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Kristine Stiles
Kristine Stiles (born Kristine Elaine Dolan in Denver, Colorado, 1947) is the France Family Professor of Art, Art History and Visual Studies at Duke University.〔http://aahvs.duke.edu/people?Gurl=%2Faas%2FAAH&Uil=awe&subpage=profile〕 She is an art historian, curator, and artist specializing in global contemporary art. She is best known for her scholarship on artists’ writings,〔Kristine Stiles and Peter Selz, eds. Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings. Berkeley: University of California Press, 1996; Revised, enlarged 2nd edition, ed. Kristine Stiles, University of California Press, 2012.〕 performance art,〔Kristine Stiles, “Uncorrupted Joy: International Art Actions,” in Paul Schimmel, ed. Out of Actions: Between Performance and The Object 1949–1979. Los Angeles: Los Angeles Museum of Contemporary Art, 1998, 226–328.〕〔Kristine Stiles, “Between Water and Stone: Fluxus Performance, A Metaphysics of Acts,” in Elizabeth Armstrong and Joan Rothfuss, eds. In The Spirit of Fluxus. Minneapolis: Walker Art Center, 1993, 62–99. Reprinted in Tracy Warr, ed. The Artists’ Body. London: Phaidon Press, 2000, 211–14.〕〔Kristine Stiles, “Performance,” in Robert Nelson and Richard Shiff, eds. Critical Terms for Art History. 2nd edition, Chicago: University of Chicago, 2003, 75–97.〕〔Kristine Stiles, “INSIDE/OUTSIDE: Balancing Between a Dusthole and Eternity,” in Zdenka Badovinac, ed. Body and the East: From the 1960s to the Present. Ljubljana, Croatia: Museum of Modern Art, 1998, 19–30.〕 feminism,〔Kristine Stiles, “Never Enough is Something Else: Feminist Performance Art, Probity, and the Avant-Garde,” in James M. Harding, ed. Contours of the Theatrical Avant-Garde: Performance and Textuality. Madison: University of Madison/Wisconsin Press, 239–289.〕〔Kristine Stiles, “Home Alone: ‘Reversal of Positions of Presentation’ and the Visual Semantics of Domesticity,” in Nancy Princenthal and Helaine Posner, eds. The Deconstructive Impulse: Women Artists Reconfigure the Signs of Power, 1973–1990. Purchase, New York: Neuberger Museum, 2011.〕 destruction and violence in art,〔Kristine Stiles, “Survival Ethos and Destruction Art,” in Discourse: Journal for Theoretical Studies in Media and Culture 14:2 (Spring 1992): 74–102; excerpted in Tracy Warr, ed. The Artists’ Body. London: Phaidon Press, 2000, 227–229.〕〔Kristine Stiles, “Thresholds of Control: Destruction Art and Terminal Culture,” in English and German for Out of Control. Linz, Austria: Ars Electronica & Landesverlag, 1992, 29–50; reprinted in Timothy Druckrey, ed. Ars Electronica: Facing the Future (A Survey of Two Decades). Cambridge: MIT Press, 2000.〕 and trauma in art.〔Kristine Stiles, “Shaved Heads and Marked Bodies: Representations from Cultures of Trauma,” in Strategie II: Peuples Mediterraneens () 64-65 (July–December 1993): 95–117; 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.〕〔Kristine Stiles, “Thoughts on Destruction Art,” Impakt 1997. Utrecht: Impakt Festival, 1997, 2–5.〕 Stiles joined the faculty of Duke in 1988, and she has taught at the University of Bucharest and Venice International University. She received the Richard K. Lublin Distinguished Award for Undergraduate Teaching Excellence in 1994, and the Dean’s Award for Excellence in Graduate Mentoring in 2011, both at Duke University.〔http://gradschool.duke.edu/about/profiles/Kristine%20Stiles.php〕 Among other fellowships and awards include a J. William Fulbright Fellowship in 1995, a Solomon R. Guggenheim Fellowship in 2000, and an Honorary Doctorate from Dartington College of Arts in Tontes, Devon, England in 2005.
==Biography==
Stiles is the second of five children born to Paul G. Dolan and Katherine Haller Rogers Dolan. Stiles’s maternal genealogy includes a number of educators and public figures. Her grandfather, Frederick Rand Rogers (), was a radical American educator, pioneer of physical fitness testing, and inventor of the Physical Fitness Index.〔Frederick Rand Rogers, Educational Objectives of Physical Activity. New York: A.S. Barnes, 1931.〕〔Frederick Rand Rogers, Treason in American Education: A Case History. New York: Pleiades Publications, 1949.〕〔Garfield Gary Pennington, unpublished doctoral dissertation, “Frederick Rand Rogers: Educational Provocateur,” University of Oregon, 1972.〕〔Garfield Gary Pennington, “Frederick Rand Rogers: Educational Provocateur (1894–1972),” Canadian Journal of History of Sport, Vol. 12, No. 1 (May 1981): 24–50.〕〔http://sportsillustrated.cnn.com/vault/article/magazine/MAG1130060/5/index.htm〕 Her great grandfather, Frederick John Rogers, was a professor of physics and Chair of the Physics Department at Stanford University and his wife, Stiles’s great grandmother, was the colorful Josephine Rand Rogers,〔http://www.santaclararesearch.net/SCBIOS/jrogers.html〕 a president of The League of Women Voters, and politically active in the Temperance Movement and in passing Child Welfare Laws. Another maternal great grandfather, Dr. George Spalatin Easterday, was mayor of Albuquerque, New Mexico;〔http://econtent.unm.edu/cdm4/item_viewer.php?CISOROOT=/CobbMem&CISOPTR=272&CISOBOX=1&REC=3〕 and her great uncle, John Rankin Rogers, was third governor of the state of Washington and supporter of the “Barefoot School Boy Act.”〔http://www.wsulibs.wsu.edu/masc/finders/cg615.htm〕 Stiles’s father’s ancestry is all of Irish immigrants from Old Castle, County Cavan, but her grandfather William Joseph Dolan was born in Boston, trained in Italy as an interior decorator, and worked as a decorator of Catholic churches. Stiles retained her last name from her first marriage (1967–1974) to attorney Randolph Stiles.
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