COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0001172
image_record_id
aahi0001172
Image Record ID
false
Work Title (display):
Jessie and the Deer
Image Title:
full view
Work Dates (display):
1985
Work Dates type:
creation
Image Date (display):
2007-11-30
Work Creator (display):
Sally Mann (American, born 1951)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
American photographer. Mann studied photography at Putney School in Vermont (19669). She spent the following two years at Bennington College, VT, and then attended the Friends World College, New York. From 1971 to 1973 Mann took photography courses at the Praestegaard Film School, Fjerritslev, Denmark, the Aegean School of Fine Arts, Paros, Apeiron Workshops in Photography, Millerton, New York, and the Ansel Adams Yosemite Workshop, where she served as an assistant to Adams. She graduated from Hollins College, Roanoke, VA, with a BA in 1974, and received an MA in writing from the same school in 1975. Mann is well known for her series of black-and-white portraits of the children and landscapes of the American South, exposed through the lens of a large-format centenarian camera. Mann first received acclaim for her portraits with At Twelve (19835), a collection of photographs of twelve-year-old girls in Lexington, VA, on the brink of adolescence. Her subsequent and most well-known series, Immediate Family (198491), tells the story of Mann's three young childrenEmmet, Jessie, and Virginiaas they matured over the years, playing, reading, and sleeping at their family's farm in the Shenandoah Valley. The images often show her children in the nude, at times in sensual poses, with a bloody nose or fast asleep on a urine-stained bed. While some have praised these seductive yet unsettling prints for their candid depictions of childhood, others have called for their censorship, describing them as pornographic and exploitative. Hayhook (1989)a photograph the New York Times would not printilluminates Jessie's naked body as she hangs from a hook in the family's barn while adults languidly sit in the darkened periphery. Mann's images are powerful and engaging in the way they border the tenuous divide between innocence and self-awareness, childhood and adult life, myth and reality. This series has also raised debates about the extent to which these photographs reveal more about the desires of Mann herself as an artist, than an honest portrayal of youth. With the maturing of her children, Mann began to focus her attention on the landscape of the American South, creating what have been described as unpeopled portraits. Photographs of Georgia, Virginia, Mississippi and Louisiana in the two series Mother Land (1996) and Deep South (1998) explore the romantic yet scarred landscape of the South with its lush, bucolic settings, dilapidated plantations and history of loss, violence and racism. Using her large-format vintage camera with damaged lenses, sometimes installed in reverse, Mann employed 19th-century techniques of pictorialism to create misty, atmospheric and almost abstract images of landscapes on printed surfaces that are often scratched and darkened around the edges. In her subsequent series, What Remains (19972002), Mann examined mortality through images that include the disinterred bones of Eva, her greyhound dog, decaying bodies on the grounds of a forensic institute and Antietam, one of the bloodiest Civil War battlefields, where victory for the southern Confederacy seemed a possibility. Defiant of the desire to shelter the living from the dead, Mann pictured death's physical remains and exposed the way in which the serene and seemingly unchanged landscape of the South absorbs, subsumes and therefore makes invisible the death and violence of the past and present. Producing large silver gelatin prints from the 19th-century collodion wet-plate process that uses 8×10 inch (20.3×25.4 cm) glass negatives, her contemporary exploration of historical techniques mirrors her conceptual process of examining the past through the lens of the present. Like her portraits, Mann's landscapes examine the uneasy confluence of past and present, history and memory, life and death. Mann received a John Simon Guggenheim Memorial Foundation Fellowship in 1987 and three National Endowment for the Arts fellowships (1992, 1982 and 1988). Her work appears in the permanent collection of major museums, including the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York and the San Francisco Museum of Modern Art. In 2001 Time magazine named her 'America's Best Photographer'. (Grove Art Online Accessed 2008-02-06)
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
deer
subject
deer
Work Subject
false
Work Subject:
figures
subject
figures
Work Subject
false
Work Subject:
hunting
subject
hunting
Work Subject
false
Work Subject:
girls
subject
girls
Work Subject
false
Work Subject:
children (people by age group)
subject
children (people by age group)
Work Subject
false
Work Subject:
animals
subject
animals
Work Subject
false
Work Subject:
death
subject
death
Work Subject
false
Work Subject:
game and game-birds
subject
game and game-birds
Work Subject
false
Work Worktype:
photographs
work_type
photographs
Work Worktype
false
Work Category (VRC classification):
photographs
work_category__ucbaahvrc_classification_
photographs
Work Category (VRC classification)
false
Image Source Reproduction citation:
Immediate Family (unconfirmed)
image_source_copy_from_print_name
Immediate Family (unconfirmed)
Image Source Reproduction citation
false
Image Rights (display):
unknown
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Sally Mann
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see