P
Phillips
Medium
Signature
Signed, titled, dated, numbered 10/25, copyright notation and edition information in pencil on the verso.

While photographs of poignant Southern landscapes and historic architecture earned Sally Mann initial accolades, it was her portraits of girls captured in the ephemeral moment between childhood innocence and womanly sophistication that solidified her reputation as provocateur. “Family Pictures” (1984-1991) emerged out of intimate, black-and-white photographs of her own young children, often nude, going about their daily lives—eating, sleeping, and playing. Besides eliciting controversy over her sexually charged images of children, Mann is noted for using large-format cameras—sometimes with damaged lenses that admit light leaks and imperfections—to reveal the uncanny beauty in her subjects, be they decomposing corpses, Civil War battlefields, or her own family. More recently, she has revisited the 19th-century process of wet collodion on glass plates, which captures fine details, but requires exposing and developing the film within 15 minutes. Limited control over the process leads to what Mann describes as “happy accidents” in her work.

High auction record
$267k, Phillips de Pury & Company, 2012
Blue chip
Represented by internationally recognized galleries.
Collected by major museums
Museum of Modern Art (MoMA), San Francisco Museum of Modern Art (SFMOMA)
Selected exhibitions
2019
Sally Mann: A Thousand CrossingsJeu de Paume
2018
Sally Mann: A SelectionGagosian
Sally Mann: A Thousand CrossingsJ. Paul Getty Museum
View all

Fallen Child, 1989

Gelatin silver print.
19 4/5 × 23 7/10 in
50.2 × 60.3 cm
Edition 10/25
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P
Phillips
Medium
Signature
Signed, titled, dated, numbered 10/25, copyright notation and edition information in pencil on the verso.

While photographs of poignant Southern landscapes and historic architecture earned Sally Mann initial accolades, it was her portraits of girls captured in the ephemeral moment between childhood innocence and womanly sophistication that solidified her reputation as provocateur. “Family Pictures” (1984-1991) emerged out of intimate, black-and-white photographs of her own young children, often nude, going about their daily lives—eating, sleeping, and playing. Besides eliciting controversy over her sexually charged images of children, Mann is noted for using large-format cameras—sometimes with damaged lenses that admit light leaks and imperfections—to reveal the uncanny beauty in her subjects, be they decomposing corpses, Civil War battlefields, or her own family. More recently, she has revisited the 19th-century process of wet collodion on glass plates, which captures fine details, but requires exposing and developing the film within 15 minutes. Limited control over the process leads to what Mann describes as “happy accidents” in her work.

High auction record
$267k, Phillips de Pury & Company, 2012
Blue chip
Represented by internationally recognized galleries.
Collected by major museums
Museum of Modern Art (MoMA), San Francisco Museum of Modern Art (SFMOMA)
Selected exhibitions (3)

Series by this artist

Other works by Sally Mann
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