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Sally Mann

Sally Mann, Cindy and Dog Statue, 1983 Gelatin silver print, 10 × 8 inches (25.4 × 20.3 cm), edition of 25© Sally Mann

Sally Mann, Cindy and Dog Statue, 1983

Gelatin silver print, 10 × 8 inches (25.4 × 20.3 cm), edition of 25
© Sally Mann

Sally Mann, Jennifer at the Rodeo, 1984 Gelatin silver print, 10 × 8 inches (25.4 × 20.3 cm), edition of 25© Sally Mann

Sally Mann, Jennifer at the Rodeo, 1984

Gelatin silver print, 10 × 8 inches (25.4 × 20.3 cm), edition of 25
© Sally Mann

Sally Mann, Holding Virginia, 1989 Gelatin silver print, 24 × 20 inches (61 × 50.8 cm), edition of 25© Sally Mann

Sally Mann, Holding Virginia, 1989

Gelatin silver print, 24 × 20 inches (61 × 50.8 cm), edition of 25
© Sally Mann

Sally Mann, Emmett Afloat, 1988 Gelatin silver print, 24 × 20 inches (61 × 50.8 cm), edition of 25© Sally Mann

Sally Mann, Emmett Afloat, 1988

Gelatin silver print, 24 × 20 inches (61 × 50.8 cm), edition of 25
© Sally Mann

Sally Mann, Larry Shaving, 1991 Gelatin silver print, 24 × 20 inches (61 × 50.8 cm), edition of 25© Sally Mann

Sally Mann, Larry Shaving, 1991

Gelatin silver print, 24 × 20 inches (61 × 50.8 cm), edition of 25
© Sally Mann

Sally Mann, Virginia, Untitled (Upper Field), 1993 Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 10© Sally Mann

Sally Mann, Virginia, Untitled (Upper Field), 1993

Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 10
© Sally Mann

Sally Mann, Deep South, Untitled (Checkmark Windsor), 1998 Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 10© Sally Mann

Sally Mann, Deep South, Untitled (Checkmark Windsor), 1998

Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 10
© Sally Mann

Sally Mann, Georgia, Untitled (Black Spot), 1996 Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 10© Sally Mann

Sally Mann, Georgia, Untitled (Black Spot), 1996

Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 10
© Sally Mann

Sally Mann, Battlefields, Antietam (Cobweb), 2002 Varnished gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 5© Sally Mann

Sally Mann, Battlefields, Antietam (Cobweb), 2002

Varnished gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 5
© Sally Mann

Sally Mann, Battlefields, Manassas (Home Field), 2001 Varnished gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 5© Sally Mann

Sally Mann, Battlefields, Manassas (Home Field), 2001

Varnished gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 5
© Sally Mann

Sally Mann, Battlefields, Chancellorsville (Rever’s Turn), 2002 Varnished gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 5© Sally Mann

Sally Mann, Battlefields, Chancellorsville (Rever’s Turn), 2002

Varnished gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 5
© Sally Mann

Sally Mann, Battlefields, Antietam (Spindly Trees), 2001 Varnished gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 5© Sally Mann

Sally Mann, Battlefields, Antietam (Spindly Trees), 2001

Varnished gelatin silver print, 40 × 50 inches (101.6 × 127 cm), edition of 5
© Sally Mann

Sally Mann, Untitled, 2000 Gelatin silver print, 30 × 38 inches (76.2 × 96.5 cm), edition of 3© Sally Mann

Sally Mann, Untitled, 2000

Gelatin silver print, 30 × 38 inches (76.2 × 96.5 cm), edition of 3
© Sally Mann

Sally Mann, Untitled, 2000 Gelatin silver print, 30 × 38 inches (76.2 × 96.5 cm), edition of 3© Sally Mann

Sally Mann, Untitled, 2000

Gelatin silver print, 30 × 38 inches (76.2 × 96.5 cm), edition of 3
© Sally Mann

Sally Mann, Triptych, c. 2004 Varnished gelatin silver print, in 3 parts, overall: 50 × 120 inches (127 × 304.8 cm), edition of 8© Sally Mann

Sally Mann, Triptych, c. 2004

Varnished gelatin silver print, in 3 parts, overall: 50 × 120 inches (127 × 304.8 cm), edition of 8
© Sally Mann

Sally Mann, Remembered Light, Untitled (Flamingo on Heart Base), 2012 Gelatin silver print, 16 × 20 inches (40.6 × 50.8 cm), edition of 3© Sally Mann

Sally Mann, Remembered Light, Untitled (Flamingo on Heart Base), 2012

Gelatin silver print, 16 × 20 inches (40.6 × 50.8 cm), edition of 3
© Sally Mann

Sally Mann, Remembered Light, Untitled (Funnel Sculpture), 2012 Gelatin silver print, 20 × 24 inches (50.8 × 61 cm), edition of 3© Sally Mann

Sally Mann, Remembered Light, Untitled (Funnel Sculpture), 2012

Gelatin silver print, 20 × 24 inches (50.8 × 61 cm), edition of 3
© Sally Mann

Sally Mann, Remembered Light, Untitled (Pale Detail), 1999–2000 Gelatin silver print, 16 × 20 inches (40.6 × 50.8 cm), edition of 3© Sally Mann

Sally Mann, Remembered Light, Untitled (Pale Detail), 1999–2000

Gelatin silver print, 16 × 20 inches (40.6 × 50.8 cm), edition of 3
© Sally Mann

Sally Mann, Remembered Light, Untitled (Suitcase), 2011–2012 Platinum print, 9 × 14 inches (22.9 × 35.6 cm), edition of 3© Sally Mann

Sally Mann, Remembered Light, Untitled (Suitcase), 2011–2012

Platinum print, 9 × 14 inches (22.9 × 35.6 cm), edition of 3
© Sally Mann

Sally Mann, Remembered Light, Untitled (Solitary Print on Wall), 2012 Inkjet print, 23 × 34 ¾ inches (58.4 × 88.3 cm), edition of 3© Sally Mann

Sally Mann, Remembered Light, Untitled (Solitary Print on Wall), 2012

Inkjet print, 23 × 34 ¾ inches (58.4 × 88.3 cm), edition of 3
© Sally Mann

Sally Mann, Remembered Light, Untitled (Wall Drip with Blue Tape), 2012 Inkjet print, 16 × 24 inches (40.6 × 61 cm), edition of 3© Sally Mann

Sally Mann, Remembered Light, Untitled (Wall Drip with Blue Tape), 2012

Inkjet print, 16 × 24 inches (40.6 × 61 cm), edition of 3
© Sally Mann

Sally Mann, Johnny Reb, 2004 Gelatin silver print, 15 × 13 ½ inches (38.1 × 34.3 cm), edition of 5© Sally Mann

Sally Mann, Johnny Reb, 2004

Gelatin silver print, 15 × 13 ½ inches (38.1 × 34.3 cm), edition of 5
© Sally Mann

Sally Mann, Kingfisher’s Wing, 2007 Gelatin silver print, 15 × 13 ½ inches (38.1 × 34.3 cm), edition of 5© Sally Mann

Sally Mann, Kingfisher’s Wing, 2007

Gelatin silver print, 15 × 13 ½ inches (38.1 × 34.3 cm), edition of 5
© Sally Mann

Sally Mann, The Nature of Loneliness, 2008 Gelatin silver print, 15 × 13 ½ inches (38.1 × 34.3 cm), edition of 5© Sally Mann

Sally Mann, The Nature of Loneliness, 2008

Gelatin silver print, 15 × 13 ½ inches (38.1 × 34.3 cm), edition of 5
© Sally Mann

About

To be able to take my pictures, I have to look, all the time, at the people and places I care about. And I must do so with both ardor and cool appraisal, with the passions of eye and heart, but in that ardent heart there must also be a splinter of ice. 
—Sally Mann

Sally Mann is known for her photographs of intimate and familiar subjects rendered both sublime and disquieting. Her projects explore the complexities of familial relationships, social realities, and the passage of time, capturing tensions between nature, history, and memory.

Born in Lexington, Virginia, Mann began to study photography in the late 1960s, attending the Ansel Adams Gallery’s Yosemite Workshops in Yosemite National Park, California and the Putney School and Bennington College, both in Vermont. She received a BA from Hollins College, Roanoke, Virginia, in 1974, and an MA in creative writing the following year. At a moment when many other photographers were creating large-scale color prints, Mann looked to photography’s past, investigating the visual and metaphorical potential of employing nineteenth-century technologies. She has long used an 8 x 10 bellows camera and has explored platinum, bromoil, and wet-plate collodion processes for making prints.

Mann had her first solo museum exhibition at the Corcoran Gallery of Art, Washington, DC, in 1977, presenting The Lewis Law Portfolio (1974–76)a series of black-and-white photographs that comprise some of her earliest explorations into the inherent abstract beauty of the everyday. In the early 1980s she published two books, Second Sight and At Twelve, the latter a study of young girls on the cusp of womanhood. Between 1984 and 1994 she worked on the series Family Pictures, which focused on her three children, then all under the age of twelve. These works touch on ordinary moments—playing, sleeping, and eating—as well as larger themes such as death and cultural perceptions of sexuality and motherhood. From 1999 to 2012, Mann photographed Cy Twombly’s warmly lit studio in Lexington, recording the moments she spent with him there as well as the traces of his artistic life.

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Fairs, Events & Announcements

Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins

Tour

American Pastoral

Thursday, March 5, 2020, 6:30pm
Gagosian, Britannia Street, London

Join Gagosian for a tour of the group exhibition American Pastoral. The show juxtaposes modern and contemporary works with historical American landscapes ranging from Albert Bierstadt’s depiction of the sublime in Sunset over the River (1877) to Edward Hopper’s tranquil seaside scene, Gloucester Harbor (1926). Gagosian’s Alice Godwin will focus on a select grouping of exhibited works that seek to challenge the idealized vision of the American Dream that has long been a rich topic of inquiry for artists in the United States. To attend the free event, RSVP to londontours@gagosian.com. Space is limited.

Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins

Chris Burden, How to Shrink L.A., 1999 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Art Fair

Frieze Los Angeles 2020
How to Shrink L.A.

February 14–16, 2020, booth C06
Paramount Picture Studios, Los Angeles
frieze.com

Gagosian is pleased to participate in Frieze Los Angeles 2020. Taking Los Angeles’s system of highways as a literal and figurative backdrop, the selection includes Richard Prince’s full-scale car sculpture Untitled (2008) and Chris Burden’s ominously oversize L.A.P.D. Uniform (1993). The booth also includes work by Jean-Michel Basquiat, John Chamberlain, Urs Fischer, Theaster Gates, Piero Golia, Alex Israel, Sally Mann, Adam McEwen, Cady Noland, Sterling Ruby, Ed Ruscha, Taryn Simon, Robert Therrien, Andy Warhol, Tom Wesselmann, and others.

To receive a PDF with detailed information on the works in the booth, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at frieze.com.

Download the full press release (PDF)

Chris Burden, How to Shrink L.A., 1999 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York

Installation view, Elective Affinities: Edmund de Waal at the Frick Collection, Frick Collection, New York, May 30–November 17, 2019. Artwork © Edmund de Waal

In Conversation

Edmund de Waal
Sally Mann

Friday, November 8, 2019, 6:30–7:30pm
Frick Collection, New York
www.frick.org

In conjunction with the exhibition Elective Affinities: Edmund de Waal at the Frick Collection, artist and writer Edmund de Waal will speak with Sally Mann about art and writing, and about the pair’s individual practices. The event has reached capacity. To join the wait list, RSVP to edevents@frick.org.

Installation view, Elective Affinities: Edmund de Waal at the Frick Collection, Frick Collection, New York, May 30–November 17, 2019. Artwork © Edmund de Waal

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Museum Exhibitions

Sally Mann, Untitled (Scarred Tree), 1998 © Sally Mann

Opening this Week

Among the Trees

March 4–May 17, 2020
Hayward Gallery, London
www.southbankcentre.co.uk

This exhibition brings together artworks that explore our relationships with trees and forests. Beginning with pioneering works from the late 1960s, Among the Trees surveys an expansive artistic terrain, including sculpture, painting, installation, video, and photography. The show invites viewers to consider trees as symbols and as living organisms that have helped to shape human civilization. Work by Sally Mann, Giuseppe Penone, and Jeff Wall is included.

Sally Mann, Untitled (Scarred Tree), 1998 © Sally Mann

Sally Mann, Semaphore, 2003 © Sally Mann

On View

Sally Mann in
Time Lapse: Contemporary Analog Photography

Through March 8, 2020
Shelburne Museum, Vermont
shelburnemuseum.org

Time Lapse celebrates the work of thirteen artists working today in a vast array of nineteenth-century photographic processes, from daguerreotypes to photograms. These artists depict traditionally familiar subjects such as landscapes, portraiture, and still life through a contemporary lens. Work by Sally Mann is included.

Sally Mann, Semaphore, 2003 © Sally Mann

Cy Twombly, The Song of the Border Guard, 1952 © Cy Twombly Foundation

On View

How Far Can Creativity Take You
VMFA Fellowship Artists

Through May 16, 2020
VMFA on the Road: An Artmobile for the 21st Century, various locations throughout Virginia
www.vmfa.museum

The Virginia Museum of Fine Arts’s new state-of-the-art traveling museum and art studio offers an opportunity for residents of the Commonwealth to see and experience works of art from the collection up close. The inaugural exhibition, How Far Can Creativity Take You, celebrates the role this institution has played in the lives of fellowship recipients. Work by Sally Mann and Cy Twombly is included.

Cy Twombly, The Song of the Border Guard, 1952 © Cy Twombly Foundation

Sally Mann, Deep South, Untitled (Emmett Till River Bank), 1998 © Sally Mann

On View

Sally Mann in
New Symphony of Time

Opened September 7, 2019
Mississippi Museum of Art, Jackson
msmuseumart.org

New Symphony of Time expands the boundaries of Mississippi’s identity, casting light on a shared past to help reflect an expansive, more inclusive future. The exhibition aims to explore personal and collective memory, history and the connection to place, and the roles artists play in pursuit of civil rights and racial equity through ancestry. Themes include migration, movement, and home; shared humanity; environment; and liberty. Work by Sally Mann is included.

Sally Mann, Deep South, Untitled (Emmett Till River Bank), 1998 © Sally Mann

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Press

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