Carmine Iannaccone

Carmine Iannaccone is an Adjunct Professor in the Art Department at Claremont Graduate University, where he contributes to graduate-level studio art and contemporary art discourse. His interdisciplinary practice spans painting, sculpture, drawing, and critical writing, grounded in a sustained investigation into systems of measurement and representation.

• MFA, Otis College of Art and Design
• BA, Dartmouth College

Iannaccone's research interests revolve around the conceptual and material dimensions of measurement—how humans use standards to interpret reality. His work interrogates realism as a form of calibration, exploring how visual art functions as a laboratory for testing experience. Themes include handcraft and mechanics, natural history, urban documentation, and the intersection of text and image. His practice integrates artistic creation with critical writing, having contributed to Art Issues, Frieze, The Art Newspaper, and L.A. Weekly.

His recent artworks form a visual chronicle of contemporary life, including the 2020 racial justice protests, the January 6th insurrection, pandemic-era events like mass vaccination, and urban life in Los Angeles. These works reflect a shift toward reportage and documentary drawing, often executed on small scales and found materials, blending social commentary with intimate observation. Stylistically, they merge realism with conceptual framing, serving as visual essays on current events and cultural memory.

• Surdna Foundation Arts Teachers Fellowship (2003)

Iannaccone has advised emerging artists through teaching and by writing catalog essays for diverse visual artists. While no formal grant details are listed, his Surdna Fellowship supported pedagogical innovation in visual arts education. He has exhibited widely in Los Angeles at galleries such as POST, SolwayJones, Shoebox LA, and Jan Baum Gallery, participating in both solo and group exhibitions. His work engages with institutional, urban, and environmental themes, often recontextualizing historical skills within contemporary design and critique.

His studio practice functions as a multidisciplinary lab, integrating painting, sculpture, comics, and artist books. Series such as Slow Growth, Useable Histories, and Re-Public Works reflect long-term conceptual inquiries into time, process, and societal structures. The Sculpture: Mechanicals and Natural Histories series further demonstrate his fascination with systems, whether engineered or organic.