Photographer Sally Mann

Other portfolios display similarly consistent relationships among technical ways and aesthetic ends. The Lewis Law Portfolio (1977), for instance, features night photographs produced with extended exposures which created glowing, ghostly abstractions set inside framing dark. In works in Mann's recent "Georgia" series, on a other hand, the photographer reversed the lens to create a misted effect at the center of her evocative landscapes. In this most recent series Mann utilized many methods of partially obscuring, rather than abstracting, her ostensible subjects and evoked a historicizing iconography that had not previously been a feature of her work.

Throughout her work Mann's jobs has also been marked by a very powerful sense of place. Being a photographer of, primarily, family, neighbors, and local sites, Mann's connection to the location wherever she has lived nearly her entire life is invariably mentioned by commentators. She was born, in 1951, and raised inside the "singularly unspoiled community" of Lexington, Virginia and her "rootedness in this location and its people" are always cited as the source of her vision (Livingston, 1983, p. ix).


Vance, C. S. (1990, Fall). Photography, pornography and sexual politics. Aperture, pp. 52-64.

Schaub, G. (1992, February). [Interview with Sally Mann]. Photographer's Forum, pp. 16-19, 21-22.

The moment, however, just isn't so essential in Mann's following large projects, the "Virginia" and "Georgia" series which have been recently exhibited in New York. These works have a tendency to invoke history rather than personal life. From the 2 examples provided with Corn's (1998) review, the landscape images Mann photographed are subjected to numerous manipulations that deliberately recall the country of photographs that survive during the previous century. But, after Corn claims that works such as the untitled picture of a plantation gate (1998, p. 88) are "images that could have been taken inside the 19th century," he is missing the factor (1998, p. 89). This image is 1 that precisely could not have been taken inside the last century. At that time the bricks would not were so mossy, the lawn would not had been strewn with fallen branches and leaves, the drive would not be imprecisely drawn and neglected, as well as the stone planters would had been carefully painted or washed and filled with plants. Mann's evocation in the past--with her use of a lens that doesn't entirely cover the plate, folded scarring in the print, and irregular development--is not meant to recreate old photographs but to intensify the feelings that these aging signs of human habitation evoke. Just as, in her early landscapes, there was an analogy in between the photographer's alternative of human signs in the landscape and also the tenuous power of those people signs, the selection of old-fashioned photographic ways in this picture is an analogy for the fading power of these old human intrusions on nature.

In some instances Mann resorted to a a lot more created iconography which carried much on the burden of communicating the specific qualities of each of the girls in the collection.

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