Gina Osterloh (b. 1973, Texas, USA) investigates operations of mimesis and perception, along with new ways of addressing identity through photography, film, video, and performance. Her photographs depict line drawings for the camera, as well as constructed life-size room environments activated through still performances, papier-mâché models and cardboard cutouts. Recent projects include the performance Prick, Prick, Prick—part of ongoing research examining call and response relationships between the body and the photographic frame, as well as repetition and rhythm produced by speech and actions. Osterloh’s 16mm film Press and Outline investigates the act of tracing of her own shadow and the origins of photography located in the desire to make the image of self (and the other) permanent.
Her group exhibitions include: Second Sight, New Representations in Photography at the Torrance Art Museum; This is Not America: Resistance, Protest and Poetics at Arizona State University Museum; Race, Love, and Labor at Samuel Dorsky Museum of Art; Women in Photography at LA at Contact Lab; Fragments of the Unknowable at Whole Urban Arts Space Ohio State University; Material Object at Charlie James Gallery. Her solo exhibitions include: Press, Erase, Outline, Slice, Strike, Make an X, Prick at Francois Ghebaly; Anonymous Front at Yerba Buena Center for the Arts, San Francisco; Group Dynamic and Improper Light at LACE, and; Nothing to See Here There Never Was at Silverlens, Manila. Collaborative projects include Outside Crease of the Elbow at Commonwealth & Council with Paris-based artist Ana Vega. Reviews of her work include Art Forum, Art in America, Art Asia Pacific, Art Monthly Australia, Art Ltd., Art on Paper and Art Practical. Osterloh received her MFA from the University of California, Irvine. Gina Osterloh teaches a diverse range of photography, performance art, and time-based media classes throughout the Greater Los Angeles area at various universities.
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