living Makeover Madness (2009), pp. 35-38, Toronto: Museum of Contemporary Canadian Art
  21. INSIDE/OUTSIDE: Balancing Between a Dusthole and Eternity, Archive, vol. 1 (2008), Muzeum Sztuki, Lodz, Poland
  22. Come and Go, in California Video (2008), The J. Paul Getty Trust, Getty Research
  23. Cloud with its Shadow: Marina Abramovic, in in Marina Abramovic (2008), Phaidon, ISSN 978-0714848020
  24. Burden of Light, in Chris Burden (2007), Newcastle England: Merrell and Locus Plus
  25. Teaching a Dead Hand to Draw, Kim Jones, War and Art, in Kim Jones: A Retrospective (2007)
  26. Shaved Heads and Marked Bodies: Representations From Cultures of Trauma" (1993), appeared without its 1996 "Afterword" in Bruce Lawrence and Aisha Karim, eds., On Violence: An Anthology (Durham, N.C., Duke University Press); 522-538 (2007) (This essay was originally published in Strategie II: Peuples Mediterraneens [Paris]64/65 (1993): 95-117; it was excerpted in Dan Perjovschi Post R, for the exhibition “Media Culpa,” Bucharest, Romania, 1995; it was reprinted with a new Afterword in Jean O'Barr, Nancy Hewitt, Nancy Rosebaugh, eds., Talking Gender: Public Images, Personal Journeys, and Political Critiques (Chapel Hill: University of North Carolina Press, 1996): 36-64; excerpted in Dan Perjovschi: Anthroprogramming (New York: Franklin Furnace, 1996); excerpted in Lusitania [New York] 6 (1994): 23-39; excerpted in German in kursiv [Linz, Austria] 2-3. (1995): 19-25; excerpted in numerous Romanian journals 1994-present..) [html]
  27. States of Mind: Dan & Lia Perjovschi, in States of Mind: Dan & Lia Perjovschi (2007), Nasher Museum at Duke University and Duke University Press
  28. Shaved Heads and Marked Bodies: Representations from Cultures of Trauma, in The Chain of Violence: An Anthology, edited by Bruce Lawrence and Aisha Karim (2007), Duke University Press
  29. Metzger's Fierce, Poignant, and Prescient Manifestos, Rett Kopi: A Norwegian Journal of Art and Aesthetics (2006)
  30. Chris Burden (2006), New York: Zwirner & Wirth Gallery
  31. K. Stiles and Paul Grobstein, The Art Historian and the Neurobiologist, http://serendip.brynmawr.edu/bb/artneuro/ (2005), Bryn Mawr College
  32. Barbara Smith's Haunting, in The 21st Century Odyssey Part II: The Performances of Barbara T. Smith (2005), Pomona, California: Pomona College Museum of Art
  33. Remembrance, Resistance, Reconstruction, the Social Value of Lia & Dan Perjovschis's Art (2005)
  34. The Story of the Destruction in Art Symposium and the "DIAS Affect", in Gustav Metzger: Geschichte Geschichte (2005), Vienna: Generali Foundation [pdf]
  35. Remembrance, Resistance, Reconstruction, The Social Value of Lia and Dan Perjovschi's Art, European Influenza (2005), Cluj, Romania
  36. Fluxus Performance and Humor, in The Artist’s Joke (2005), MIT Press
  37. Agnes Hegedus, Bernd Lintermann, Jeffrey Shaw: reconfiguring the CAVE, in Future Cinema: The Cinematic Imaginary after Film, edited by Jeffrey Shaw and Peter Weibel (2004), pp. 492-497, Karlsruhe, Germany and Cambridge, Mass: ZKM Center for Art and Media and MIT Press
  38. Chris Burden's Free Physics (2004), New York: Zwirner and Wirth Gallery (Forthcoming.)
  39. I/Eye/Oculus: Performance, Installation and Video, in Art of the Twentieth Century, edited by Charles Harrison and Paul W. Wood (2004), pp. 183-229, New Haven & London: Yale University Press and The Open University
  40. Paul Couillard and Ed Johnson," for Artspace, Ontario, Canada (2004), Ontario: Artspace
  41. Peinture, Photographie, Performance: Le Cas de Georges Mathieu, in Georges Mathieu (2003), pp. 75-81, Paris: Galerie National du Jeu de Paume
  42. Franz West's Dialogic PaBtucke, in Franz West (2003), pp. 104-121, London: The Whitechapel Gallery
  43. Performance, in Critical Terms for Art History, 2nd Edition, edited by Robert Nelson and Richard Shiff (2003), pp. 75-97, Chicago: University of Chicago
  44. Anomaly, Sky, Sex, and Psi in Fluxus, in Critical Mass: Happenings, Fluxus, Performance & Intermedia at Rutgers University 1958-1971 (2003), pp. 60-88, Rutgers University and Amherst College
  45. At Last, A Great Woman Artist: Writing About Carolee Schneemann’s Epistolary Practice, in Singular Women, edited by Kristen Frederickson and Sarah E. Webb (2003), Berkeley: University California Press
  46. Jean-Jacques Lebel's Phoenix and Ashes, in Jean-Jacques Lebel (2003), pp. 3-15, London: The Mayor Gallery
  47. Thunderbird Immolation: William Pope L. & Burning Racism, in William Pope.L: Eracism, edited by Mark Bessire (2002), pp. 36-42, Cambridge and Portland: MIT Press and the Institute of Contemporary Art at Maine College of Art
  48. David Tudor-Alive , Free, and Without Need of Culture" in a special issue, "Composers Inside Electronics: Music after David Tudor", Leonardo Music Journal, vol. 14 (2002) [html]
  49. The Painter as an Instrument of Real Time, introduction to Carolee Schneemann’s Imaging Her Erotics: Essays, Interviews, Projects (2001), pp. 2-16, Cambridge, Mass.: MIT Press
  50. Il mostro, la maschera e la coscienza allargata, (The Monster, the Mask and the Enlarged Consciousness), in De Dominicis: Raccolta di scritti scullíopera e líartista, edited by Gabriele Guercio (2001), pp. 93-99, Torino: Umberto Allemandi & Co
  51. Concerning Public Art and 'Messianic Time' (2001) [html]
  52. Afterword: Quicksilver and Revelations, Performance at the End of the 20th Century, in Performance Artists Talking: 1979-7989: Sex, Food, Money/Fame, Ritual/Death, edited by Linda Montano (2000), Berkeley: University of California Press
  53. Never Enough is Something Else: Feminist Performance Art, Probity, and the Avant-Garde, in Contours of the Theatrical Avant-Garde: Performance and Textuality, edited by James M. Harding (2000), pp. 239-289, Madison: University of Madison/Wisconsin [pdf]
  54. Being Undyed: The Meeting of Mind and Matter in Yoko Ono’s Events, in Yes Yoko Ono, edited by Alexandra Monroe (2000), pp. 145-149, New York: Japan Society
  55. Corpora Vilia: Valie Export’s Body, in Valie Export’s Visual Syntagmatics (2000), pp. 16-33, Goldie Paley Gallery, Moore College of Art and Design, Philadelpia
  56. Mapping Joshua Neustein's Art, in Joshua Neustein: Five Ash Cities, Domestic Tranquility Bne Brak (2000), pp. 122-130, Herzliya, Israel: Hezliya Museum (reprinted in JOSHUA NEUSTEIN: Five Ash cities (Chicago: Academy Chicago Publishers in Association with Olive Production, 2000).)
  57. Introduction, in Uri Katzenstein's Families (2000), pp. 1-5, Durham: Duke University
  58. Comisuri: Art Actiunile ca Objecte, Balkon: Revista de Arta Contemporana, vol. March no. 2 (2000), pp. 3-4, Timisoara, Romania
  59. K. Stiles, Parallel Worlds: Representing Consciousness at the Intersection of Art, Dissociation, and Multidimensional Awareness, in Reframing Consciousness: Art and Consciousness in the Post- Biological Era, edited by Roy Ascott (2000), pp. 52-60, Exeter: Intellect [stiles%20parallel%20worlds&f=false]
  60. Beautiful, Jean-Jacques': Jean-Jacques Lebel's Affect and the Theories of Gilles Deleuze and Felix Guattari, in Jean-Jacques Lebel (1999), pp. 7-30, Milano: Edizioni Gabriele Mazzotta
  61. The Flux/Med' Collages of Bob Watts, in Bob Watts, Francesco Conz (1999), pp. 1-3, Museum of Koper, Slovenia
  62. 300 Words for Dan Perjovschi, in After the Wall: Art and Culture in Post-Communist Europe (1999), pp. 153, Stockholm: Moderna Museet [html]
  63. Battle of the Yams: Contentless Forms and the Recovery of Meaning in Events and Happenings, in Off Limits: Rutgers University and the Avant-Garde, 1957-1963 (1999), pp. 118-129, Newark: Newark Museum and Rutgers University Press
  64. Uncorrupted Joy: International Art Actions, in Out of Actions: Between Performance and the Object 1949-1979, Paul Schimmel Edition (1998), pp. 226-238, Los Angeles Museum of Contemporary Art [pdf]
  65. INSIDE/OUTSIDE: Balancing Between a Dusthole and Eternity, in Body and the East: From the 1960s to the Present (1998), pp. 19-30, Ljubljana: Museum of Modern Art
  66. Joshua Neustein, BOMB, vol. 57 (Fall, 1997), pp. 80-81, [New York]
  67. To the Organizers, Participants, and Audience of REcycling the Mode(ls)', in Messages from the Countryside/Reflections in RE (1997), pp. 28-29, Chisinau, Moldova: Soros Center for Contemporary Art
  68. Debate: Empty Slogan of Self-Representation, Siksi [Helsinki], vol. Spring no. 12:1 (1997), pp. 87-90
  69. Schlaget Auf: The Problem with Carolee Schneemann's Paintings, in Carolee Schneemann: Up to and Including Her Limits (1996), pp. 15-25, New York: The New Museum
  70. Roman Signer: The Sound of One Bomb Clapping,, in Roman Signer (1996), pp. 10-15, Philadelphia: Goldie Palley Gallery at the Moore College of Art and Design
  71. Conversation with Paul McCarthy, in Paul McCarthy (1996), pp. 6-29, London: Phaidon Press
  72. Rampman Against a Portable Field: The 'activites' of Pinchas Cohen Gan, in Figure Form Formula: The Art of Pinchas Cohen Gan (1996), pp. 19-41, Greensboro: Weatherspoon
  73. Irreparable Damage: Meditation on James Lerager's Tales from the Nuclear Age, in for James Lerager: Tales from the Nuclear Age (1994), pp. 3-7, Raleigh: City Gallery Contemporary Art
  74. Tuna and Other fishy Thoughts on Fluxus Events, in Alison Knowles (1994), pp. 26-35, Saarbrucken, Germany: Stadt Galerie Saarbrucken
  75. Between Water and Stone; Fluxus Performance, A Metaphysics of Acts, in In the Spirit of Fluxus, edited by Elizabeth Armstrong and Joan Rothfuss (1993), pp. 62-99, Minneapolis: Walker Art Center (excerpted in Tracy Warr, ed., The Artists'Body (London: Phaidon Press, 2000): 211-14.) [pdf]
  76. Survival Ethos and Destruction Art, Discourse: Journal for Theoretical Studies in Media and Culture, vol. 14:2 (Spring, 1992), pp. 74-102
  77. Unbosoming Lennon: The Politics of Yoko Ono's Experience, Art Criticism 7:2, vol. Spring (1992), pp. 21-54, reprinted by the University of Havannah, Cuba, 1994
  78. Selected Comments on Destruction Art, in in Alex Adriaansens, ed., Boek Voor De Instabiele: Book for the Unstable Media (1992), pp. 43-75, Rotterdam: V2-Organization [kristine-stiles-selected-comments]
  79. Thresholds of Control: Destruction Art and Teminal Culture, in Out of Control (1991), pp. 29-50, Linz, Austria: Ars Electronica & Landesverlag (reprinted in Ars Electronica: Facing the Future (A Survey of Two Decades, ed. Timothy Druckrey, Cambridge: MIT Press, 2000.)
  80. Tuna and Other fishy Thoughts on Fluxus Events, in FluxAttitudes (1991), pp. 25-34, Buffalo & New York: Hallwalls and the New Museum
  81. Readings: Performance and Its Objects, Arts, vol. 65:3 (November, 1990), pp. 35-47
  82. Notes on Rudolf Schwarzkogler's Images of Healing, White Walls: A Magazine of Writings by Artists, vol. 25 (Spring, 1990), pp. 13-26
  83. Sticks and Stones: The Destruction in Art Symposium, Arts, vol. 63.5 (January, 1989), pp. 54-60
  84. Not Just and 'Other' Exhibition, High Performance, vol. 11 (Fall, 1988), pp. 34-38
  85. Introduction to the Destruction in Art Symposium: DIAS & Discussion with Ivor Davies, Link, vol. 52 (September, 1987), pp. 4-10, [Wales]
  86. Rodforce: Thoughts on the Art of Sherman Fleming, High Performance, vol. 10:2 (Summer, 1987), pp. 34-39
  87. Synopsis of the Destruction in Art Symposium (DIAS) and Its Theoretical Significance, The Act, vol. 1 (Spring, 1987), pp. 22-31
  88. Imploring Silence: Words and Performance Essence, A Polemic, High Performance, vol. 8.1 (April, 1985), pp. 33-36
  89. Modern Myth: A Review of the Interdisciplinary Conference at The New School for Social Research and The Cooper Union, Frank, vol. 4 (November, 1984), pp. 32 & 38, San Francisco
  90. STELARC: On Evolution, Frank, vol. 3 (August, 1984), pp. 25 & 35
  91. The Luciferian Marriage: Government/Corporate/Media 'Fact' as Entertainment, in The Un/Necessary Image, edited by Peter D'Agostino and Antonio Muntadas (1983), pp. 28-31, Cambridge: MIT Press (reprinted.)
  92. Come and Go, in Coming and Going NEW YORK (Subway), PARIS (Metro), San Francisco (BART), Washinton (METRO): Peter D'Agostino (1982), pp. 76-81, San Francisco: Not for Sale Press
  93. La Crise de l'avant-garde and an Interview with Jean-Jacques Lebel, + - 0 [Brussels], vol. 34 (1981), pp. 32-33 & 35-36
  94. Trans-Europ Express-Expressed, in Alph-Trans-Chung: Peter D-Agostino (1980), pp. 55-58, Dayton: Wright State University Press
  95. No Money Back Anytime, LAICA Journal: Southern California Art Magazine, vol. 23 (1979), pp. 19-23 (June-July.)
  96. Brief essays on American painters, in 2 Jahrzehnte amerikanische malerei 1920-1940 (1979), pp. 66 & 76 & 116 & 122, Dusseldort, West Germany: Stadische Kunsthalle, Dusseldorf
  97. Helen and Newton Harrison: Questions, Arts Magazine, vol. 52:6 (February, 1978), pp. 131-133
  98. 1.1.78 - 2.2.78: Roberta Breitmore, in Roberta Breitmore Is Not Lynn Hershman (1978), pp. 5-14, San Francisco: De Young Memorial Museum

Book Reviews

  1. RoseLee Goldberg, Laurie Anderson, Make: The Magazine of Women's Art, vol. 90 (December-Feburary 2000-2001), pp. 90
  2. Pamela M. Lee, Object to be Destroyed: The Work of Gordon Matta-Clark, CAA.Reviews, the online reviews publication of the College Art Association (2000) [html]

Exhibition Catalogs

  1. K. Stiles, Jean Toche: Impressions From The Rogue Bush Imperial Presidency (2009), Durham: John Hope Franklin Center for Interdisciplinary & International Studies
  2. Jean-Jacques Lebel (2003), London: Mayor Gallery
  3. Bob Watts, edited by Slovenia: Museum of Koper and Editions Francesco Conz (2000)
  4. Hans Waanders (1997), Raleigh: City Gallery of Contemporary Art
  5. Ion Bitzan (1994), Bath, England: City of Bath College
  6. Recontre Avec Morgan O'Hara (1980), Lausanne: Le Musee Cantonal des Beaux-Arts

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