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Publications of Kristine Stiles    :recent first  combined  bibtex listing:

Books

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

Articles Published

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

Book Reviews

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

Exhibition Catalogs

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