Sally Mann, ‘Untitled’, 1998, Kitano Alley Gallery

Photogravure Signed and Numbered by the Artist in an edition of 55.
Published John Goodman Photogravure

This is a self standing signed and numbered photogravure published in conjunction with the Journal of Contemporary Photography Vol. V- Museum Edition

Museum Edition consists of 55 copies numbered I-LV
Signed by the artists
Bound in Moroccan Goatskin
10 bound, hand-pulled photogravures, 5 bound color planographs and 43 tritone plates.
An additional portfolio of 10 photogravures and 5 planographs, signed, unbound and self-standing, is cased in a basswood portfolio box bound in Italian fabric.

These images are identical to the ones that appear in the bound book, but are free standing and signed allowing the collector the opportunity to frame and display all the fine prints included in the volume

The Journal of Contemporary Photography features hand-pulled photogravure images from many of the world's most highly respected contemporary photographers. Each gravure is made by Jon Goodman, the modern master of the process. These images are combined with brilliant criticism, poetry, and fiction from many of the world's most acclaimed writers. Not since Alfred Stieglitz's Camera Work has there been such attention to beauty, such incisive criticism, and such an articulate melding of visual and literary points of view. Each volume is both an object of beauty and a fine art investment.

Volume V, aptly named Strange Genius, is an insightful examination of the ways in which artists today make conscious attempts to create work that can often be unsettling, difficult, even horrific, yet all the while retaining that strangely mysterious sense of what can only be called beautiful. Writers include poets Raúl Peschiera, Susan Ludvigson, Gerard Malanga, and Paul Zimmer; novelists Ann Beattie and Neil Connelly; and essayists Paul LaRosa, and John Wood.

This beautiful 2 box set, part of a series from 21st Editions, is offered here in AS NEW condition.


THE MUSEUM EDITION IS SIGNED on the limitation page by the Artists featured.

This incredible book is a hardcover bound in burgundy quarter Morocco goatskin. It is encased in a handmade basswood box, also covered in Italian fabric, measuring 17 x 14.75 inches. There are 211 pages, containing 10 hand-pulled photogravures and 5 color planographs produced by Jon Goodman Photogravure. It also includes 43 additional tritone plates printed on Mohawk Superfine matt art paper by The Stinehour Press, Lunenburg, Vermont.
Features biographical notes on each Artist. The book itself measures 15.25 x 13.75 inches.

The 10 self standing signed photogravures and 5 self standing planographs are encased in a handmade basswood box, also covered in Italian fabric, measuring 17 x 14.75 inches.

Published by 21st Editions, South Dennis, Massachusetts / Leo & Wolfe Photography, Inc., Brewster, Massachusetts, 1998

"Sally Mann is an American photographer, best known for her large-format, black-and-white photographs—at first of her young children, then later of landscapes suggesting decay and death.Her works are included in the permanent collections of the Metropolitan Museum of Art, the National Gallery of Art, the Hirshhorn Museum and Sculpture Garden, the Museum of Fine Arts, in Boston, the San Francisco Museum of Modern Art, and the Whitney Museum of New York City among many others.
Time magazine named Mann ""America's Best Photographer"" in 2001. Photos she took have appeared on the cover of The New York Times Magazine twice: first, a picture of her three children for the September 27, 1992 issue with a feature article on her ""disturbing work,"" and again on September 9. 2001, with a self-portrait (which also included her two daughters) for a theme issue on ""Women Looking at Women.""

Mann received an honorary Doctor of Fine Arts degree[59] from the Corcoran Museum in May 2006. The Royal Photographic Society (UK) awarded her an Honorary Fellowship in 2012.
Mann won the 2016 Andrew Carnegie Medal for Excellence in Nonfiction for Hold Still: A Memoir in Photographs."

About Sally Mann

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.

American, b. 1951, Lexington, Virginia, based in Lexington, Virginia

Group Shows

San Francisco,
New York,
Art Basel 2017 - Folio
Westlicht - Schauplatz für Fotografie, 
Vienna, Austria,
View Artist's CV