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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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