Monkey Head Researchers

 

MH-posey_photo-wITERATION VII: PAM POSEY

Pam Posey is a Los Angeles based artist who investigates the natural world and represents her findings in paintings and works on paper. By questioning the stability of scientific methodology and relying on observation and research, she presents alternative ways to describe and interpret nature.

Posey was part of the Institute of Cultural Inquiry’s 100/10 project and her work has been exhibited most recently at the Annenberg Community Beach House, Craig Krull Gallery, Otis College Ben Maltz Gallery, Sturt Haaga Gallery, and the Huntington Beach Art Center. In 2015 Posey gave a LASER presentation of her Stone Dislocation Project at the UCLA Art/Sci Gallery. Her curatorial projects include “Nature Interrupted” at the 18th Street Art Center Gallery and “Suzanne Anker: Culturing Life” at Crossroad’s School Sam Francis Gallery. She recently returned from her fourth artist residency in Iceland.

ICI-PROJmh_researcher_dillbohner-wITERATION VI: CHRISTEL DILLBOHNER

Christel Dillbohner is a painter, object maker and installation artist. In her work she explores the relationships between memory and place, culture and nature. Based in Berkeley with deep roots in her native Köln, Germany, she is also a seasoned traveler and has worked in Ghana, Sri Lanka and Samoa on fair agricultural projects.

She is a longtime associate of the ICI, has exhibited extensively in Europe, United States and Japan, and is momentarily working on project for The Bonnafont Gallery in San Francisco.

ITERATION V: CHRISTIAN SMITHICI-PROJmh_smith_research-w

Christian Smith is an artist and photographer committed to documenting Los Angeles by walking the streets to uncover patterns and signs, light and shadow, and neon and organic forms through his on-going project WalkingLA.

Using whatever means neccessary to capture an image, whether disposable camera, iphone, or more recently wet-plate photography, his work forms an experiential map, including architecture, plant life, people, and found objects with their hidden stories.

Since 2011 his work has featured at the Institute of Cultural Inquiry (as part of the 100/10 project), the Orange County Center for Contemporary Art, Santa Monica Art Studios, Brand Library, Smashbox Studios and the Griffin Gallery, UK and has been published in the New York Times, Rolling Stone, Interview and F-Stop magazine.

ITERATION IV: GREG COHEN

Bi-self-portrait_cohen-wGreg Cohen is an artist, film programmer, and scholar of cinema and visual culture. His work ranges across multiple intellectual and aesthetic domains, from experimental cinema to appropriation art; from landscape theory and aesthetic philosophy to cultural memory and experimental archives; and from the history and theory of architecture to the intersections of avant-garde art and radical politics.

His work in video, photography, and installation has been exhibited, most recently, at the the Real Colegio Complutense at Harvard University; Videoholica International Festival of Video Art in Varna, Bulgaria; Medrar for Contemporary Art in Cairo, Egypt; the Los Angeles Center for Digital Art; and the Institute of Cultural Inquiry. Under the auspices of the Group for Research on Experimental Accumulation and Speculative Archives (REASArch), Cohen is also the creator of The Valaco Archive, an evolving, multi-media, visual research project recently featured in Limn magazine.

ICI-PROJmh_antoinette_researcher-wITERATION III: ANTOINETTE LAFARGE

Antoinette LaFarge is an artist and writer whose beat is virtuality and its discontents. She has created many new media performances and installation, including most recently Far-Flung follows function (2013), Galileo in America (2012), Hangmen Also Die (2010), and Playing the Rapture (2008). A longtime Associate of the ICI, she designed such ICI Press books as Searching for Sebald (2007) and Benjamin’s Blind Spot (2001).

Her writing on art and new media has been widely published; recent essays include “Social Proxies and Real-World Avatars: Impersonation as a Mode of Capitalist Production” (Art Journal, 2015), “Pseudo Space: Experiments with Avatarism and Telematic Performance in Social Media” (forthcoming in Social Media Archeology and Poetics from MIT Press), and “Imposture as Improvisation” (forthcoming in the Oxford Handbook of Critical Improvisation Studies, Oxford University Press). She is writing a book on fictive art.

ITERATION II: ANNA AYEROFF

Anna Ayeroff is an artist and art educator who works primarily in sculpture and photographic media exploring ideas of utopia and perfect place. Her work is informed by a hundred year relationship with Utah and the Southwest.

 

martin 200x200ITERATION I: MARTIN GANTMAN

Martin Gantman is a Los Angeles based artist and writer who has exhibited internationally in such venues as AC Direct Gallery and the Alternative Museum, New York; A.R.C. Gallery, Chicago; Kristi Engle Gallery, HAUS, POST, in Los Angeles; Werkstadt Berlin, Galerie Merkel, Whylen, Germany; Artetica, Rome and Viareggio, Italy; and La Coruna, Spain.  His multi-faceted undertaking, “Empire,” was recently exhibited at the Torrance Art Museum in Torrance, California; and he is presently exhibiting a recently completed project, “Intersections,” at the Los Angeles Center for Digital Arts. He will show his current project, “Worldview,” in April, at Another Year in L.A Gallery.

His published work includes, “See you when we get home.” a project for Art Journal magazine. As well recent published writings include: “The Irresolute Potential in the Unimagined Possibility,” “Swingin’ in the Slammer,” “The Word Was Charm,” “DuSable Park: An archeology,” “Notes on the Oddness of Things,” and “Mapping the Lost Idea.” He also co-edited “Benjamin’s Blind Spot: Walter Benjamin and the Premature Death of Aura” for the Institute of Cultural Inquiry, distributed by DAP Publications in 2001.

His project, “The Odalisque Suite,” was presented at the College Art Association annual conference in New York in 2000; and, at the 2012 conference in Los Angeles, he chaired a panel session entitled: Tracking the Movement of Investigatory Art.

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