Haines Gallery: Exhibits Meghann Riepenhoff

Our Artist Digests focus on the work of a single artist, inviting you to explore their practice in depth through a carefully curated mix of content. This week, we spotlight Meghann Riepenhoff, who creates her vivid blue cyanotypes in collaboration with nature. Her work is currently on view in the Haines exhibition Elemental, and Ansel Adams in Our Time at the de Young Museum.

The artist coats sheets of paper with homemade emulsion and places them directly in the landscape—along the shore or in bodies of water, draped over branches or packed under snowfall. As they make contact with the photographic materials, the elements leave physical inscriptions on paper. Each work is wholly unique as a fingerprint. Riepenhoff is a recipient of the Guggenheim Foundation Fellowship and Fleishhacker Foundation Grant, and has exhibited at the Crystal Bridges Museum of American Art, Denver Art Museum, Museum of Fine Arts, Boston, New York Public Library, and San Francisco Museum of Modern Art, among others. She lives and works in Bainbridge Island, WA.

In Conversation

"In the action of making pictures, I'm looking for hope and resiliency within our complex problem." Watch Riepenhoff in conversation with curator Erin O'Toole at the San Francisco Museum of Modern Art. The evening included a reading by Rebecca Solnit, who wrote the text for Ice, Riepenhoff's latest monograph, published by Radius Books.

"The wave, the flow, whatever you see on the paper is a very literal inscription from an element in the landscape. They are dancing with things we associate with abstraction, but are totally literal in both their making and what they present." Riepenhoff joins Tyler Green for on an episode of the Modern Art Notes podcast. #hainesartgallery#fienartmagazine#fneartfun

Hi All This is a good one!!! FLAT FILE FRIDAY New artworks from Morgan Lehman's flat files in your inbox every Friday morning flat files in your inbox every Friday morning

FLAT FILE FRIDAY New artworks from Morgan Lehman's flat files in your inbox every Friday morning Edra Soto Dos Cuerpos 31, 2022 Latex paint and mixed mediums over paper 24h x 18w in 60.96h x 45.72w cm $ 3,200 Click here to inquire Edra Soto is a Puerto-Rican born artist, curator, educator, and co-director of the outdoor project space, The Franklin. Soto has exhibited extensively at venues including El Museo del Barrio (New York, NY); the Museum of Contemporary Art of Chicago (Chicago, IL); the ICA San Diego (San Diego, CA); and the Whitney Museum of American Art (New York, NY). She has been awarded the Efroymson Contemporary Arts Fellowship, the Illinois Arts Council Agency Fellowship, the inaugural Foundwork Artist Prize, the Joan Mitchell Foundation Painters & Sculptors Grant and the Bemis Center’s Ree Kaneko Award, among others. Soto has exhibited and traveled to Brazil, Puerto Rico, and Cuba as part of the MacArthur Foundation’s International Connections Fund. Soto holds an MFA from the School of the Art Institute of Chicago and a bachelor’s degree from Escuela de Artes Plásticas y Diseño de Puerto Rico. The artist lives and works in Chicago. www.morganlehmangallery.com | 212-268-6699 | Gallery open by appointment in August  ‌  ‌  ‌ #morganlehmangallery#fineartmagazine#flatfilefridayfineartfun

2023 Thesis Exhibition Opening Reception, Wednesday, May 17th, 5:00pm - 8:00pm

CLICK HERE FOR FREE TICKETS OPENING RECEPTION WEDNESDAY, MAY 17th 5:00 pm - 8:00 pm Visit our website  ‌  ‌

Lehman College Art Gallery | 250 Bedford Park Blvd. West, Bronx, NY 10468 #lehmancolledgegallery#fineartmagazine#fineartfun

TRIPOLI GALLERY: Laith MCGregor, May6-June-5, 2023!

OPENING RECEPTION: SATURDAY, MAY 6, 5 – 7 PM  TRIPOLI GALLERY 26 Ardsley Road, Wainscott, NY 11975

“Fix your little problem and light this candle.” ~Astronaut Alan Shepard   Wainscott, NY – Tripoli Gallery presents Pace and Space, a solo exhibition by artist Laith McGregor. A series of new paintings were transported from the artist’s studio in Byron Bay Australia to Long Island’s East End. That said, the work has a transitory aesthetic —in a mystical and planetary way. His palette mainly consists of hues of blue, with expansive shapes and celestial resonance.  McGregor’s physical, painted gestures move through each of the works, connecting them with an invisible thread, not unlike a constellation. Using words such as Séance, Twilight, and Wanderer (all 2023) as titles, we end up on an unexpected journey through the world he’s made on each canvas. It’s impossible to look at these paintings and not think of the sky, or an intrinsic interest in the ocean. The latter approaches and recedes from the shore, and similarly, McGregor uses his body approaching and receding from the surface. While utilizing oil paint as a way to confront each surface, several paintings have been assembled with fabric overlay—oil paint rags, off-cuts from discarded works— painted, unfolded, and molded. Tie-dyed hammocks will also be included in the exhibition as an installation. The fabric feels personal and each composition, specifically in the Séance series, is minimal and purposeful, folded edges allowing the raw linen to play a starring role as the ground. McGregor has stated in his accompanying essay that Pace and Spacereference the “action of pushing a basketball up the court at a fast pace while spacing the floor to create an offensive advantage for the team to move more efficiently.” He also inquires and references this very action as it may relate to humankind, “Could we move forward at a momentum while maintaining a nurturing distance?”  McGregor’s paintings seem to live out this statement. They are both close and somehow far away. His empty (unpainted) segments of canvas, almost function as sand, seen from above. The fabric is paint, or sky, or an expansive sea. Upon closer inspection, the triptych Dawn, Twilight, and Night transports us into a monochromatic jungle where two, thinly sliced white moons or a severed sphere have been drawn on top. It’s as if McGregor has conjured Rousseau and removed the lushness of color in favor of delicately rendered lines. One painting I’ve yet to mention is Patience, whose focus is coffee and coffee pots, in various stages of brewing. The pots are divorced from a heat source and float above washy drippy, swaths of paint and the occasional cigarette.  If the journey is as cryptic as it is direct, perhaps coffee and cigarettes are the closest we will get to a self-portrait —a crop, a habit, and a lifestyle.   ~ Katy Hamer   TRIPOLI GALLERY, founded in 2009 as The Tripoli Gallery of Contemporary Art, was located in Southampton for 10 years and moved to an expansive permanent, 2,400-square-foot space in Wainscott, New York in November 2019. Since 2005, founder Tripoli Patterson has organized, produced, and curated contemporary art shows in various locations around the East End of Long Island, New York City, and Byron Bay, Australia. They have hosted an annual Thanksgiving Collective show for 18 years. Press mentions include Galerie Magazine, Hamptons Magazine, New York Times, Artforum, and others.  Image Laith McGregor, Twilight,  2023 oil on canvas, 66.15 x 60.04 inches (168.0 x 152.5 cm) For press inquiries or further information, please contact info@tripoligallery.com or call 631.377.3715 26 Ardsley Road, Wainscott, NY 11975 (Enter via East Gate Rd.) Hours: 10am – 6pm Sunday 12 – 5pm Closed Tuesday #thetripoligallery#fineartmagazie#finearthamptonsfun

Lowell Ryan Projects, exhibition:Suspirium, by South Carolina-based artist James Busby

James Busby Suspirium May 6 - June 10, 2023 Opening Reception: Saturday, May 6th, 3-5pm James Busby Soul Gravy, 2023 Graphite and gesso on panel 16h x 20w inches / 30.5h x 41.6w cm JB-009 Lowell Ryan Projects is pleased to present Suspirium a solo exhibition by South Carolina-based artist James Busby. Consisting of a series of intimately scaled abstract and representational works on canvas, panel, and wood, as well as an installational line drawing encompassing the gallery walls, Busby explores perception through a physiological and psychological framework. The title of the exhibition, Suspirium, is the Latin term for a deep breath. This will be Busby’s first exhibition in Los Angeles and with Lowell Ryan Projects.   Both hard-edge line and geometric shape provide structure to all of the works in the exhibition. In the case of the abstract works, lines function as a direction for Busby’s freehand brushwork. Once a formation of lines have been mapped out, often as simple as two or three lines, Busby loads a small paintbrush with paint and begins a meditative process of applying marks on the canvas until the paint has run out. The process is repeated until the entire canvas is filled with gradations of small-scale brushstrokes. The making of the abstract works involves a physical component—focus, attention, and consistency are required to achieve a rhythm of movement. While the works can take on an almost digital feeling, when viewed closely the artist’s hand becomes apparent as well as the tactile nature of the work.   With the representational works, line and shape ground, levitate and distort a perception of scale in the imagery. Birds, deer, and trees that Busby can view from his rural studio on a lake in South Carolina are depicted in monochromatic graphite drawings on bare gessoed panel surfaces. Rendered in a small scale almost like a bonsai tree, the flora and fauna take on a psychological component. While they are all depictions of real life-size trees and animals, Busby distorts our understanding of his naturalist experience. Through the simple act of drawing a line or rendering a tree branch in shades of gray Busby is able to displace a sense of space and scale, ultimately questioning our understanding of certainty and alluding to our capacity to change our perception of the world around us.   James Busby Sure Shot .2, 2023 Oil on canvas 20h x 20w inches / 51h x 51w cm JB-001 James Busby (b. Rock Hill, SC, 1973) lives and works in Chapin, South Carolina. Busby received his Master of Fine Arts and Bachelor of Fine Arts from Virginia Commonwealth University. He is an instructor of drawing at the University of South Carolina where he has taught since 2004. His work has been exhibited at galleries and museums including Kravets Wehby Gallery, New York, NY; Stefan Stux Gallery, New York, NY; Dirimart Galerie, Istanbul, Turkey; Reynolds Gallery, Richmond, VA; Randall Scott Projects, Baltimore, MD; Chelsea Art Museum, New York, NY; Dickinson Gallery, London, UK; Loyal Gallery, Stockholm, Sweden; Galerie Jean-Luc, Paris, France; South Carolina State Museum, Columbia, SC; and the University of Richmond Museum, Richmond, VA. James Busby’s work has been reviewed and discussed in ArtForum, Sculpture Magazine, The Washington Post, and White Hot Magazine of Contemporary Art, amongst others. For more information contact: info@lowellryanprojects.com images by Charles White at JWPictures.com, courtesy of the artist and Lowell Ryan Projects 4619 West Washington Blvd. Los Angeles, CA 90016 Tuesday - Saturday, 11am - 6pm #lowellraynprojects#fienartmagazine#fineartfun