Gina Osterloh



Statement 1
For several years, my practice has focused on photographing the most minimal delineation of identity and space. In this investigation, the perception of space, both physical and psychological, begins with the body, a way of seeing that is based upon a person’s scale, outline, and pre-verbal patterns/responses. My interest in creating these set constructions, began with a frustration with portraiture’s innate ability to capture summarize, and fix its subjects. within portraiture I wanted to insert a body that was at first mis-recognized, that compressed and folded both itself and photographic space. With this said, each set construction, or room, is an extension of the body. Each construction is a stand-in or prop, for ways of seeing, a study of the most pared down elements of perception and with the body, identity – delineation and difference. With my A-I-R work of September 2011, I removed the body altogether and investigated the three most basic ways of mark making, of delineating space: dots, connecting the dots (line) and connecting the lines (web). The web shape was unexpected, but as soon as it was visible, made sense at a totalizing yet minimal way to define space, to locate identity. It was an unexpected way to (re)see Yayoi Kusama’s Infinity Nets.

Statement 2
Through restrained serial performances with anonymous women, paper mache models, and cardboard cutouts in room size paper environments, my photographs present an inherent focus problem in the structure of seeing. The thin paper room acts as a stand-in for normative ways of seeing, perception, and language. In some photographs, the body acts as a point of rupture in the picture plane, puncturing holes in walls or mimicking the color of the room. In other works, such as the body of photographs titled Copy Flat, an applied pattern confuses perception, and offers a code for an unstable viewing ground. This repeated gray dot pattern – loose in some areas and concentrated in others – collapses foreground, background, and the subject, as well as boundaries between the individual and groups of bodies.

Throughout all of my works, camouflage and mimicry play an important role in questioning the formation of identity, where the delineation of an individual or group of individuals begins in relationship to the physical and psychological surrounding environment. paper has become an important material in my photographs, as a tangible and familiar material that the viewer comes in physical contact with daily. Within each photograph – the figure is often in vulnerable positions – animal-like at times, on all fours, disembodied and anonymous in others. I choose these specific metaphors, materials, and postures to create new ground between a body politic, identity, and abstraction.

A recipient of a MFA in Studio Art from the University of California, Irvine, Los Angeles-based artist Gina Osterloh has exhibited extensively throughout the U.S. as well as in the Philippines, Australia, and Austria. Exhibitions in the U.S. include shows at LACMA, Pepin Moore Gallery in Los Angeles, California Museum of Photography at UC Riverside, Kate Werble Gallery in NYC, and the Yerba Buena Center for the Arts in San Francisco. Reviews of her work have appeared in The Los Angeles Times, Village Voice, Artforum, Art Asia, Asian Art News, Art in America, Art on Paper, and others. She is the recipient of numerous awards including a 2007-2008 Fulbright Research Fellowship and a Durfee ARC Foundation Grant in 2010. She is a part time lecturer of Photography at California State University, Fullerton and the exhibition organizer at Luckman Gallery at California State University, Los Angeles.



Jacolby Satterwhite



I use video, performance, 3d animation, fibers, and drawing to explore themes of memory, desire, ritual, and heroism. A primary resource I am currently examining and utilizing are my mother’s drawings and music recordings. My mother’s battle with schizophrenia has influenced her to create songs of desire and thousands of schematic drawings/inventions influenced by consumer culture, medicine, fashion, surrealism, math, sex, astrology, philosophy, and matrilineal concerns. The drawings are mostly common objects and luxury products found in the domestic sphere. I am synthesizing her drawings with 3D animation, video, painting, performance and my drawing practice. My body and art facility as an extension/interpretation of my mothers voice and drawings is an attempt to examine queer phenomenology and push the tensions created during translation and inheritance of studio practice.

The Reifying Desire series is a surrealist narrative and creation myth. The title stems from my ongoing creative collaboration with my mother’s drawings and how they demonstrate desire. Reifying Desire 1 – 6 will use 230 3D modeled renderings of my mothers’ drawings, my body, and animated figures to map out a queer creation myth that begins as a virtual phallic tower and gradually ends up in real space. The narration is loose, and almost acts as an exquisite corpse between CG technology, video, drawing, and performance.

Following earning a MFA from the University of Pennsylvania in 2010, Jacolby Satterwhite relocated to New York City where he lives and works. His multi-media works have been exhibited throughout the country, at such venues as The Kitchen, Dash Gallery, White Box Gallery, Exit Art, and the New Museum, all in New York; Plexus Art Gallery in Louisville, Kentucky; Aljira Center for Contemporary Art in Newark, NJ; and others. He has been awarded residencies at the Skowhegan School for Painting and Sculpture in 2009, a Harvest Work Residency from 2010-2011, and a Van Lier Grant from the Jamaica Center for Arts and Learning, Studio LLC program.



Nikita Gale



I created this body of work out of a desire to re-imagine the year 1961 in the American South. In considering the relationship of past and present, I wanted to apply the omniscience that the present has over the past — in the sense that the present always knows the “future” of the past and will always be responsible for applying meaning to the past. I created a body of diptychs that synthesize ideas of racial, sexual and social tensions present during the Civil Rights Movement. By using found color slides and text from two pro-segregation texts (a letter addressed to Malcolm X from the grand wizard of the KKK and a transcript of a speech by the Lt. Governor of Georgia) and combining them with rephotographed and re-contextualized mugshots of the Freedom Riders (a civil rights group that rode through the South to promote the desegregation of buses), I created what can be viewed as a romantic or suggestive narrative wherein the white masculine addresses the black feminine.

Through the use of found and original imagery, I generate tableaux where the symbol and the symbolized exist simultaneously within one space. I am interested in the narrative that emerges in such situations – the viewer is confronted with the absurdity of the spatial, physical relationship presented which subsequently brings attention to his or her passive consumption of such relationships. As a part of my works exploration of the relationships between symbols and materials, I often examine the ways in which materials and symbols operate as functions of time. Rephotographed images are an integral part of this examination as they are both symbols and material objects, which are widely accepted as the most unambiguous representations of reality.

Originally from Anchorage, Alaska, Nikita Gale is a self-taught conceptual artist and photographer based in Atlanta, Georgia. A recipient of a BA in Anthropology from Yale University in 2006, Gale’s work has been featured in exhibitions throughout the Atlanta, GA region including a solo exhibition entitled BOOLESH1T at Mint Gallery in 2010. She currently serves on the executive board of a non-profit Atlanta arts publication, BurnAway. Gales work has been featured in such publications as Art & Seek, 944 Magazine, Paste Magazine, Okay Player, Creative Loafing,, and URB Magazine, among others.



Alma Leiva



In “Celdas” (Prison Cells), I use the absurdity intrinsic in magical realism to address the consequences of violence on the Central American people and the perpetuation of those consequences on the Central American immigrant in post 9/11 U.S.

The economic and social situation in El Salvador, Guatemala and Honduras along with the fallout left behind by civil wars in Central America have contributed to the gravity of this problem. In an effort to escape the situation, marginalized youngsters immigrate to the U.S. where they end up joining gangs, eventually getting deported and bringing “Gangster” culture back to their homeland. Gang related crimes, drug cartels and political instability are the major sources of violence in the area today.For illegal immigrants, most leaving their countries in a desperate attempt to escape poverty and violence, the pervading anti-immigrant sentiment encouraged by extreme immigration laws in states such as Arizona has forced them to live in a state of constant fear and alienation.

The sense of alienation and isolation present in Celdas, recalls the paranoia experienced by these individuals as they search for respite from the threats of the outside world. The spaces represent imposed limits, restrictions, while cultural elements such as catholic iconography guard against adversity. Mayan iconography is presented as mere decorations, relegated to a long forgotten past. The juxtaposition of catholic and Mayan iconography, recall Spanish colonialism and the history of violence in Central America. The play-scapes or scenes allude to actual violent crimes and even memorialize some of the victims caught up in the endless cycle. Home aesthetics recall the need for sanctuary, while frail building materials such as fabric and cardboard recall the necessity of making do or coping with the situation.The imaginary transposed environments, which I create in my studio and then photograph, are metaphors for the constant state of isolation and seclusion these individuals experience in their homeland and in their quest for the “American dream”.


Originally from the Honduras, Alma Leiva is currently based between Miami, Florida and Brooklyn, New York. She received her MFA from Virginia Commonwealth University and her work has been presented internationally in numerous group exhibitions at venues including Humble Arts Foundation (NYC), Arteles (Haukijarvi, Finland), Daniel Azoulay Gallery and Art Basel (both in Miami, FL). A solo exhibition of her series “En La Celda” (Inside the Cell) was on view at 6th Street Container (Miami, FL) in 2011. She was a resident of the Vermont Studio Center in 2011 and her work been published in Artpulse, Fader, and the Miami New Times, among others.



Sherwin Rivera Tibayan



I’ve begun using an out of service iPhone 3GS as a modern day Claude Glass.  The darkened reflective surface of the iPhone – or any smart phone – is extremely suggestive of this 18th and 19th century tool for the composition of landscapes.  [In this project I walked around] the grounds of the residence in order to experiment, compose, and record the landscapes reflected off the Claude glass’ contemporary counterpart.


Born in the Philippines and based in Austin, TX, Sherwin Rivera Tibayan is a former Fulbright English Language Teaching Assistant in Austria and is a PhD student in American Studies at the University of Texas, Austin.

Exhibitions include Color Shift curated by Jordan Tate at Mixed Greens, Notes on a New Nature at 319 Scholes (both NYC) and Switch at XL Art Space (Helsinki, Finland). His work has earned him recognition as a finalist for Critical Mass (2011) and Fotovisura’s Student Spotlight Award (2010), and Honorable Mentions for the In Focus Photography Award (2010) and Flash Forward (2011). His project, The Histograms, received the 2012 Society for Photographic Education Award for Innovations in Imaging.


Ratna Khanna



Khanna produces billboards and houses made of mirrors and situates them in the local landscape. She is interested in using the three-dimensional object in the form of the mirror sculpture to articulate a two-dimensional image. In her exploration of the Hudson Valley she intends to employ the landscape as a medium in and of itself, using the mirrors as a tool to explore issues of culture, place, and the concept of home.

Based in Rochester, NY, artist Ratna Khanna holds an MFA in Photography and Imaging Arts from Rochester Institute of Technology (RIT) and a BFA in Liberal Arts from the University of Pennsylvania. She has held positions as a photographer, designer, teaching assistant, photojournalist, artist’s apprentice, studio manager, and photo editor. A recipient of numerous awards and scholarships, her work has appeared in online publications Photography Served and Urbanautica, among others.


Caleb Ferguson



Curiosity and understanding drive my photographic pursuit; photography is simultaneously my subjective reaction and impression on the world around me. Although my work is often placed in the documentary or photojournalism fields, I do not label myself as either. Photography is a pursuit, a way of life, and I am constantly wandering and watching while hoping to capture a part of life that I think helps to better understand humanity. Appearing in all of my photographs, people are the key essential ingredient and attraction. I am interested in people and understanding how our ordinary lives connect with others. Political in nature, carefully considered in content, I seek to engage and force participation in understanding the fragile and changing world around us. Filled with difference, the world is a constant source of wonder and allows my own curiosity to lead me through life engaged and concerned.


Caleb Ferguson is a freelance photographer based in New York City. He graduated from Eugene Lang College at The New School for Liberal Arts in 2010 with a BA in Urban Studies. He has worked on assignment for publications including The New York Times and the Wall Street Journal. In addition, Caleb has produced multiple photo essays for the Global Oneness Project and his work on the Occupy Movement has been exhibited by the International Center of Photography (NYC) as well as the Greene County Council on the Arts (Catskill, NY). His photographs have been featured in the New York Times, The Wall Street Journal, The Village Voice, and Newsday.



Kameelah Rasheed



There is limited photographic evidence that my family ever existed.

Photographs were lost when we were unlawfully removed from our home in 1998. Some photographs were water-damaged or accidentally trashed before we packed seven lives and accompanying articles into a burgundy station wagon and made our home in a 450-square foot illegal attachment where my grandfather died, alone, nine years prior of stomach cancer. Given my experiences with displacement and loss, my work is rooted in an experimental documentary practice where I use original images as well as archival and found pieces to craft autobiographic pieces that stitch narratives from fragments. At times, traditional photographs can give the illusion of totality and cohesion. I was arrested in a particular temporal space. I am not whole or complete, nor is my history. Through the use of fragments and found images, I create work containing multiple pasts in the present. These pieces emphasize both the fractured state of memory as well as the layered nature of autobiographical narratives. As a photographer who also works as an archaeologist and an archivist, I am always mining and excavating pasts.

An attempt to conjure my family back into existence, in Memories: No Instructions for Assembly, I weave together orphaned photographs found at garage sales, photos stolen from the Facebook pages of estranged family members, 1970s magazine pages, water-damaged images salvaged during my family’s 10-year bout with homelessness, and original photography to re-imagine a lost family history. Working in the tradition of the archaeologist and the archivist, I sample as well as reorganize existing materials into a series of diptychs to produce a non-linear narrative that dances between vivid and vague memories. Where no memory can be accessed, 35mm shots with scratched, underexposed, and degraded surfaces have been substituted.

In the closing line of Harryette Mullen’s “S*PeRM**K*T”, she writes, “speed/readers skim the white space of this galaxy,” an observation of the manner in which the reading and viewing of certain “texts”—visual included—has become a hasty affair; one in which the audience quickly reads and generalizes, rather than slowly extracting the nuances. My work revives a patient engagement with art by welcoming the viewer into an unfamiliar space where they must navigate between the concrete and ephemeral. Through this navigation, the audience also becomes an archeologist of my family’s pasts. As Memories: No Instructions for Assembly is a re-imagining of my family’s narrative, it also functions as an installation where I recreate the living room space of my childhood home adorned with the framed diptychs and replica artifacts. The evolving product is the installation itself, the photographs of the exhibition, the diptychs, and my process notes in the form of a hand-bound archaeological dig book.

Originally from East Palo Alto, California, Kameelah Rasheed is a photographer, archivist, arts and culture journalist, editor, curator, and instructor based in Brooklyn, NY. Her work has been exhibited at venues such as Brooklyn Artist Gym, The New York Public Library (both in NYC), Artist Proof Studio (Johannesburg, South Arica), and The Fridge (Washington, D.C.). Her solo exhibition The Imagined Archive was presented at Real Art Ways (Hartford, CT) in 2013. A 2006 Fulbright grant recipient, Rasheed’s work has appeared in U.S. and African publications including the SF MoMA Blog, ITCH Magazine, F-Stop, and Neo-Griot, among many others. She has been awarded artist residencies by the Center for Book Arts (NYC) and Real Art Ways (Hartford, CT). Kameelah is a writer and editor for Spector Literary Magazine and Liberator Magazine> She is also the founder of The Souls of Black Folks, a transmedia storytelling project dedicated to building an archive of religion and spirituality of Black people and people of African descent in North America, and the co-founder and curator of the Mambu Badu Photography Collective.

The Web Is A Lonely Place

PR: The Web is a Lonely Place, Come Play


artists: Christopher Baker, Petra Cortwright, Jon Rafman, Rafael Rozendaal, & Kate Steciw,

curated by Akemi Hiatt

On view: January 12 – March 31, 2013
Opening reception: Saturday January 12 from 5-7pm


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