# data[].attributes.body
Sally Mann is an American photographer known for her controversial, large-format black-and-white photographs. Born in 1951 in Lexington, Virginia. Mann earned a Bachelor of Fine Arts (Summa Cum Laude) from Hollins College in 1974. Mann is commonly recognized for her photographic book Immediate Family (1992), which featured intimate and often provocative portraits of her children, showcasing the complexities of childhood. Mann’s later works, such as Goosebumps (1990) and Proud Flesh (2009), shifted focus towards landscape and morality. This is where she began to incorporate alternative photographic processes to enhance the emotional depth of her photographs. Mann primarily works with an 8x10 large-format camera while utilizing traditional wet-plate collodion processes to create a timeless aesthetic. Mann also experimented with cyanotypes to achieve different textures and tonalities.

Through this exhibition, I want viewers to deeply engage with Sally Mann’s remarkable ability to capture the complexity of life, mainly through the lens of family, Southern heritage, and mortality. Her work serves as a powerful meditation on the passage of time, challenging perceptions of innocence, loss, and historical memory while encouraging meaningful conversations about both personal and collective histories. Mann’s photographs are imbued with a haunting beauty, inviting audiences to reflect on how the past continues to shape the present.

By emphasizing her use of antique photographic processes, including wet plate collodion and other historical techniques, this exhibition seeks to illuminate how Mann’s work transcends time, evoking an emotional response that resonates across generations. Her deeply personal subject matter; ranging from intimate portraits of her children to landscapes steeped in history; adds layers of complexity to each image, making them more than just photographs but profound visual narratives.

Through her evocative compositions and masterful interplay of light and shadow, Mann creates an atmosphere that is both ethereal and deeply grounded. Her work compels the audience to confront the delicate balance between beauty and decay, presence and absence, love and loss. Ultimately, this exhibition aims to honor Mann’s unique artistic vision, highlighting her ability to transform ordinary moments into timeless reflections on the fragility and endurance of memory.

n.a. “Sally Mann.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 27 Apr. 2025, www.britannica.com/biography/Sally-Mann.

# data[].attributes.body
Sally Mann’s Immediate Family (1992) remains one of the most defining and provocative bodies of work in her career. Shot primarily at her family’s home in Virginia, the series captures deeply intimate portraits of her three young children; often unclothed, engaged in play, or caught in moments of contemplation. Far from conventional family snapshots, these images delve into the complex terrain of childhood: its innocence, curiosity, vulnerability, and emotional depth. Through her lens, Mann invites viewers into a private world that is both tender and unsettling, where beauty and discomfort coexist in a delicate balance.

This series is central to Mann’s lifelong exploration of family as both subject and metaphor. In Immediate Family, she blurs the line between the personal and the universal, transforming fleeting, everyday moments into timeless reflections on growth, love, and the fragility of life. The use of a large-format camera imbues the images with striking detail and gravity, elevating them beyond simple documentation.

Within the broader theme of this exhibition, Immediate Family stands as a powerful foundation for Mann’s later work on mortality and memory. Although centered on youth, the series is already preoccupied with themes of transience and change. Scraped knees, insect bites, solemn expressions; these small but poignant details hint at the inevitable passage of time and the quiet erosion of innocence. Mann’s willingness to portray her children in moments of emotional and physical rawness reflects her larger artistic commitment: to confront the beauty and impermanence of life with unflinching honesty. In this way, Immediate Family not only explores the emotional complexities of parenthood and childhood but also sets the tone for Mann’s ongoing meditation on the human experience.

Mann, Sally. Immediate Family. 1992.

# data[].attributes.headline
At Twelve : Portraits of Young Women (1988) – Book

# data[].attributes.subject
At Twelve : Portraits of Young Women (1988) – Book

# data[].attributes.body
Sally Mann’s At Twelve: Portraits of Young Women (1988) is a poignant photographic series that captures the fleeting, emotionally charged transition from girlhood to adolescence. Shot in her signature black-and-white style using a large-format camera, the series features young girls as they are growing up. These portraits are quiet yet powerful, capturing the subtle tension between innocence and emerging self-awareness. The girls in At Twelve carry expressions that hint at both vulnerability and strength, mirroring the emotional complexity of this formative age.

In this series, Mann continues her exploration of the human experience through an intimate and personal lens, while also touching on broader cultural themes. Growing up in the rural South, these girls are shaped not only by their personal lives but also by the unspoken social codes, traditions, and expectations of their environment. The Southern landscape, though not always present in the background, seems to haunt the series; its weight is felt in the girls’ gazes and postures. Much like her later work, At Twelve reflects Mann’s deep sensitivity to time and place, capturing a moment that is as much about identity as it is about geography.

The series connects strongly with the central themes of this exhibition. It presents a deeply personal subject matter; the lives of young women, through a lens that is at once tender and unflinching. Mann’s ability to evoke emotion through stillness and subtle detail is particularly apparent in these portraits, which resonate with themes of transformation, memory, and the passage of time. The girls, suspended in this liminal stage of life, serve as metaphors for change itself; symbolizing both the beauty and uncertainty that come with growing up. In documenting this moment with such care and depth, Mann not only preserves it but also elevates it into something timeless and universally relatable.

Mann, Sally. At Twelve, Portraits of Young Women. 1988.

# data[].attributes.headline
"Sorry Game" (1989) - Gelatin Silver Print

# data[].attributes.subject
"Sorry Game" (1989) - Gelatin Silver Print

# data[].attributes.body
Sally Mann’s Sorry Game (1989) is a deeply evocative photograph that captures the fleeting, tender moments of childhood through a raw and intimate lens. Shot in black-and-white, the image is part of Mann’s celebrated Immediate Family series, where she turned her camera toward the lives of her own children growing up in rural Virginia. In Sorry Game, Mann presents two of her children intensely focused on the board game "Sorry," their heads bowed together in deep concentration. The outdoor setting feels timeless and slightly worn, with a rustic table serving as the playing field, suggesting a life lived close to nature and far removed from urban distractions.

The composition feels spontaneous yet carefully balanced. Natural light filters softly across the children's skin and the surrounding objects, casting delicate shadows that enhance the dreamy, almost nostalgic atmosphere. Mann’s use of a shallow depth of field blurs the edges slightly, focusing the viewer’s eye on the children's faces and hands while allowing the background to fall away in soft abstraction. This technique creates a feeling of intimacy and places emphasis on the emotional gravity of the moment.

The quiet intensity of the scene hints at larger themes of growing up, emotional complexity, and the inevitable passage of time. By photographing her children in moments that feel both ordinary and monumental, Mann invites the viewer to reflect on the fragility of innocence and the bittersweet nature of memory.

Mann, Sally. Sorry Game. 1989.

# data[].attributes.headline
"Candy Cigarette" (1989) - Gelatin Silver Print

# data[].attributes.subject
"Candy Cigarette" (1989) - Gelatin Silver Print

# data[].attributes.body
One of Sally Mann’s most iconic images, Candy Cigarette (1989), captures the arresting complexity of childhood and the blurred boundaries between innocence and maturity. Taken from her Immediate Family series, the photograph depicts Mann’s daughter, Jessie, standing confidently in the foreground, holding a candy cigarette with a poised, almost defiant stance. Her younger siblings linger in the background, caught in their own moment of play. Shot with a large-format camera and printed in gelatin silver, the image is rich with tonal contrast and texture, giving it a timeless, almost cinematic quality.

At first glance, Candy Cigarette appears simple, even playful, yet the deeper emotional undercurrents reflect Mann’s preoccupation with the fragility of youth and the inevitability of growing up. The candy cigarette itself becomes a visual metaphor; an object of imitation that gestures toward adult behavior, while still grounded in childhood fantasy. This duality encapsulates the tension that runs throughout Mann’s work: the in-between spaces where innocence begins to give way to experience, and where time subtly begins to leave its mark. Set against the Southern landscape, the photograph also evokes a strong sense of place; rural, unpolished, and full of quiet mystery. Mann’s children appear both natural and mythic, as though they exist in a world suspended between past and present.

This photograph is essential to the exhibition because it so clearly embodies Mann’s unique vision. Through her masterful use of light, composition, and emotional depth, she transforms a seemingly ordinary moment into a powerful visual narrative; one that speaks to the themes of family, Southern heritage, and the haunting beauty found in life’s most fleeting stages. Candy Cigarette lingers in the mind long after viewing, just as memories do, reminding us of the delicate balance between presence and absence, between what is and what has already begun to fade.

Mann, Sally. Candy Cigarette. 1989.

# data[].attributes.headline
"The New Mothers" (1989) - Gelatin Silver Print

# data[].attributes.subject
"The New Mothers" (1989) - Gelatin Silver Print

# data[].attributes.body
One of the most discussed images in Immediate Family, The New Mothers (1989) captures two young girls, one holding a baby doll and the other staring directly into the camera with a cigarette dangling from her lips. Despite their youth, both girls are styled and posed in a way that evokes adult behavior, challenging viewers to reconsider assumptions about childhood, innocence, and societal roles. It blurs the lines between performance and reality, encouraging a deeper reflection on how identity and experience are shaped from a young age.

In the context of Mann’s broader body of work, The New Mothers exemplify her ability to capture fleeting, complex moments that speak to larger themes of family and the passage of time. While the image may appear provocative at first glance, its strength lies in its emotional depth and the nuanced portrayal of childhood as something neither wholly innocent nor entirely understood. The cigarette, the baby doll, and the confident gaze all contribute to a haunting contradiction; youth dressed in the shadow of adulthood. It speaks to the roles girls are often expected to adopt too early and the way memory and identity are constructed in domestic spaces.

The image reflects Mann’s ongoing interest in mortality and impermanence; not in a literal sense, but through the lens of childhood slipping away. The girls in the photograph are suspended in a moment that feels performative, yet real, acting as a visual metaphor for the threshold between innocence and experience. It underscores Mann’s ability to create photographs that are not just records of what was, but meditations on what it means to grow, change, and remember. Through its rawness and ambiguity, The New Mothers continues to invite conversation, challenging viewers to reflect on the fragility of youth and the enduring complexities of family life.

Mann, Sally. The New Mothers. 1989.

# data[].attributes.body
1. Known for Controversial Family Portraits
Sally Mann gained national attention with her 1992 book Immediate Family, which featured intimate and sometimes controversial black-and-white photographs of her children. The raw and emotional images sparked debates about privacy, childhood, and artistic boundaries.

2. Experimental Techniques
Mann is known for using antique photographic processes, like wet plate collodion, which give her images a timeless and ethereal quality. She embraces imperfections in her work, often leaving in scratches and chemical flaws.

3. Award-Winning and Critically Acclaimed
She has received numerous accolades, including being named “America’s Best Photographer” by Time magazine in 2001. Her work is included in the collections of major institutions like MoMA and the Whitney Museum.

4. Themes of Mortality
Critics often object to her portraying her children in the nude, questioning her right to record childhood distress and raising concerns about her artistic license and its impact on her children. Some have also accused her of exploiting her children or even of promoting pornography.

5. On Capturing the Essence of Life

“What is truth? A fable agreed upon. What is photography? A lie the moment it's caught. And yet it is the most honest and precise of all the arts.”

# data[].attributes.body
Through this exhibition, I want viewers to deeply engage with Sally Mann’s remarkable ability to capture the complexity of life, mainly through the lens of family, Southern heritage, and mortality. Her work serves as a powerful meditation on the passage of time, challenging perceptions of innocence, loss, and historical memory while encouraging meaningful conversations about both personal and collective histories. Mann’s photographs are imbued with a haunting beauty, inviting audiences to reflect on how the past continues to shape the present.

# data[].attributes.body
Gagosian Gallery, New York : September 15 – October 31, 2009

Mann's technical methods and process further emphasize the emotional and temporal aspects of these fragile life studies. The images are contact prints made from wet-plate collodion negatives, produced by coating a sheet of glass with ether-based collodion and submerging it in silver nitrate. Mann exploits the surface aberrations that can result from the unpredictability of the process to produce painterly photographs marked by stark contrasts of light and dark.

https://gagosian.com/exhibitions/2009/sally-mann-proud-flesh/

# data[].attributes.attachment_link.title
Sally Mann: Proud Flesh, 980 Madison Avenue, New York, September 15–October 31, 2009

# data[].attributes.attachment_link.description
Find out more about the exhibition Sally Mann: Proud Flesh at 980 Madison Avenue, New York. Installation views, works, editorial content, press, and more.

# data[].attributes.headline
"Ponder Heart" (2009) - Gelatin Silver Print

# data[].attributes.subject
"Ponder Heart" (2009) - Gelatin Silver Print

# data[].attributes.body
Ponder Heart (2009) is a part of her emotionally charged series Proud Flesh. This body of work intimately documents her husband, Larry Mann, who was, at the time, grappling with the progressive decline brought on by muscular dystrophy. Shot using the 19th-century collodion wet-plate process; a method known for its raw, unpredictable imperfections; Mann’s image embraces both the vulnerability and endurance of the human body as it moves through illness and aging.

In Ponder Heart, Larry’s form is laid bare, portrayed nude and unguarded. The photograph captures the map of his body: strong yet softened by time, marked by the visible evidence of his condition. His skin carries an intricate network of scars; lines and textures that speak to a lifetime of resilience, surgeries, medical interventions, and the body's slow, reluctant adaptation to disease. These scars are not hidden or minimized; instead, Mann’s lens honors them, allowing the viewer to see them as part of Larry’s lived experience. The marks on his body feel almost monumental, elevating the physical signs of pain and survival into something deeply noble and human.

The gelatin silver process; known for its rich tonal range and sharp detail; renders every nuance of Larry’s skin with almost tactile precision. Yet, at the same time, the imperfections of the wet-plate method (such as drips, cracks, and chemical streaks) introduce a ghostly, weathered atmosphere to the image. These flaws in the photographic surface seem to mirror the imperfections of the body itself, blurring the line between subject and medium, reality and memory.

Mann, Sally. Ponder Heart. 2009.

# data[].attributes.headline
"Hephaestus" (2008) - Gelatin Silver Print

# data[].attributes.subject
"Hephaestus" (2008) - Gelatin Silver Print

# data[].attributes.body
In Hephaestus (2008), the artist uses the gelatin silver print process to craft an image that feels both timeless and immediate, drawing heavily from the mythological figure of Hephaestus; the Greek god of fire, metalworking, and craftsmanship. At the heart of the photograph stands a solitary figure, a man whose body carries the marks of labor and endurance. His skin is textured, and roughened by work, and his posture is both powerful and weary, suggesting years spent shaping, forging, and building. He is not a passive subject; instead, he commands the space around him with a quiet intensity, embodying a profound relationship between human effort and the physical world.

The figure is surrounded by an environment that feels both industrial and ancient; shadowed machinery, scattered tools, and raw, elemental surfaces frame him, creating a stage that blurs the line between myth and modern reality. The lighting is stark and deliberate, casting deep, dramatic shadows across the scene. Highlights catch on beads of sweat, the worn edges of metal, and the coarse fibers of work-worn clothing, giving the photograph a tactile immediacy.

Mann, Sally. Hephaestus. 2008.

# data[].attributes.headline
"Goosebumps" (1990) - Gelatin Silver Print

# data[].attributes.subject
"Goosebumps" (1990) - Gelatin Silver Print

# data[].attributes.body
Goosebumps (1990) is a striking gelatin silver print that captures a moment suspended between vulnerability and wonder. In the image, a young girl stands at the center of the frame, her skin visibly textured by goosebumps, as though caught in a sudden chill or an intense emotional surge. Her wide eyes and parted lips suggest a complex mixture of fear, awe, and anticipation; an unspoken reaction to something unseen but profoundly felt.

The gelatin silver process, known for its rich, nuanced tonalities, allows every detail of her expression and the surface of her skin to emerge with clarity and depth. The soft grain of the print gives the photograph a dreamlike, timeless quality, while the stark contrasts between light and shadow heighten the emotional tension. Light falls delicately across her face and arms, illuminating the fine hairs raised by her heightened state, while deeper shadows gather around her, hinting at an unknown presence just beyond the frame.

The girl's emotion seems to radiate beyond the photograph itself, inviting viewers to inhabit her moment; to feel the sharp, tingling edge of adrenaline, the breathless pause before something happens. Whether the sensation is born of fear, excitement, or revelation is left deliberately ambiguous, making the experience intensely personal for each observer.

Mann, Sally. Goosebumps. 1990.

# data[].attributes.headline
"Triptych" (2004) - Gelatin Silver Print(s)

# data[].attributes.subject
"Triptych" (2004) - Gelatin Silver Print(s)

# data[].attributes.body
Sally Mann’s Triptych (2004), created using gelatin silver prints, is a powerful meditation on mortality and impermanence. The work, often composed of three hauntingly intimate black-and-white images, presents the human body in states of decay, drawing from Mann’s access to forensic research sites where she photographed cadavers. The use of gelatin silver printing lends a timeless and somber quality to the images, with rich tonal contrasts that emphasize the texture of skin and decomposition. This material choice enhances the viewer’s confrontation with the physical realities of death, stripping away any romantic or sanitized notions and presenting the body as a vulnerable, transient form. The triptych format, reminiscent of religious altarpieces, may symbolically suggest the progression from life to death and the possibility of transformation or continuation beyond. In doing so, Triptych becomes a contemplative space where viewers are asked to face their mortality and to consider the fragile boundary between presence and absence. The images are at once clinical and poetic, deeply rooted in Mann’s broader artistic and personal exploration of loss, memory, and the passage of time.

https://www.artsy.net/artwork/sally-mann-triptych