This is the second installment of Close Look, a new weekly feature sharing images of a noteworthy exhibition currently on view in the South. Check back each Saturday for a new installment highlighting a different exhibition.
Meghann Riepenhoff, Littoral Drift #800 (Lake Lanier, GA 08.25.17, Lapping Waves and Boat Current), 2017; dynamic cyanotype, 42 by 59 7/8 in. (All images courtesy of Yossi Milo Gallery, New York, and Jackson Fine Art, Atlanta.)
Meghann Riepenhoff, Littoral Drift #1054 (Tower Beach, Hilton Head, SC 05.02.18, Five Waves), 2017; dynamic cyanotype, 23 7/8 by 19 in.
Meghann Riepenhoff, Littoral Drift #1051 (Tower Beach, Hilton Head, SC 05.02.18, Three Waves, Buried in Sand, Sea Squirt), 2017; dynamic cyanotype, 23 7/8 by 19 in.
Meghann Riepenhoff, Littoral Drift #540 (Confluence of Chattahoochee River and Whitewater Creek, GA 06.13.17, Lapping and Splashing Currents), 2017; dynamic cyanotype, 18 15/16 by 23 13/16 in.
Meghann Riepenhoff, Ecotone #289 (Bainbridge Island, WA 03.01.18, Drizzle and Downpour), 2017; dynamic cyanotype, 59 5/8 by 38 in.
Meghann Riepenhoff, Littoral Drift #547(Triptych, Atlanta, GA, 06.13.17, Confluence of Chattahoochee River and White Water Creek, Run Over by Dog), 2017.
Installation view of Meghann Riepenhof’s “Imprint” at Jackson Fine Art.
Installation view of works in Meghann Riepenhoff’s exhibition “Imprint” at Jackson Fine Art.
Meghann Riepenhoff’s solo exhibition “Imprint” is on view at Jackson Fine Art in Atlanta, GA, through December 22.
Born in Atlanta, GA, Meghann Riepenhoff is an artist based in Bainbridge Island, WA, and San Francisco, CA. She received a BFA in Photography from the University of Georgia, Athens, GA, and an MFA from San Francisco Art Institute, San Francisco, CA, where she is a part of the visiting faculty. Her photography has been exhibited internationally and nationally at the High Museum of Art, Atlanta, GA; Worcester Art Museum, Worcester, MA; Yossi Milo Gallery, New York; Galerie du Monde, Hong Kong; Memphis College of Art, Memphis, TN; University of Missouri, Columbia, MO; Higher Pictures, New York; and elsewhere.
Christopher Stephen reviews the visual metaphors of the garden found in A Landscape Longed For: The Garden as Disturbance at the Crisp-Ellert Art Museum, St. Augustine.
Pieced together through collage, video capture, and a spoken poem, artist Kay-Ann Henry presents the intricacies of Afro-religious practices and Jamaica's particular expression of obeah, pocomania, and kumina.
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