Sally Mann, ‘Untitled (Deep South #34)’, Sotheby's

Oversized, tea-toned, flush-mounted, signed, dated, and editioned '3/10' in pencil on the reverse, framed, an Edwynn Houk Gallery, New York, label on the reverse, 1998, printed in 1999 (Deep South, p. 77).

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