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| Publications of Kristine Stiles :chronological alphabetical combined listing:%% Books @book{fds317953, Author = {Stiles, K}, Title = {Concerning Consequences Studies in Art, Destruction, and Trauma}, Pages = {490 pages}, Publisher = {University of Chicago Press}, Year = {2016}, Month = {March}, ISBN = {9780226774534}, Abstract = {The essays in this book focus primarily on performance art and photography.}, Key = {fds317953} } @book{fds223265, Author = {K. Stiles}, Title = {Concerning Consequences: Studies in Art, Destruction, and Trauma, 1978-2014}, Publisher = {University of Chicago Press}, Year = {2014}, Key = {fds223265} } @book{fds305897, Author = {Stiles, K and Selz, P}, Title = {Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings}, Publisher = {University of California Press}, Year = {2012}, Key = {fds305897} } @book{fds305898, Author = {Stiles, K}, Title = {Correspondence Course, An Epistolary History of Carolee Schneemann and Her Circle}, Publisher = {Duke University Press}, Year = {2010}, Key = {fds305898} } @book{fds153953, Title = {“Cloud with its Shadow: Marina Abramovic” in Marina Abramovic}, Booktitle = {Marina Abramovic}, Publisher = {Phaidon}, Address = {London}, Year = {2008}, Key = {fds153953} } @book{fds145696, Title = {States of Mind: Dan & Lia Perjovschi}, Publisher = {Nasher Museum of Art at Duke University; distributed by Duke University Press, Durham, North Carolina}, Year = {2007}, Key = {fds145696} } @book{fds316898, Author = {Perjovschi, D and Codrescu, A and Babias, M}, Title = {States of Mind Dan & Lia Perjovschi}, Pages = {242 pages}, Publisher = {Duke University Press}, Year = {2007}, Abstract = {Published in conjunction with the exhibition 'States of mind: Dan and Lia Perjovschi, ' Nasher Museum of Art at Duke University, Aug. 22, 2007-Jan. 7, 2008.}, Key = {fds316898} } @book{fds293716, Author = {Stiles, K}, Title = {Chris Burden}, Publisher = {New York: Zwirner & Wirth Gallery}, Year = {2006}, Key = {fds293716} } @book{fds293723, Author = {Stiles, K}, Title = {AmaLia Perjovschi}, Publisher = {Soros Foundation}, Year = {1996}, Key = {fds293723} } @book{fds293722, Author = {Stiles, K}, Title = {Dan Perjovschi’s Postcards From America}, Publisher = {Pont La Vue Press}, Year = {1995}, Key = {fds293722} } @book{fds156701, Title = {Raphael Montanez Ortiz: Years of the Warrior, Years of the Psyche, 1968-1988}, Publisher = {El Museo Del Barrio, New York}, Year = {1988}, Key = {fds156701} } @book{fds293720, Author = {Stiles, K}, Title = {Questions}, Publisher = {KronOscope Press}, Address = {San Francisco}, Year = {1982}, Key = {fds293720} } %% Articles Published @article{fds363143, Author = {Alberro, A and Bhabha, H and Castillo, A and Chukhrov, K and Demos, TJ and Eleison, K and Emmelhainz, I and English, D and Flores, P and González, JA and Groys, B and Holert, T and Huyssen, A and Jones, A and Joselit, D and Kee, J and Mirzoeff, N and Osborne, P and Roberts, J and Shaked, N and Smith, T and Stiles, K and Tiampo, M and Wagner, AM}, Title = {WHAT IS RADICAL?}, Journal = {ARTMargins}, Volume = {10}, Number = {3}, Pages = {8-96}, Year = {2022}, Month = {February}, url = {http://dx.doi.org/10.1162/artm_a_00301}, Doi = {10.1162/artm_a_00301}, Key = {fds363143} } @article{fds363144, Author = {Stiles, K}, Title = {Collecting the future: A personal history of an archive}, Pages = {21-34}, Booktitle = {What Will Be Already Exists: Temporalities of Cold War Archives in East-Central Europe and Beyond}, Year = {2021}, Month = {September}, ISBN = {9783837658231}, Key = {fds363144} } @article{fds363145, Author = {Stiles, K}, Title = {'Lux Balcanica est umbra Orientis’: Marilyn Arsem’s Balkan Performances}, Pages = {104-133}, Publisher = {Intellect Books}, Year = {2020}, Month = {November}, Key = {fds363145} } @article{fds363148, Author = {Stiles, K}, Title = {Anti-art}, Pages = {185-186}, Booktitle = {Reading Contemporary Performance: Theatricality Across Genres}, Year = {2015}, Month = {January}, ISBN = {9780415624978}, url = {http://dx.doi.org/10.4324/9780203103838-26}, Abstract = {Opinions divide on how to dene anti-art. e concept has become a multipurpose signier for the denunciation of art, rejection of aesthetic norms, ridicule of art institutions, repudiation of art markets, and is even sometimes confused with iconoclasm. Initially the word identied extreme manifestations of the modernist avantgarde’s eort to transform and break with cultural convention, refute bourgeois society and its values, and align with radical politics, from nihilism to anarchism. Despite the prodigious aesthetic productivity of Dada and Futurist artists, both movements have been described as anti-art: Dada for its inclusion of non-aesthetic materials, and resistance to World War I; and, ironically, Futurism for its celebration of war and violence. e subtitle to Hans Richter book Dada: Art and Anti-Art (1964) is instrumental in associating Dada with anti-art. Richter may have misappropriated the term from Hannah Hoch’s collage, Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic (1919), in which the words “Die anti dada ists” appear in its upper right-hand corner. Rather than a reference to the Dadaists’ aitudes toward art, the text identies the caricaturized gures immediately below it of several German generals and Kaiser Wilhelm II, who led Germany into World War I. Richter also identied the readymade as anti-art, regardless of the fact that Duchamp made it clear that he was “against the word ‘anti’" for its association with the “atheist [who is] as much a religious man as the believer is” (Schwarz 1969, 33). Anti-art oered a pretext for Surrealists to appropriate the Freudian unconscious as authentic art material. Yet, in 1958 aer musing on Werner Heisenberg’s Uncertainty Principle (1926) and its relation to the nuclear age, Salvador Dalí wrote “Anti-material Manifesto,” turning away from Freud’s “iconography of the interior world” to the indeterminacy of physics and “the exterior world [in order] to transport my works into anti-maer” (Dalí 1958, n.p.).}, Doi = {10.4324/9780203103838-26}, Key = {fds363148} } @article{fds363149, Author = {Stiles, K}, Title = {Fluxus}, Pages = {205-206}, Booktitle = {Reading Contemporary Performance: Theatricality Across Genres}, Year = {2015}, Month = {January}, ISBN = {9780415624978}, url = {http://dx.doi.org/10.4324/9780203103838-37}, Abstract = {Fluxus is an international movement of artists, poets, composers, and individuals formally untrained in art, producing objects, installations, performances, collective festivals, celebrations, exhibitions, publications, mail art, editions, and multiples. Oen characterized by its lack of pretension, playfulness, and humor, Fluxus is also noted for its philosophical acceptance of life’s fluidity and ephemerality. George Brecht distinguished Fluxus artists as those who understand that “the bounds of art are much wider than they have conventionally seemed,” and who “never. . aempt to agree on aims or methods” (1964, 111). Some Fluxus artists also pioneered queer sexual politics and aesthetics, including George Maciunas, the self-appointed titular head of Fluxus. Jon Hendricks, curator of the Gilbert and Lila Silverman Fluxus Collection, which the Silvermans donated to the Museum of Modern Art in New York in 2009, considers Maciunas “the father” of Fluxus and only what Maciunas “put forward” as constituting authentic Fluxus works (2002, 14, 20). Hendricks also dates the end of Fluxus to Maciunas’ death in 1978, despite the many artists who identify with and continue to exhibit under the Fluxus moniker. Others agree with Ina Bloom that, “e history of Fluxus […] demonstrates the difficulty of speaking of Fluxus as one phenomenon, movement or artistic identity,” and that to assert this “does not mean […] that Fluxus is essentially inclusive and endlessly pluralist” or that it “def[ies] denition” (2002, 49).}, Doi = {10.4324/9780203103838-37}, Key = {fds363149} } @article{fds363146, Author = {Stiles, K}, Title = {Destruction art}, Pages = {197-198}, Booktitle = {Reading Contemporary Performance: Theatricality Across Genres}, Year = {2015}, Month = {January}, ISBN = {9780415624978}, url = {http://dx.doi.org/10.4324/9780203103838-32}, Abstract = {Destruction in art is not destruction of art, but rather an aesthetic technique for creating new forms of perception and knowledge related to violence in society, war and trauma, tracking in bodies, economic crisis, environmental contamination, natural disaster, and especially the aermath of World War II, the Shoah, and the use of the atomic bomb (Stiles 1987). e Japanese artist Saburo Murakami ran through and broke open wall-size paper screens in 1955 at the "1st Gutai Art Exhibition” in Tokyo, an action symbolizing an aack on and destruction of traditional Japanese culture. In 1959, Gustav Metzger, a Polish-German Holocaust survivor, published “Auto-Destructive Art,” a manifesto describing site-specic, self-destructing civic monuments that required collaboration between artists and scientists to link destruction to science and technology, and that would implode anytime from twenty seconds to twenty years with the aid of internal computerized devices (Metzger 1959). e Swiss artist Jean Tinguely built Homage to New York in 1960, a large kinetic assemblage that partially destroyed itself in the sculpture garden of the Museum of Modern Art in New York when an unintended re broke out in one of its mechanical parts. In 1961, the American artist Niki de Saint Phalle created Tirs, in which she red a gun at her own gurative assemblages, the same year that the Argentinian Arte Destructivo group, led by the artist Kenneth Kemble, exhibited destroyed objects in Buenos Aires. en in 1962, NBC commissioned and televised Tinguely’s Study for an End of the World No. 2, a kinetic sculpture that exploded on the Nevada desert near the US nuclear tests grounds. 1962 also saw the Puerto Rican American artist Raphael Montañez Ortiz’s “Destructivism: A Manifesto,” which described artists as “destroyers, materialists and sensualists dealing with process directly” (1962, 52). Soon Yoko Ono would perform Cut Piece (1964), siing silently on a stage while the audience cut o her clothing, according to her instructions.}, Doi = {10.4324/9780203103838-32}, Key = {fds363146} } @article{fds363147, Author = {Stiles, K and O’Dell, K}, Title = {Bodies in action}, Pages = {265-267}, Booktitle = {Reading Contemporary Performance: Theatricality Across Genres}, Year = {2015}, Month = {January}, ISBN = {9780415624978}, url = {http://dx.doi.org/10.4324/9780203103838-68}, Abstract = {Nevertheless, semiotics cuts a far narrower swath in theatre studies than in literary analysis. Semiotic inquiry frequently focuses on relatively conventional productions of dramatic texts, and has oen been less auned to avant-garde experimentation or broader conceptions of performance that radically depart from theatrical tradition. Some semioticians, including authors of magistral studies in the 1970s and 1980s, more recently concede the epistemological limits of semiotic analysis for theatre. Semioticians continue to pursue a post-structuralist semiotics in which the spectator navigates an open performance text, but they do so alongside other theorists who locate the powerful ontology of performance in what resists, exceeds, or undoes the codes and meanings that would contain it. When performance is understood as a crisis in signication that contests the theatrical medium itself, the charge of theatre semiotics invites reconsideration.}, Doi = {10.4324/9780203103838-68}, Key = {fds363147} } @article{fds223262, Title = {Kicking Holes in the Darkness: Rhys Ernst and Zackary Drucker}, Pages = {56-61}, Booktitle = {Whitney Biennial 2014}, Publisher = {Whitney Museum of American Art}, Year = {2014}, ISBN = {978-0300196870}, url = {https://web.duke.edu/art/stiles/KickingHolesInTheDarkness.pdf}, Key = {fds223262} } @article{fds223264, Title = {‘…but a hammer with which to shape it.’: Media Art and Society 1959-2013}, Booktitle = {Pioneering Values: WRO 15th Biennial}, Year = {2014}, Key = {fds223264} } @article{fds293642, Author = {Stiles, K}, Title = {The Ideal Gifts of Istvan Kantor}, Pages = {73-87}, Booktitle = {PERMANENT REVOLUTION: The Art of Istvan Kantor}, Publisher = {The Istvan Kantor Collective}, Editor = {Feesey, L}, Year = {2013}, ISBN = {978-0-9936249-0-2}, Key = {fds293642} } @article{fds293701, Author = {Stiles, K}, Title = {Wangechi Mutu’s Family Tree}, Number = {51-79}, Booktitle = {Wangechi Mutu: A Fantastic Journey}, Publisher = {Nasher Museum of Art at Duke University}, Address = {Durham}, Editor = {Schoonmaker, T}, Year = {2013}, ISBN = {978-0938989363}, Abstract = {Listen to Binyavanga Wainaina, Kenyan author and winner of the prestigious Caine Prize for African Writing, commenting after an encounter with Wangechi Mutu’s art. “Your power to rearrange what has been presented to control you is your powerful weapon,” he explains, “for you can make what you want with your world.” While Wainaina implicitly nods to a plural “you,” believing “us” able to transform the world, he refers directly to Mutu’s resourceful invention of composite portraits of the metaphorical “we” that she continually reforms in images, objects, and actions. Mutu works in every medium to invent this hybrid, from drawing, painting, and collage to sculpture, installation, performance, and film. She cuts into what separates us with the precision of a surgeon before suturing our reconstruction from fragile visual slivers of the wounded family of humankind, already fragmented, deformed, and traumatized. This essay is about Mutu’s two-decades-long visual analysis of world culture and its planetary rootedness in racial, sexual, economic, and national divides, war, and the violence of privilege; it is about Mutu’s refusal to accept as invincible the conventions of otherness culturally naturalized to isolate and conquer; it is about her exacting reconstruction of shared states of collective subjectivity and cultural agency; and it is about her effort to “reclaim,” in her words, “an imagined future.”}, Key = {fds293701} } @article{fds293703, Author = {Stiles, K}, Title = {Performance Art}, Booktitle = {Oxford Bibliographies in Art History}, Publisher = {Oxford University Press}, Address = {Oxford and New York}, Editor = {Kaufmann, TD}, Year = {2013}, Abstract = {This extensive essay/annotated bibliography on Performance Art is divided into the following divisions, many with sub-sections. It begins with the following divisions: General Overview; Major Exhibitions; Journals; Modernist Avant-Garde Performance; and Post-1945 Proto-Performance, which includes sub-sections on Performance in Japan (1954–1970); Situationist International (1957–1972); Happenings (c. 1958–1970); Destruction in Art (1950s–present); Grupo Neoconcreto (1959–1961); Viennese Actionism (1960–1971); AKTUAL Group (1960–1975); Arte Destructivo (1961); Fluxus (1962–1978); Gorgona Group (1959–1966) and OHO-Group (1965–1971); and Body Art (1967–Present). The next division on Books, Essays, Anthologies, and Exhibitions is divided into sub-sections by decade from the 1950s through the 2010s. The next division is on Performance-Related Mediums and includes sub-sections on Photography and Performance Art; Intermedia; Expanded Cinema; Video; and Digital New Media. The next division on Identity Politics, Cultural Constructs, and Affective Experience includes sub-sections on Sexuality and Gender; Race and Ethnicity; Feminism; Performance, Medicine, and the Body without Organs; Trauma and Performance;and Culture Wars. The final division on Participation and Collectivism includes sub-sections on Social Intervention and Activism; Performativity; and Reenactment.}, Key = {fds293703} } @article{fds293704, Author = {K. Stiles and Stiles, K}, Title = {'I’m Ready.' Thinking About Artists’ Writings in a Global Context}, Pages = {177-203}, Booktitle = {Not a day without a line: Understanding artists’ writings}, Publisher = {Academia Press}, Address = {Ghent, Belgium}, Editor = {Prester, HD}, Year = {2013}, ISBN = {978-9038222202}, Keywords = {artists' writings}, Abstract = {This text reflects on the growth of artists’ writings globally, taking into consideration the intersecting factors of international political upheavals since 1989; the digital revolution and Internet age; and the "visual turn" that began in the 1990s. The essay primarily attends to the positive and negative affects of the increasing role of critical theory in artists’ writings, and what I describe as different modes of artists’ writings, including "caption-as-text,""writings-as-actions," "writings-as-activism," "writing-as-image," "text-as-corporeal-speech," and the visual image as a substitute for textual reading (a reference to Mark Tansey’s paintings as they refer to Derrida and de Man).}, Key = {fds293704} } @article{fds373462, Author = {Stiles, K}, Title = {"I'm Ready." Thinking about Artists' Writings in a Global Context Today}, Pages = {175-201}, Booktitle = {NOT A DAY WITHOUT A LINE: UNDERSTANDING ARTISTS' WRITINGS}, Year = {2013}, Key = {fds373462} } @article{fds376339, Author = {Stiles, K}, Title = {“The Ideal Gifts of Istvan Kantor.”}, Publisher = {The Istvan Kantor Collective}, Year = {2013}, Key = {fds376339} } @article{fds376340, Author = {Stiles, K}, Title = {“Performance Art”}, Publisher = {Oxford University Press}, Year = {2013}, Abstract = {This extensive essay/annotated bibliography on Performance Art is divided into the following divisions, many with sub-sections. It begins with the following divisions: General Overview; Major Exhibitions; Journals; Modernist Avant-Garde Performance; and Post-1945 Proto-Performance, which includes sub-sections on Performance in Japan (1954–1970); Situationist International (1957–1972); Happenings (c. 1958–1970); Destruction in Art (1950s–present); Grupo Neoconcreto (1959–1961); Viennese Actionism (1960–1971); AKTUAL Group (1960–1975); Arte Destructivo (1961); Fluxus (1962–1978); Gorgona Group (1959–1966) and OHO-Group (1965–1971); and Body Art (1967–Present). The next division on Books, Essays, Anthologies, and Exhibitions is divided into sub-sections by decade from the 1950s through the 2010s. The next division is on Performance-Related Mediums and includes sub-sections on Photography and Performance Art; Intermedia; Expanded Cinema; Video; and Digital New Media. The next division on Identity Politics, Cultural Constructs, and Affective Experience includes sub-sections on Sexuality and Gender; Race and Ethnicity; Feminism; Performance, Medicine, and the Body without Organs; Trauma and Performance;and Culture Wars. The final division on Participation and Collectivism includes sub-sections on Social Intervention and Activism; Performativity; and Reenactment.}, Key = {fds376340} } @article{fds293697, Author = {Stiles, K}, Title = {Peter d’Agostino’s World-Wide-Walks / between earth & sky}, Pages = {22-34}, Booktitle = {Peter d’Agostino: World-Wide-Walks [Paseos a Nivel Planetario] / between earth & sky [entre la tierra y el cielo] / 1973 – 2012}, Publisher = {Bizkaia de la UPV/EHU}, Year = {2012}, Key = {fds293697} } @article{fds293698, Author = {Stiles, K}, Title = {Conversation with William Pope.L}, Pages = {181-193}, Booktitle = {The Voice of Images}, Publisher = {Palazzo Grassi}, Address = {Venice, Italy}, Year = {2012}, Key = {fds293698} } @article{fds293699, Author = {Stiles, K}, Title = {Comments on my first interview with Gustav Metzger}, Pages = {39-39}, Booktitle = {Gustav Metzger, Years without Art}, Year = {2012}, Key = {fds293699} } @article{fds293694, Author = {Stiles, K}, Title = {Home Alone: ‘Reversal of Positions of Presentation’ and the Visual Semantics of Domesticity}, Pages = {50-67}, Booktitle = {The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973-1990}, Publisher = {Neuberger Museum of Art}, Editor = {Princenthal, N and Posner, H}, Year = {2011}, Key = {fds293694} } @article{fds293695, Author = {Stiles, K}, Title = {7.47 a.m. (The Traumatic Visual Vocabulary of Maurice Benayoun’s So.So.So. Somebody Somewhere Some time)}, Pages = {83-87}, Booktitle = {Maurice Benayoun / OPEN ART 1980-2010}, Publisher = {CDA d’Enghien and Les Nouvelles éditions Scala),}, Year = {2011}, Key = {fds293695} } @article{fds293724, Author = {Stiles, K}, Title = {Peggy Phelan and Kristine Stiles In Conversation}, Journal = {Millennium Film Journal}, Number = {54}, Pages = {30-34}, Year = {2011}, Key = {fds293724} } @article{fds305124, Author = {Stiles, K}, Title = {Negative Affirmative: San Francisco Bay Area Art, 1974-1981}, Pages = {27-43}, Booktitle = {Under the Big Black Sun: California Art 1974-1981}, Publisher = {Los Angeles Museum of Contemporary Art}, Editor = {Schimmel, P}, Year = {2011}, Key = {fds305124} } @article{fds293692, Author = {Stiles, K}, Title = {Foreword, Or, Unbuckling the Belt of Fluxus through Billie Maciunas’ Experiences}, Pages = {ix-xvi.}, Booktitle = {Billie Maciunas, The Eve of Fluxus}, Publisher = {Arbiter Press}, Address = {Winter Park, Florida}, Year = {2010}, ISBN = {978-0615352169}, Key = {fds293692} } @article{fds293725, Author = {Stiles, K}, Title = {Art will be…2009-2034}, Journal = {Duke Alumni Magazine}, Publisher = {Duke University}, Year = {2009}, Month = {May}, Key = {fds293725} } @article{fds293690, Author = {Stiles, K}, Title = {The Trinity Session}, Pages = {35-38}, Booktitle = {Future Species: Hybrids, Exoskel, Cybor Living Makeover Madness}, Publisher = {Toronto: Museum of Contemporary Canadian Art}, Year = {2009}, Key = {fds293690} } @article{fds293691, Author = {Stiles, K}, Title = {Irregular Ways of Being in Time}, Pages = {333-345}, Booktitle = {The Third Mind: American Artists Contemplate Asia 1860-1989}, Publisher = {New York: Solomon R. Guggenheim}, Editor = {Munroe, A}, Year = {2009}, Key = {fds293691} } @article{fds293689, Author = {Stiles, K}, Title = {Come and Go}, Booktitle = {California Video}, Publisher = {The J. Paul Getty Trust, Getty Research}, Year = {2008}, Key = {fds293689} } @article{fds293705, Author = {Stiles, K}, Title = {Cloud with its Shadow: Marina Abramovic}, Pages = {33-94}, Booktitle = {Marina Abramovic}, Publisher = {Phaidon}, Year = {2008}, ISSN = {978-0714848020}, Key = {fds293705} } @article{fds293727, Author = {Stiles, K}, Title = {INSIDE/OUTSIDE: Balancing Between a Dusthole and Eternity}, Journal = {Archive}, Volume = {1}, Publisher = {Muzeum Sztuki, Lodz, Poland}, Year = {2008}, Key = {fds293727} } @article{fds145697, Title = {States of Mind: Dan & Lia Perjovschi}, Booktitle = {States of Mind: Dan & Lia Perjovschi}, Publisher = {Nasher Museum at Duke University and Duke University Press}, Year = {2007}, Key = {fds145697} } @article{fds293686, Author = {Stiles, K}, Title = {States of Mind: Dan & Lia Perjovschi}, Booktitle = {States of Mind: Dan & Lia Perjovschi}, Publisher = {Nasher Museum at Duke University and Duke University Press}, Year = {2007}, Key = {fds293686} } @article{fds293687, Author = {Stiles, K}, Title = {Teaching a Dead Hand to Draw, Kim Jones, War and Art}, Booktitle = {Kim Jones: A Retrospective}, Year = {2007}, Key = {fds293687} } @article{fds293688, Author = {Stiles, K}, Title = {Burden of Light}, Booktitle = {Chris Burden}, Publisher = {Newcastle England: Merrell and Locus Plus}, Year = {2007}, Key = {fds293688} } @article{fds293717, Author = {Stiles, K}, Title = {Shaved Heads and Marked Bodies: Representations from Cultures of Trauma}, Pages = {522-538}, Booktitle = {On Violence: An Anthology}, Publisher = {Duke University Press}, Editor = {Lawrence, B and Karim, A}, Year = {2007}, url = {http://www.duke.edu/web/art/stiles/shaved_heads.html}, Abstract = {excerpted in Dan Perjovschi Post R, for the exhibition “Media Culpa,” Bucharest, Romania, 1995; 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; reprinted in Bruce Lawrence and Aisha Karim, eds., On Violence: An Anthology (Durham, N.C: Duke University Press, 2007: 522-538. For a review of this article, see http://www.h-net.org/reviews/showrev.cgi?path=20005912554278}, Key = {fds293717} } @article{fds293731, Author = {Stiles, K}, Title = {Metzger's Fierce, Poignant, and Prescient Manifestos}, Pages = {157-166}, Booktitle = {Rett Kopi: Documents the Future}, Publisher = {Rett Kopi}, Year = {2006}, Key = {fds293731} } @article{fds293728, Author = {Stiles, K and Grobstein, P}, Title = {The Art Historian and the Neurobiologist: A Conversation about Proprioception, the 'I-function,' Body Art, and Story Telling}, Journal = {Serendip}, Publisher = {Bryn Mawr College}, Year = {2005}, Month = {October}, url = {http://serendip.brynmawr.edu/bb/artneuro/}, Key = {fds293728} } @article{fds53504, Title = {Remembrance, Resistance, Reconstruction, the Social Value of Lia & Dan Perjovschis's Art}, Year = {2005}, Key = {fds53504} } @article{fds293682, Author = {Stiles, K}, Title = {Fluxus Performance and Humor}, Booktitle = {The Artist’s Joke}, Publisher = {MIT Press}, Year = {2005}, Key = {fds293682} } @article{fds293683, Author = {Stiles, K}, Title = {The Story of the Destruction in Art Symposium and the "DIAS Affect"}, Booktitle = {Gustav Metzger: Geschichte Geschichte}, Publisher = {Vienna: Generali Foundation}, Year = {2005}, url = {http://duke.edu/web/art/stiles/KristineStilesDIAS_Affect-2.pdf}, Key = {fds293683} } @article{fds293715, Author = {Stiles, K}, Title = {Barbara Smith’s Haunting}, Booktitle = {The 21st Century Odyssey Part II: The Performances of Barbara T. Smith}, Publisher = {Pomona College Museum of Art}, Year = {2005}, Key = {fds293715} } @article{fds305122, Author = {Stiles, K}, Title = {Barbara Smith’s Haunting}, Booktitle = {The 21st Century Odyssey Part II: The Performances of Barbara T. Smith}, Publisher = {Pomona, California: Pomona College Museum of Art}, Year = {2005}, Key = {fds305122} } @article{fds305125, Author = {Stiles, K}, Title = {Remembrance, Resistance, Reconstruction, The Social Value of Lia and Dan Perjovschi’s Art}, Journal = {IDEA}, Volume = {19}, Publisher = {Cluj, Romania}, Year = {2005}, Key = {fds305125} } @article{fds153958, Title = {Paul Couillard and Ed Johnson," for Artspace, Ontario, Canada}, Publisher = {Ontario: Artspace}, Year = {2004}, Key = {fds153958} } @article{fds293680, Author = {Stiles, K}, Title = {I/Eye/Oculus: Performance, Installation and Video}, Pages = {183-229}, Booktitle = {Art of the Twentieth Century}, Publisher = {New Haven & London: Yale University Press and The Open University}, Editor = {Harrison, C and Wood, PW}, Year = {2004}, Key = {fds293680} } @article{fds293681, Author = {Stiles, K}, Title = {Agnes Hegedus, Bernd Lintermann, Jeffrey Shaw: reconfiguring the CAVE}, Pages = {492-497}, Booktitle = {Future Cinema: The Cinematic Imaginary after Film}, Publisher = {Karlsruhe, Germany and Cambridge, Mass: ZKM Center for Art and Media and MIT Press}, Editor = {Shaw, J and Weibel, P}, Year = {2004}, Key = {fds293681} } @article{fds293674, Author = {Stiles, K}, Title = {Jean-Jacques Lebel’s Phoenix and Ashes}, Pages = {3-15}, Booktitle = {Jean-Jacques Lebel}, Publisher = {London: The Mayor Gallery}, Year = {2003}, Key = {fds293674} } @article{fds293675, Author = {Stiles, K}, Title = {At Last, A Great Woman Artist: Writing About Carolee Schneemann’s Epistolary Practice}, Booktitle = {Singular Women}, Publisher = {Berkeley: University California Press}, Editor = {Frederickson, K and Webb, SE}, Year = {2003}, Key = {fds293675} } @article{fds293676, Author = {Stiles, K}, Title = {Anomaly, Sky, Sex, and Psi in Fluxus}, Pages = {60-88}, Booktitle = {Critical Mass: Happenings, Fluxus, Performance & Intermedia at Rutgers University 1958-1971}, Publisher = {Rutgers University and Amherst College}, Year = {2003}, Key = {fds293676} } @article{fds293677, Author = {Stiles, K}, Title = {Performance}, Series = {2nd Edition}, Pages = {75-97}, Booktitle = {Critical Terms for Art History}, Publisher = {Chicago: University of Chicago}, Editor = {Nelson, R and Shiff, R}, Year = {2003}, Key = {fds293677} } @article{fds293678, Author = {Stiles, K}, Title = {Franz West’s Dialogic PaBtucke}, Pages = {104-121}, Booktitle = {Franz West}, Publisher = {London: The Whitechapel Gallery}, Year = {2003}, Key = {fds293678} } @article{fds293679, Author = {Stiles, K}, Title = {Peinture, Photographie, Performance: Le Cas de Georges Mathieu}, Pages = {75-81}, Booktitle = {Georges Mathieu}, Publisher = {Paris: Galerie National du Jeu de Paume}, Year = {2003}, Key = {fds293679} } @article{fds293673, Author = {Stiles, K}, Title = {Thunderbird Immolation: William Pope L. & Burning Racism}, Pages = {36-42}, Booktitle = {William Pope.L: Eracism}, Publisher = {Cambridge and Portland: MIT Press and the Institute of Contemporary Art at Maine College of Art}, Editor = {Bessire, M}, Year = {2002}, Key = {fds293673} } @article{fds293726, Author = {Stiles, K}, Title = {David Tudor-Alive , Free, and Without Need of Culture (in a special issue, 'Composers Inside Electronics: Music after David Tudor')}, Journal = {Leonardo Music Journal}, Volume = {14}, Pages = {62-63}, Year = {2002}, url = {http://www.getty.edu/research/conducting_research/digitized_collections/davidtudor/symposium.html}, Key = {fds293726} } @article{fds7726, Title = {The Painter as an Instrument of Real Time, introduction to Carolee Schneemann’s Imaging Her Erotics: Essays, Interviews, Projects}, Pages = {2-16}, Publisher = {Cambridge, Mass.: MIT Press}, Year = {2001}, Key = {fds7726} } @article{fds293671, Author = {Stiles, K}, Title = {Concerning Public Art and ’Messianic Time’}, Year = {2001}, url = {http://www.perjovschi.ro/pages/art4.html}, Key = {fds293671} } @article{fds293707, Author = {Stiles, K}, Title = {Review of RoseLee Goldberg’s Laurie Anderson}, Journal = {Make: The Magazine of Women’s Art}, Volume = {90}, Pages = {90-90}, Year = {2001}, Key = {fds293707} } @article{fds293711, Author = {Stiles, K}, Title = {The Painter as an Instrument of Real Time}, Pages = {2-16}, Booktitle = {Imaging Her Erotics: Essays, Interviews, Projects}, Publisher = {MIT Press}, Year = {2001}, Key = {fds293711} } @article{fds293664, Author = {Stiles, K}, Title = {Parallel Worlds: Representing Consciousness at the Intersection of Art, Dissociation, and Multidimensional Awareness}, Pages = {52-60}, Booktitle = {Reframing Consciousness: Art and Consciousness in the Post- Biological Era}, Publisher = {Exeter: Intellect}, Editor = {Ascott, R}, Year = {2000}, url = {http://books.google.com/books?id=bbumz_zoKV4C&pg=PA52&lpg=PA52&dq=kristine+stiles+parallel+worlds&source=bl&ots=RF2Z8yXKyj&sig=EC8Qnl-PlTVERjUtyHC_zLamNR8&hl=en&ei=M9UYTcnkDaLfnQeDsKXVDg&sa=X&oi=book_result&ct=result&resnum=1&ved=0CBMQ6AEwAA#v=onepage&q=kristine}, Key = {fds293664} } @article{fds293666, Author = {Stiles, K}, Title = {Mapping Joshua Neustein’s Art}, Pages = {122-130}, Booktitle = {Joshua Neustein: Five Ash Cities, Domestic Tranquility Bne Brak}, Publisher = {Herzliya, Israel: Hezliya Museum}, Year = {2000}, Key = {fds293666} } @article{fds293667, Author = {Stiles, K}, Title = {Corpora Vilia: Valie Export’s Body}, Pages = {16-33}, Booktitle = {Valie Export’s Visual Syntagmatics}, Publisher = {Goldie Paley Gallery, Moore College of Art and Design, Philadelpia}, Year = {2000}, Key = {fds293667} } @article{fds293668, Author = {Stiles, K}, Title = {Being Undyed: The Meeting of Mind and Matter in Yoko Ono’s Events}, Pages = {145-149}, Booktitle = {Yes Yoko Ono}, Publisher = {New York: Japan Society}, Editor = {Monroe, A}, Year = {2000}, Key = {fds293668} } @article{fds293669, Author = {Stiles, K}, Title = {Never Enough is Something Else: Feminist Performance Art, Probity, and the Avant-Garde}, Pages = {239-289}, Booktitle = {Contours of the Theatrical Avant-Garde: Performance and Textuality}, Publisher = {Madison: University of Madison/Wisconsin}, Editor = {Harding, JM}, Year = {2000}, url = {http://www.duke.edu/web/art/docs/Stiles_NeverEnough.pdf}, Key = {fds293669} } @article{fds293670, Author = {Stiles, K}, Title = {Afterword: Quicksilver and Revelations, Performance at the End of the 20th Century}, Booktitle = {Performance Artists Talking: 1979-7989: Sex, Food, Money/Fame, Ritual/Death}, Publisher = {Berkeley: University of California Press}, Editor = {Montano, L}, Year = {2000}, Key = {fds293670} } @article{fds293706, Author = {Stiles, K}, Title = {Review of Pamela M. Lee’s Object to be Destroyed: The Work of Gordon Matta- Clark}, Journal = {CAA.Reviews, the online reviews publication of the College Art Association}, Year = {2000}, url = {http://www.caareviews.org/contents.html}, Key = {fds293706} } @article{fds293709, Author = {Stiles, K and Shanken, EA}, Title = {Missing in Action: Agency and Meaning in Interactive Art}, Booktitle = {Context Providers: Context and Meaning in Digital Art}, Publisher = {University of Minnesota Press}, Editor = {Lovejoy, M and Paul, C and Vesna, V}, Year = {2000}, url = {http://www.duke.edu/web/art/docs/Stiles_Shanken_Missing_in_Action-1.pdf}, Key = {fds293709} } @article{fds293729, Author = {Stiles, K}, Title = {Comisuri: Art Actiunile ca Objecte}, Journal = {Balkon: Revista de Arta Contemporana}, Volume = {March}, Number = {2}, Pages = {3-4}, Publisher = {Timisoara, Romania}, Year = {2000}, Key = {fds293729} } @article{fds293660, Author = {Stiles, K}, Title = {Battle of the Yams: Contentless Forms and the Recovery of Meaning in Events and Happenings}, Pages = {118-129}, Booktitle = {Off Limits: Rutgers University and the Avant-Garde, 1957-1963}, Publisher = {Newark: Newark Museum and Rutgers University Press}, Year = {1999}, Key = {fds293660} } @article{fds293661, Author = {Stiles, K}, Title = {300 Words for Dan Perjovschi}, Pages = {153-153}, Booktitle = {After the Wall: Art and Culture in Post-Communist Europe}, Publisher = {Stockholm: Moderna Museet}, Year = {1999}, url = {http://www.perjovschi.ro/pages/art3.html}, Key = {fds293661} } @article{fds293662, Author = {Stiles, K}, Title = {The Flux/Med’ Collages of Bob Watts}, Series = {Francesco Conz}, Pages = {1-3}, Booktitle = {Bob Watts}, Publisher = {Museum of Koper, Slovenia}, Year = {1999}, Key = {fds293662} } @article{fds293663, Author = {Stiles, K}, Title = {Beautiful, Jean-Jacques’: Jean-Jacques Lebel’s Affect and the Theories of Gilles Deleuze and Felix Guattari}, Pages = {7-30}, Booktitle = {Jean-Jacques Lebel}, Publisher = {Milano: Edizioni Gabriele Mazzotta}, Year = {1999}, Key = {fds293663} } @article{fds293658, Author = {Stiles, K}, Title = {INSIDE/OUTSIDE: Balancing Between a Dusthole and Eternity}, Pages = {19-30}, Booktitle = {Body and the East: From the 1960s to the Present}, Publisher = {Ljubljana: Museum of Modern Art}, Year = {1998}, Key = {fds293658} } @article{fds293659, Author = {Stiles, K}, Title = {Uncorrupted Joy: International Art Actions}, Series = {Paul Schimmel Edition}, Pages = {226-238}, Booktitle = {Out of Actions: Between Performance and the Object 1949-1979}, Publisher = {Los Angeles Museum of Contemporary Art}, Year = {1998}, url = {http://duke.edu/web/art/docs/Stiles_UncorruptedJoy.pdf}, Key = {fds293659} } @article{fds293743, Author = {Stiles, K}, Title = {Joshua Neustein}, Journal = {BOMB}, Volume = {57}, Pages = {80-81}, Publisher = {[New York]}, Year = {1997}, Month = {Fall}, Key = {fds293743} } @article{fds293657, Author = {Stiles, K}, Title = {To the Organizers, Participants, and Audience of REcycling the Mode(ls)’}, Pages = {28-29}, Booktitle = {Messages from the Countryside/Reflections in RE}, Publisher = {Chisinau, Moldova: Soros Center for Contemporary Art}, Year = {1997}, Key = {fds293657} } @article{fds293744, Author = {Stiles, K}, Title = {Debate: Empty Slogan of Self-Representation}, Journal = {Siksi [Helsinki]}, Volume = {Spring}, Number = {12:1}, Pages = {87-90}, Year = {1997}, Key = {fds293744} } @article{fds293653, Author = {Stiles, K}, Title = {Rampman Against a Portable Field: The ’activites’ of Pinchas Cohen Gan}, Pages = {19-41}, Booktitle = {Figure Form Formula: The Art of Pinchas Cohen Gan}, Publisher = {Greensboro: Weatherspoon}, Year = {1996}, Key = {fds293653} } @article{fds293654, Author = {Stiles, K}, Title = {Conversation with Paul McCarthy}, Pages = {6-29}, Booktitle = {Paul McCarthy}, Publisher = {London: Phaidon Press}, Year = {1996}, Key = {fds293654} } @article{fds293655, Author = {Stiles, K}, Title = {Roman Signer: The Sound of One Bomb Clapping,}, Pages = {10-15}, Booktitle = {Roman Signer}, Publisher = {Philadelphia: Goldie Palley Gallery at the Moore College of Art and Design}, Year = {1996}, Key = {fds293655} } @article{fds293656, Author = {Stiles, K}, Title = {Schlaget Auf: The Problem with Carolee Schneemann’s Paintings}, Pages = {15-25}, Booktitle = {Carolee Schneemann: Up to and Including Her Limits}, Publisher = {New York: The New Museum}, Year = {1996}, Key = {fds293656} } @article{fds293651, Author = {Stiles, K}, Title = {Tuna and Other fishy Thoughts on Fluxus Events}, Pages = {26-35}, Booktitle = {Alison Knowles}, Publisher = {Saarbrucken, Germany: Stadt Galerie Saarbrucken}, Year = {1994}, Key = {fds293651} } @article{fds293652, Author = {Stiles, K}, Title = {Irreparable Damage: Meditation on James Lerager’s Tales from the Nuclear Age}, Pages = {3-7}, Booktitle = {For James Lerager: Tales from the Nuclear Age}, Publisher = {Raleigh: City Gallery Contemporary Art}, Year = {1994}, Key = {fds293652} } @article{fds293650, Author = {Stiles, K}, Title = {Between Water and Stone; Fluxus Performance, A Metaphysics of Acts}, Pages = {62-99}, Booktitle = {In the Spirit of Fluxus}, Publisher = {Minneapolis: Walker Art Center}, Editor = {Armstrong, E and Rothfuss, J}, Year = {1993}, url = {http://www.duke.edu/web/art/docs/Stiles_BetweenWaterAndStone.pdf}, Key = {fds293650} } @article{fds293745, Author = {Stiles, K}, Title = {Survival Ethos and Destruction Art}, Journal = {Discourse: Journal for Theoretical Studies in Media and Culture}, Volume = {14:2}, Pages = {74-102}, Year = {1992}, Month = {Spring}, Key = {fds293745} } @article{fds293649, Author = {Stiles, K}, Title = {Selected Comments on Destruction Art}, Pages = {43-75}, Booktitle = {Boek Voor De Instabiele: Book for the Unstable Media}, Publisher = {Rotterdam: V2-Organization}, Editor = {Adriaansens, A}, Year = {1992}, url = {http://www.scrapclub.co.uk/texts/kristine-stiles-selected-comments}, Key = {fds293649} } @article{fds293748, Author = {Stiles, K}, Title = {Unbosoming Lennon: The Politics of Yoko Ono's Experience}, Journal = {Art Criticism 7:2}, Volume = {Spring}, Pages = {21-54}, Publisher = {reprinted by the University of Havannah, Cuba, 1994}, Year = {1992}, Key = {fds293748} } @article{fds293647, Author = {Stiles, K}, Title = {Tuna and Other fishy Thoughts on Fluxus Events}, Pages = {25-34}, Booktitle = {FluxAttitudes}, Publisher = {Buffalo & New York: Hallwalls and the New Museum}, Year = {1991}, Key = {fds293647} } @article{fds293648, Author = {Stiles, K}, Title = {Thresholds of Control: Destruction Art and Teminal Culture}, Pages = {29-50}, Booktitle = {Out of Control}, Publisher = {Linz, Austria: Ars Electronica & Landesverlag}, Year = {1991}, Key = {fds293648} } @article{fds293742, Author = {Stiles, K}, Title = {Readings: Performance and Its Objects}, Journal = {Arts}, Volume = {65:3}, Number = {3}, Pages = {35-47}, Year = {1990}, Month = {November}, ISSN = {0004-4059}, url = {http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:A1990EF27100005&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=47d3190e77e5a3a53558812f597b0b92}, Key = {fds293742} } @article{fds293747, Author = {Stiles, K}, Title = {Notes on Rudolf Schwarzkogler's Images of Healing}, Journal = {White Walls: A Magazine of Writings by Artists}, Volume = {25}, Pages = {13-26}, Year = {1990}, Month = {Spring}, Key = {fds293747} } @article{fds305263, Author = {STILES, K}, Title = {PERFORMANCE AND ITS OBJECTS}, Journal = {ARTS MAGAZINE}, Volume = {65}, Number = {3}, Pages = {35-&}, Year = {1990}, ISSN = {0004-4059}, url = {http://gateway.webofknowledge.com/gateway/Gateway.cgi?GWVersion=2&SrcApp=PARTNER_APP&SrcAuth=LinksAMR&KeyUT=WOS:A1990EF27100005&DestLinkType=FullRecord&DestApp=ALL_WOS&UsrCustomerID=47d3190e77e5a3a53558812f597b0b92}, Key = {fds305263} } @article{fds293741, Author = {Stiles, K}, Title = {Sticks and Stones: The Destruction in Art Symposium}, Journal = {Arts}, Volume = {63.5}, Pages = {54-60}, Year = {1989}, Month = {January}, Key = {fds293741} } @article{fds293733, Author = {Stiles, K}, Title = {Not Just an 'Other' Exhibition}, Journal = {High Performance}, Volume = {11}, Pages = {34-38}, Year = {1988}, Month = {Fall}, Key = {fds293733} } @article{fds293721, Author = {Stiles, K}, Title = {Raphael Montañez Ortiz's Physio-Psycho-Alchemical Art}, Booktitle = {Raphael Montañez Ortiz}, Publisher = {El Museo Del Barrio}, Year = {1988}, Key = {fds293721} } @article{fds293739, Author = {Stiles, K}, Title = {Introduction to the Destruction in Art Symposium: DIAS & Discussion with Ivor Davies}, Journal = {Link [Wales]}, Volume = {52}, Pages = {4-10}, Publisher = {[Wales]}, Year = {1987}, Month = {September}, Key = {fds293739} } @article{fds293740, Author = {Stiles, K}, Title = {Rodforce: Thoughts on the Art of Sherman Fleming}, Journal = {High Performance}, Volume = {10:2}, Pages = {34-39}, Year = {1987}, Month = {Summer}, Key = {fds293740} } @article{fds293730, Author = {Stiles, K}, Title = {Synopsis of the Destruction in Art Symposium (DIAS) and Its Theoretical Significance}, Journal = {The Act}, Volume = {1}, Pages = {22-31}, Year = {1987}, Month = {Spring}, Key = {fds293730} } @article{fds293738, Author = {Stiles, K}, Title = {Imploring Silence: Words and Performance Essence, A Polemic}, Journal = {High Performance}, Volume = {8.1}, Pages = {33-36}, Year = {1985}, Month = {April}, Key = {fds293738} } @article{fds293737, Author = {Stiles, K}, Title = {STELARC: On Evolution}, Journal = {Frank}, Volume = {3}, Pages = {25 & 35}, Year = {1984}, Month = {August}, Key = {fds293737} } @article{fds293708, Author = {Stiles, K}, Title = {The Luciferian Marriage: Government/Corporate/Media ’Fact’ as Entertainment}, Pages = {28-31}, Booktitle = {The Un/necessary Image}, Publisher = {Cambridge: MIT Press}, Editor = {Agostino, PD and Muntadas, A}, Year = {1983}, Key = {fds293708} } @article{fds293646, Author = {Stiles, K}, Title = {Come and Go}, Pages = {76-81}, Booktitle = {Coming and Going NEW YORK (Subway), PARIS (Metro), San Francisco (BART), Washinton (METRO): Peter D’Agostino}, Publisher = {San Francisco: Not for Sale Press}, Year = {1982}, Key = {fds293646} } @article{fds293735, Author = {Stiles, K}, Title = {La Crise de l'avant-garde and an Interview with Jean-Jacques Lebel}, Journal = {+ - 0 [Brussels]}, Volume = {34}, Pages = {32-36}, Year = {1981}, Key = {fds293735} } @article{fds293645, Author = {Stiles, K}, Title = {Trans-Europ Express-Expressed}, Pages = {55-58}, Booktitle = {Alph-Trans-Chung: Peter D-Agostino}, Publisher = {Dayton: Wright State University Press}, Year = {1980}, Key = {fds293645} } @article{fds293644, Author = {Stiles, K}, Title = {Brief essays on American painters}, Pages = {66 & 76 & 116 & 122-66 & 76 & 116 & 122}, Booktitle = {2 Jahrzehnte amerikanische malerei 1920-1940}, Publisher = {Dusseldort, West Germany: Stadische Kunsthalle, Dusseldorf}, Year = {1979}, Key = {fds293644} } @article{fds293734, Author = {Stiles, K}, Title = {No Money Back Anytime}, Journal = {LAICA Journal: Southern California Art Magazine}, Volume = {23}, Pages = {19-23}, Year = {1979}, Key = {fds293734} } @article{fds293746, Author = {Stiles, K}, Title = {Helen and Newton Harrison: Questions}, Journal = {Arts Magazine}, Volume = {52:6}, Pages = {131-133}, Year = {1978}, Month = {February}, Key = {fds293746} } @article{fds293643, Author = {Stiles, K}, Title = {1.1.78 - 2.2.78: Roberta Breitmore}, Pages = {5-14}, Booktitle = {Roberta Breitmore Is Not Lynn Hershman}, Publisher = {San Francisco: De Young Memorial Museum}, Year = {1978}, Key = {fds293643} } %% Book Reviews @article{fds7730, Author = {Pamela M. Lee}, Title = {Object to be Destroyed: The Work of Gordon Matta-Clark}, Journal = {CAA.Reviews, the online reviews publication of the College Art Association}, Year = {2000}, url = {http://www.caareviews.org/contents.html}, Key = {fds7730} } %% Exhibition Catalogs @misc{fds169204, Author = {K. Stiles}, Title = {Jean Toche: Impressions From The Rogue Bush Imperial Presidency}, Publisher = {Durham: John Hope Franklin Center for Interdisciplinary & International Studies}, Year = {2009}, Key = {fds169204} } @misc{fds145701, Title = {Jean-Jacques Lebel}, Publisher = {London: Mayor Gallery}, Year = {2003}, Key = {fds145701} } @misc{fds145702, Title = {Bob Watts}, Editor = {Slovenia: Museum of Koper and Editions Francesco Conz}, Year = {2000}, Key = {fds145702} } @misc{fds14011, Title = {Hans Waanders}, Publisher = {Raleigh: City Gallery of Contemporary Art}, Year = {1997}, Key = {fds14011} } @misc{fds14013, Title = {Ion Bitzan}, Publisher = {Bath, England: City of Bath College}, Year = {1994}, Key = {fds14013} } @misc{fds14015, Title = {Recontre Avec Morgan O'Hara}, Publisher = {Lausanne: Le Musee Cantonal des Beaux-Arts}, Year = {1980}, Key = {fds14015} } | |
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