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A deep sense of drama derives from shadows and light on historically fraught land. The southern landscape plays a starring role, whether the photographs are of Civil War battlefields or Mann’s children. will open “Sally Mann: A Thousand Crossings,” an exhibition of around 115 photographs culled from Mann’s over 40-year career. This March, the National Gallery of Art in Washington, D.C. Her passion for narrative found another outlet when she published her memoir, the National Book Award finalist Hold Still, in 2015. She completed her undergraduate work back in Virginia, at Hollins College, in 1974, where she also received an MA in writing the following year. During her two years at Bennington College, she met her husband, Larry Mann. She first studied photography at the Putney School in Vermont, where she attended high school.
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Mann was born Sally Munger in the small town in 1951. Many of her photographs pay homage to her family farm in Lexington, Virginia. As artists of all disciplines grapple with the ever-evolving ethics of representing others, what can we learn from the scandal surrounding Mann’s “Immediate Family” photographs, a major touchstone of the 1990s culture wars?ĭespite how the media has portrayed her, Mann views herself less as a portraitist and provocateur than as a documenter of place-specifically, the American South. Each of these fights hinged on the discrepancies in power between artist and subject.
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(The museum declined to comply with the demands.) That controversy follows a long year of protests targeting art institutions and specific works, from Dana Schutz’s Open Casket (2016) at the Whitney Biennial to Sam Durant’s Scaffold (2012) at the Walker Art Center. The older, male artist had portrayed a pre-teen girl sitting with a raised knee, revealing her underwear underneath a red skirt. This past December, elements of this debate again came to the fore after an online petition ordered the Metropolitan Museum of Art to either take down or newly contextualize the 1938 painting, Thérèse Dreaming, by the French artist known as Balthus. The ensuing criticism the images received questioned the line between pornography and fine art and problematized the objectification of children. For her series “Immediate Family,” she shot her three children (Emmett, Jessie, and Virginia) in vulnerable positions at their summer home in rural Virginia. In the early 1990s, photographer Sally Mann transformed one of the most banal elements of family life-the sentimental photo album-into discomfiting, divisive, and ultimately unforgettable artwork.
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