The following is a selection of scholars, artists, scientists, practitioners and activists engaged in work on animal and human cultures. Each short statement contains information about their current research, a brief bio, and contact information where appropriate.

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Steve Baker is Reader in Contemporary Visual Culture at the University of Central Lancashire, UK, and a member of the UK-based Animal Studies Group. He is the author of The Postmodern Animal (London: Reaktion, 2000) and Picturing the Beast (2nd edn, Illinois UP, 2001), and guest editor of a special issue of Society & Animals on "The Representation of Animals" (2001). His teaching focuses on the history and theory of modern and contemporary art, and in 2004 he also launched an interdisciplinary module called "Beyond the Human." He has lectured on his research at the New Museum of Contemporary Art, New York, the Museé d’art contemporain de Montréal, and the Natural History Museum in London. He has essays in recent edited collections such as Nigel Rothfels’s Representing Animals (Indiana UP, 2002) and Cary Wolfe’s Zoontologies (Minnesota UP, 2003), as well as contributing to books and catalogues on the work of individual artists such as Catherine Chalmers, Eduardo Kac, Lyne Lapointe, and Olly & Suzi. He is currently researching artists’ engagement with contemporary ethical issues, and is also gathering material for a collaborative project with the anthropologist Garry Marvin on contemporary uses of and attitudes to taxidermy.

Read a brief extract from Steve Baker’s forthcoming essay on "Animal Bodies."
Contact Steve Baker at:
Visit Steve Baker’s website:

Catherine Chalmers holds a degree in engineering at Stanford and painting at the Royal College of Art in London. Her work has been exhibited at P.S. 1 in NYC, and the Center on Contemporary Art in Seattle among many other venues. In her work she explores the boundaries between art and science through detailed documentation of extracted natural processes. Her bodies of work include "Food Chain" and her current "American Cockroach Series."

In a recent interview with EGG, she says,"One of the reasons it's interesting for me to use roaches is that we feel so differently about them ... there are areas I can explore our relationship to the natural world through them that I can't with other animals..."

View two excerpts from American Cockroack videos, Squish and Gas Chamber.

Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged interdisciplinary projects for over a decade. He has exhibited at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in SF, The Drawing Center, Socrates Sculpture Park, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, PICA in Portland, OR, CoCA in Seattle, WA, and Signal in Malmo, Sweden. Fletcher is represented in San Francisco by Jack Hanley Gallery, and in NYC by Christine Burgin Gallery. He was a participant in the 2004 Whitney Biennial. In 2002 Fletcher started Learning To Love You More, an ongoing participatory web site with Miranda July.

"Sometimes I feel much more comfortable with animals than with people. Pictures of them are nice too; they remind me of feeling comfortable."

Visit Harrell Fletcher's websites at: and

Erica Fudge is senior lecturer in the School of Arts at Middlesex University, London, and the author of Perceiving Animals: Humans and Beasts in Early Modern English Culture (Macmillan, 2000: paperback University of Illinois Press, 2002) and Animal (Reaktion Books, 2002). She is editor of Renaissance Beasts: Of Animals, Humans and Other Wonderful Creatures (University of Illinois, 2004) and co-editor of At the Borders of the Human: Beasts, Bodies and Natural Philosophy in the Early Modern Period (Macmillan, 1999). She is associate editor of Society & Animals, and a member of the British Animal Studies Group.

Read a brief intro to Erica Fudge's current research.
Contact Erica Fudge at:

Lane Hall and Lisa Moline are a collaborative pair of visual artists working with animal images and the representation of nature. Their work seeks to explore the boundaries between the "natural" and the technological. The act of collecting, visualizing and categorizing natural specimens is often the genesis of the work. Their current research involves site-specific print and multimedia installations that are responsive to architectural and cultural settings. Recent projects include installations at the Milwaukee Art Museum, the Brooklyn Museum of Art and the California Academy of Sciences.

View Hall/Moline's multimedia project "Specimen."
Contact Hall/Moline at:
Visit Hall/Moline's research website BadScience.

Eduardo Kac is internationally recognized for his interactive net installations and his bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac emerged in the early '90s with his radical telepresence and biotelematic works. His visionary combination of robotics and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience to the cultural impact of biotechnology; from the changing condition of memory in the digital age to distributed collective agency; from the problematic notion of the "exotic" to the creation of life and evolution. At the dawn of the twenty-first century Kac shocked the world with his "transgenic art"--first with a groundbreaking installation "Genesis" (1999), which included an "artist's gene" he invented, and then with his fluorescent rabbit "Alba" (2000). Kac's work has been widely exhibited in significant international venues. He is represented by Julia Friedman Gallery, Chicago; Laura Marsiaj Arte Contemporanea, Rio de Janeiro; and Galerie J. Rabouan Moussion, Paris.

View Eduardo Kac's multimedia project "The Alba Headline Supercollider."
Contact Eduardo Kac at:
Visit Eduardo Kac's website.

Dorijan Kolundzija was born 1976 in Belgrade, Serbia. In 2000 he graduated from the Academy of Applied Arts in Belgrade, department of applied graphics. He is currently a graduate student at University of Wisconsin-Milwaukee. His latest work explores the possibilities of unconventional interaction with technology by responding to people's positions and movements. Using the familiar instrument of their bodies, participants are enabled to engage in somewhat playful contact with projected animal-like creatures that do not really exist, blurring the boundary between real and digital, human and technological.

View Dorijan's web project "Parainfluenza digitalle."
Contact Dorijan at:

Anya Lewin is an artist, organiser of events, and educator. Her work is playful and uses fragments of narrative to examine between states – between animal and human, old and young, humour and melancholy, and the spaces between languages.

Her work, both individual and collaborative, has taken the form of video, performance, installation, text and web documents and has been exhibited internationally in such places as Beijing, Cuba, Siberia, Belfast, New York, San Francisco and London. She was the founder and programmer of Cornershop a cross arts gallery and performance space in Buffalo NY that ran from 1997 – 2000. She co-organised, (with Joasia Krysa), Hybrid Discourse – a series of events investigating digital media in the context of the Culture Industry which has led to a series of publications, through Autonomedia, with the DataBrowser Collective ( She is currently a Senior Lecturer and Researcher in Fine Art at the University of Plymouth in England.

View Anya Lewin's project (collaborative with Lara Odell) "The White Bear and Other Unwanted Thoughts."
Visit Anya Lewin's website.
Susan McHugh is an assistant professor of English at the University of New England, where she teaches courses in literary theory and animal narrative. She has published several essays on scientific, literary, and visual media representations of animals, including "Bitches from Brazil: Cloning and Owning Dogs through The Missyplicity Project" in Representing Animals, edited by Nigel Rothfels (2002). Her book Dog (2004), part of the Animal series from Reaktion Books, stems from her broader interests in stories of domestication. As part of Genetics in Literature, Film, and Popular Culture (a working group sponsored by the National Institute of Health with additional support by Vanderbilt and Duke Universities), she is presently researching how species became a primary form of identity through genetic aesthetics. Her criminal animal partner is Mikoli Volkoff, the nom de web of a bio-free artist.

Contact McHugh/Volkoff via
Visit McHugh’s website.
Visit Volkoff’s website.

Teresa Mangum is an associate professor of English at the University of Iowa and the Interim Associate Dean of International Programs. Her teaching and research is focused mainly on British Victorian literature and culture (with forays into cultural representations of late life and occasional courses on writing for a interdisciplinary audiences). However, in the process of researching her current book project, The Victorian Invention of Old Age, she was fascinated to discover the veritable herd of nineteenth-century "animal autobiographies" narrated by aging animals, particularly dogs. This led to her essay "Dog Years, Human Fears" in Representing Animals, edited by Nigel Rothfels (2002). She is now working on an essay, "Animal Angst: Victorians Memorialize Their Pets," for a collection on nineteenth-century animal narratives. In addition, she has examined the ways Victorian "empire fiction" displaces imperial aggression and acquisitiveness onto battling animals. These and other essays will eventually build toward a book-length project on animal emotion or the human impulse to interpret animal behavior as evidence of recognizable emotions.

Read Teresa Mangum's "Animal Angst and Victorian theories of the Emotions."
Contact Teresa Mangum at:
Visit Teresa Mangum's website.

Per Maning (born in 1943, work and lives in Norway), began his artistic career in the middle of the 1980's. He participated in the Sydney Biennal in Australia in 1992 and represented Norway at the Venice Biennale in Italy in 1995. His work has been acquired by a number of public collections including The Museum of Modern Art, New York, Museum Folkwang, Essen, KIASMA, Helsinki and the Stedelijk Museum, Amsterdam. The central theme of his photographic and video works is the meeting with "the other," with both humans and animals as motifs.

View Per Maning's video of seals.

Lara Odell’s collaborative and individual work takes the forms of drawing, video and digital photography. She uses traditional materials along with newer technologies to craft the “fallen art of storytelling.” Performance anxiety and the stereotypes of genre are recurring themes in her work, and her experiments with narrative routinely surface too. Human-animal characters often appear, seemingly unsure whether the costume is the human suit or the animal suit.

Her digital photographs of cost-efficient architecture­ (public swimming pools, for example) reflect attitudes of complacency and desire, as they pose as private sanctuaries. With Monica Duncan she has been designing urban camouflage clothing, and they recently completed a pair of astro-turf business suits to blend in with like environments (think miniature golf courses).

Odell has taught courses in digital printmaking, video, and contemporary art history. She has exhibited in such places as the Robert Beck Memorial Cinema in New York City; the Memphis Brooks Museum of Art in Memphis, TN; the Kala Art Gallery in Berkeley, CA; Ladyfest Midwest, Chicago, IL; the Albright-Knox Art Museum, Buffalo, NY; Centro de Desarrollo de las Artes Visuales (CDAV) in Habana Viejo, Cuba; The Central Academy of Fine Arts, Beijing, China; The Lux, London, England; the Festival of Actual Kino, Novosibirsk,  Russia, where she and Anya Lewin won the “Best Folkore Experiment” for their modern fable, “Grandma Baba and Little Boris”; and online, in the magazine How2: Contemporary Innovative Writing By Women.

View Lara Odell's project (collaborative with Anya Lewin) "The White Bear and Other Unwanted Thoughts."

Olly & Suzi, in pursuit of their animal subjects, situate themselves in the subject's natural habitat - the wild. Approaching as close as possible and working in tandem, they quickly capture it on paper using the day's particular combination of paints, brushes, burnt sticks, natural pigments, even blood on occasion, and then offer up the finished portrait to be paw-printed, tooth-marked-bitten, or otherwise marked by the animal for authentication. Their collaborators have included anacondas, crocodiles, polar bears, and great white sharks. While yielding paintings of extraordinary beauty and power, Olly & Suzi consider their art performance-based and site-specific.

"Our art-making process is concerned with a collaborative, mutual response to nature at its most primitive and wild."

This work is documented by award winning photographer Greg Williams, and on occasion by photographer George Duffield. A major book of their work entitled Arctic, Desert, Ocean, Jungle is currently available published by Harry N. Abrams in New York.

View video documentation of "Making Art With Sharks."
Visit Olly & Suzi's website.

Michael Pestel, an artist and musician, has performed, exhibited and lectured extensively throughout the United States, Europe and Japan. He has built large-scale zoetropic wooden structures (Sighting Wheel, Hadrian), site-specific pedestrian bridges (Piers Project, Ohio Gauntlet), large-scale structural cantilever systems (Sine Wave), and structures for music (Agronome, Spin-Out, Ornithology). His recent performance-installation (Harps and Angles), with tENTATIVELY a cONVENIENCE, combines prepared piano tables and 4-channel, live video footage. During the past decade, he has focused on bird sound and questions of extinction (Ornithology Series, SCHREIben, Migrations, Writing Lessons, Music Lessons, Aviary, Birdscape with Jeroen van Westen). He has performed on flute, contrabass clarinet, assorted woodwinds and violaire with birds in aviaries, natural places, Buddhist temples, galleries and concert halls. Currently, he is developing a multi-hybrid instrument on wheels called The Birdmachine and is working on a composition for flutes based on the red list of extinct birds. Michael Pestel is chair of the studio arts program at Chatham College. His CD Ornithology-Shadows is a musical conversation between two aviaries in Pittsburgh and Amsterdam.

Read Michael Pestel's proposal for "The Lyrebird Project".
Visit Michael Pestel's website.

Nigel Rothfels is Director of an undergraduate, cross-disciplinary learning innovations unit, the Edison Initiative, at the University of Wisconsin-Milwaukee and Adjunct Assoc. Professor of History. He is the author of Savages and Beasts: The Birth of the Modern Zoo (Baltimore: Johns Hopkins UP, 2002) and the editor of Representing Animals (Bloomington: Indiana UP, 2002). Rothfels has held postdoctoral research fellowships from the Shelby Cullom Davis Center for Historical Research at Princeton University (1996) and the Humanities Research Centre at the Australian National University in Canberra (2000). His current research and writing focuses on elephants, and he will begin a writing fellowship from the National Endowment for the Humanities in the fall of 2004.

Read a brief intro to Nigel Rothfels' current research, "Elephants."
Contact Nigel Rothfels at:
Visit Nigel Rothfels' website.

Carolee Schneemann is a multi-disciplinary artist whose work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body. Her work questions the exclusivity of traditional Western categories by creating a space of complementarity, mutuality, and integration. She has transformed the very definition of art expecially with regard to discourses concerning the body, sexuality and gender.

Her work has been widely exhibited in such venues as The New Museum of Contemporary Art (New York), MOCA (Los Angeles), The Whitney Museum of American Art, MOMA (New York) and the Centre Georges Pompidou. She is the recipient of numerous grants and awards including the Pollock-Krasner Fellowship, Guggenheim Foundation grant, Rockefeller Foundation grant and a National Endowment for the Arts grant.

Visit her website at
View excerpts from two works, Infinity Kisses I and Vesper's Pool.

Angela Singer (born 1966, Essex, England) is a visual artist and animal rights activist. She works predominately with donated old trophy kill taxidermy that she recycles, often stripping back the skin to the inner taxidermic support and modeling a new "bloody flesh" from wax. Working with the history of each particular animal, she aims to recreate something of its "death by hunt."

Her recent projects include "Ghost Sheep" (2001) - a work consisting of a "floating, running" flock of 240 suspended sheep skins - and "Wild-deer-ness" (2002), "Deer-atize" (2002), "Sores" (2003), "Animality" (2003) and "Carnivora" (2003) - recycled taxidermic-based works. She was recently the curator of "Animality" (2003), an exhibition addressing questions about morality and our relationship with the natural world.

Her practice does not allow her to work with living animals nor have living creatures killed or otherwise harmed for her art. All the animal materials used in her art are old, donated and/or discarded as refuse. She hopes her work will, "make the viewer consider the morality of our willingness to use animals for our own purposes."

For Singer, recycling taxidermy that was once trophy kill, the process is a way for her to 'honour the animals “life.”'
- Steve Baker, “Animal rights and wrongs (Haunted by the animal);” Tate: The Art Magazine, Autumn 2001.

View "Sore 1 and Sore 2", two "recycled" taxidermic artworks.
View video documentation of Thorn and Ghost Sheep.
Contact Angela Singer at:

Tom Tyler is a lecturer in Critical and Contextual Studies at Leeds Metropolitan University, UK. His current research interests include the deployment of non-human animals in philosophy and contemporary theory; the impact of primatology on the concept of 'the human'; the systematics of the great apes; pragmatic approaches to epistemology; evolutionary theory; posthuman philosophy; Nietzsche, Foucault, Wittgenstein, DeLanda. Tom firmly believes that he is a chimpanzee.

Read Tom Tyler's essay "If Horses Had Hands..."
Contact Tom Tyler at:
Visit Tom Tyler's website:

Stephen Wilson is Professor of Conceptual/Information Arts at San Francisco State University. He is the author of the recent book Information Arts: Intersections of Art, Science and Technology, MIT Press/Leonardo Books, 2003. His recent interactive installation, "Protozoa Games," is a reflection on animal experimentation and the relationships between species. The installation allows humans and live protozoa to compete in a pinball-like environment mediated by digital microscope and motion-tracking technologies. In "Follow-Me," humans score points by moving their bodies to match protozoa movements. In "Control-Me," humans score points by getting protozoa to do their bidding by strategies of domination or friendly appeal.

View "Protozoa Games" on Stephen Wilson's website.

Xu Bing was born in Chongqing, China in 1955 and grew up in Beijing. In 1975, he was relocated to the countryside for two years during the Cultural Revolution. He received an MFA from the Central Academy in 1987. In 1990, he moved to the United States and he still lives there today, making his home in Brooklyn, New York.

His work as been shown in the 45th Venice Biennial, Italy; the Museum of Modern Art, New York; Museum Ludwig, Koln; The Reina Sofia Museum, Madrid; the Victoria and Albert Museum, London; Kiasma Museum of Contemporary Art, Helsinki; Sydney Biennial, Australia; Kwangju Biennial, Korea; Johannesburg Biennial, South Africa; National Gallery of Canada, Ottawa; San Francisco Museum of Contemporary Art; National Gallery of Australia, Canberra; International Communications Center, Tokyo; P.S. 1, New York. He has had solo exhibitions at the New Museum of Contemporary art, New York; Joan Miro Foundation , Spain; ICA, London; National Gallery of Prague; the National Gallery of Beijing; the North Carolina Museum of Art; the Cherng Piin Gallery, Taiwan and the Arthur M. Sackler Gallery at the Smithsonian Institution in Washington, D.C.

In July of 1999, Xu Bing was awarded the MacArthur Award for Genius by the John D. and Catherine T. MacArthur Foundation in recognition of his “…originality, creativity, self-direction, and capacity to contribute importantly to society, particularly in printmaking and calligraphy.” In September 2003 Xu Bing was awarded the Fukuoka Asian Culture Prize for his work in Asian Art and Culture.

View documentation of five projects by Xu Bing.

Paul Zelevansky is an artist and writer living in Los Angeles. His website is devoted to an ongoing series of flash animations composed of found images, texts, music samples and sound effects. His latest essay is "The Good Thing: Mister Rogers Neighborhood," which will appear in the upcoming issue of the American Journal of Psychoanalysis. He is currently teaching classes in visual culture at Art Center College of Design in Pasadena.

Read "Surplus Nervous Energy," an excerpt from "Imagine a Place Where Ideas Have No Boundaries."
Contact Paul Zelevansky at:
Visit Paul Zelevansky's website.