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Sally Mann

A Selection

November 15–December 15, 2018
Beverly Hills

Installation video Play Button

Installation video

Installation view Artwork © Sally Mann. Photo: Jeff McLane

Installation view

Artwork © Sally Mann. Photo: Jeff McLane

Installation view Artwork © Sally Mann. Photo: Jeff McLane

Installation view

Artwork © Sally Mann. Photo: Jeff McLane

Installation view Artwork © Sally Mann. Photo: Jeff McLane

Installation view

Artwork © Sally Mann. Photo: Jeff McLane

Installation view Artwork © Sally Mann. Photo: Jeff McLane

Installation view

Artwork © Sally Mann. Photo: Jeff McLane

Installation view Artwork © Sally Mann. Photo: Jeff McLane

Installation view

Artwork © Sally Mann. Photo: Jeff McLane

Installation view Artwork © Sally Mann. Photo: Jeff McLane

Installation view

Artwork © Sally Mann. Photo: Jeff McLane

Works Exhibited

Sally Mann, Deep South, Untitled (Fallen Tree), 1998 Tea-toned gelatin silver print, 40 × 50 inches (101.6 × 127 cm)© Sally Mann

Sally Mann, Deep South, Untitled (Fallen Tree), 1998

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

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

Sally Mann, The Nature of Loneliness, 2008

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

About

The work of this period includes intimate depictions of my husband and deeply personal explorations of the landscape of the American South, the nature of mortality (and the mortality of nature), and the indelible marks that slavery left on the world surrounding me.
—Sally Mann

To coincide with Sally Mann’s survey exhibition, A Thousand Crossings, at the J. Paul Getty Museum in Los Angeles, Gagosian is pleased to present a selection of Mann’s photographs.

For more than four decades Mann’s haunting photography of the people and landscapes around her has explored memory, desire, death, the bonds of family, and human connections to nature and place. The works on view are drawn from three series: Deep South and Battlefields, which depict “the radical light of the American South” with an oblique and lyric universality, and Proud Flesh, an intimate portrait of Mann’s husband.

Mann began taking the photographs that would become the Deep South series in 1998, when she drove through the Deep South to Louisiana. Working with a large-format camera and the nineteenth-century wet-plate collodion process, Mann constructed a makeshift darkroom in the back of her car, shooting and printing the images as she went. Making negatives this way gives rise to serendipitous and evocative imperfections—streaks, scratches, spots, and pits. The resulting silver gelatin prints, such as Untitled (Emmett Till River Bank) (1998), are both completely in and of their environment: eerily quiet roads, ruins, and riverbanks that were the sites of both ordinary life and unspeakable violence.

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Elisa Gonzalez and Terrance Hayes

to light, and then return—: A Night of Poetry with Edmund de Waal, Elisa Gonzalez, Terrance Hayes, and Sally Mann

Gagosian presented an evening of poetry inside to light, and then return—, an exhibition of new works by Edmund de Waal and Sally Mann, inspired by each other’s practices, at Gagosian, New York. In this video—taking the artists’ shared love of poetry, fragments, and metamorphosis as a point of departure—poets Elisa Gonzalez and Terrance Hayes read a selection of their recent works that resonate with the themes of elegy and historical reckoning in the show. The evening was moderated by Jonathan Galassi, chairman and executive editor at Farrar, Straus & Giroux.

Five white objects lined up on a white shelf

to light, and then return—Edmund de Waal and Sally Mann

This fall, artists and friends Edmund de Waal and Sally Mann will exhibit new works together in New York. Inspired by their shared love of poetry, fragments, and metamorphosis, the works included will form a dialogue between their respective practices. Here they meet to speak about the origins and developments of the project.

Roe Ethridge's Two Kittens with Yarn Ball (2017–22) on the cover of Gagosian Quarterly, Spring 2023

Now available
Gagosian Quarterly Spring 2023

The Spring 2023 issue of Gagosian Quarterly is now available, featuring Roe Ethridge’s Two Kittens with Yarn Ball (2017–22) on its cover.

Sally Mann and Benjamin Moser

Sally Mann and Benjamin Moser

During the 2022 edition of Paris Photo, Sally Mann and Benjamin Moser sat down for an intimate conversation as the first event in Gagosian’s Paris Salon series, initiated by Jessie Fortune Ryan. In light of Moser’s Pulitzer Prize–winning biography of Susan Sontag, Sontag: Her Life and Work (2019), recently translated into French, the two discussed the power and responsibility tied up in their respective practices of photography and writing.

Still from "Sally Mann: Vinculum".

Sally Mann: Vinculum

Join Sally Mann at her studio in Lexington, Virginia. Filmed at work in her darkroom and within the surrounding landscape, she discusses her exploratory approach to making and printing pictures, what draws her to the landscape of the American South, and her newest body of work, Vinculum.

Sally Mann and Edmund de Waal at the Frick Collection, New York, November 8, 2019.

In Conversation
Edmund de Waal and Sally Mann

Sally Mann joins Edmund de Waal onstage at the Frick Collection in New York to converse about art, writing, and the importance of place in their respective bodies of work. 

News

Photo: © Annie Leibovitz

Artist Spotlight

Sally Mann

November 17–23, 2021

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. Central to Mann’s investigation are the landscapes that she has photographed both near her home in Virginia’s Shenandoah Valley and across the South for over three decades. Often using a view camera, Mann draws on the history of both her medium and the Southern landscape to produce photographs that are expressive and elegiac.

Photo: © Annie Leibovitz