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In her photographs, texts, and interviews, she frequently alludes to her Southern credentials: her birth in the former brick home of Stonewall Jackson, 1 her obsession with the land and with dosages of romance that would be fatal to most contemporary artists. 2 Mann has been forthright that these Southern projects are deeply personal quests, explorations of the South and its death-haunted, paint-haunted, cruelty-haunted landscapes, where she was looking for images of the dead as they are revealed in the land and in its adamant, essential renewal. 3 Many of the projects represented in the exhibition are Manns attempts at visual reparations for the Souths violent history
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