Sally Mann Bibliography
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Exhibition: Larry Sultan: Here and Home Dates: November 9, 2014–March 22, 2015 Location: BCAM, Level 2
Exhibition: Larry Sultan: Here and Home Dates: November 9, 2014–March 22, 2015 Location: BCAM, Level 2 (Image Captions on Page 3) (Los Angeles—September 4, 2014) The Los Angeles County Museum of Art (LACMA) presents Larry Sultan: Here and Home, the first retrospective to examine the work and career of California artist Larry Sultan (1946–2009). The exhibition explores Sultan's 35-year career, from his early conceptual and collaborative projects of the 1970s to his solo, documentary-style photographs. Resonating throughout Sultan’s work are themes of home and family, alongside his interest in the construction of identity, façade, and storytelling. Six major bodies of work make up this presentation, including Evidence (1975-1977), made collaboratively with Mike Mandel; Swimmers (1978–82); Pictures from Home (1983–92); Editorial (1993–2009); The Valley (1997–2003); and Homeland (2006–9). In total, Larry Sultan: Here and Home exhibits more than 200 photographs; a billboard; a film; and “Study Hall,” a room offering a unique lens into Sultan’s exploratory process both as artist and teacher. “Larry Sultan is among the most influential photographers of his generation,” said Michael Govan, LACMA CEO and Wallis Annenberg Director. “His images capture something indelible about California while at the same time set the stage for personal reflection, public commentary, and social engagement.” Rebecca Morse, Associate Curator in the Wallis Annenberg Photography Department comments, “From the conceptual inquiries of his early collaborative work to the investigative strategies of his solo career, both personal and editorial, this exhibition reveals Sultan’s exceptional range as an artist.” Larry Sultan: Here and Home is accompanied by a fully illustrated catalogue, published by Prestel Publishing, with essays by Philip Gefter and Sandra S. -
© 2016 Mary Kate Scott ALL RIGHTS RESERVED
© 2016 Mary Kate Scott ALL RIGHTS RESERVED THE PHOTOGRAPHY OF ABSENCE: DEATH IN POSTMODERN AMERICA By MARY KATE SCOTT A dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Andrés Zervigón And approved by ________________________________________ ________________________________________ ________________________________________ ________________________________________ New Brunswick, New Jersey January 2016 ABSTRACT OF THE DISSERTATION The Photography of Absence: Death in Postmodern America By MARY KATE SCOTT Dissertation Director: Dr. Andrés Zervigón It is a paradox that postmodern photographic theory—so thoroughly obsessed with death—rarely addresses intimate scenes of explicit death or mortality. Rather, it applies these themes to photographs of living subjects or empty spaces, laying upon each image a blanket of pain, loss, or critical dissatisfaction. Postmodern theorists such as Rosalind Krauss and Geoffrey Batchen root their work in the writings of Roland Barthes, which privilege a photograph’s viewer over its subject or maker. To Barthes’ followers in the 1980s and 1990s, the experiences depicted within the photograph were not as important as our own relationships with it, in the present. The photographers of the Pictures Generation produced groundbreaking imagery that encouraged the viewer to question authority, and even originality itself. Little was said, though, about intimacy, beauty, the actual fact of death, or the author’s individual experience. However, a significant group of American art photographers at the end of the twentieth century began making works directly featuring their own personal experiences with mortality. -
Postcolonial Ecocriticism and Sally Mann's
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects Summer 2018 “Terrible in its Beauty, Terrible in its Indifference”: Postcolonial Ecocriticism and Sally Mann’s Southern Landscapes Laura Keller College of William and Mary - Arts & Sciences, [email protected] Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons Recommended Citation Keller, Laura, "“Terrible in its Beauty, Terrible in its Indifference”: Postcolonial Ecocriticism and Sally Mann’s Southern Landscapes" (2018). Dissertations, Theses, and Masters Projects. Paper 1530192830. http://dx.doi.org/10.21220/s2-hpc3-4r92 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. “Terrible in its Beauty, Terrible in its Indifference”: Postcolonial Ecocriticism and Sally Mann’s Southern Landscapes Laura Keller Richmond, VA B.A., James Madison University, 2010 Thesis presented to the Graduate Faculty of The College of William & Mary in Candidacy for the Degree of Master of Arts American Studies Program College of William & Mary May 2018 © Copyright by Laura Keller 2018 ABSTRACT Sally Mann (1951- ) has spent forty years photographing scenes in the American South, including domestic scenes, landscapes, and portraits. Although scholars generally interpret her work as a reflection of the region’s history of violence and oppression, my research will consider her work through the lens of postcolonial ecocriticism. In her art and writing, Mann portrays the land as an indifferent witness to history, a force intertwined with humanity, lending matter for human lives and reclaiming it after death. -
Sally Mann Remembered Light: Cy Twombly in Lexington
G A G O S I A N December 7, 2017 SALLY MANN REMEMBERED LIGHT: CY TWOMBLY IN LEXINGTON Opening reception: Thursday, June 22, 6–8PM June 22–September 8, 2017 Via Francesco Crispi 16 00187 Rome There is a sense of immutable, eternal life. And in these new works there is a sense about Cy’s own continuum—the ongoing quality of his great legacy and his art—it’s not a memorialization, it’s a living thing. —Sally Mann Gagosian is pleased to present “Remembered Light: Cy Twombly in Lexington,” an exhibition by photographer Sally Mann. This is her first exhibition in Rome. Mann is known and regarded for her images of intimate and familiar subjects rendered both sublime and disquieting: children, landscape, family, and the nature of mortality. In previous Page 1 of 3 projects, she explored relationships between parent and child, husband and wife, brother and sister, nature and history. In her latest exhibition of color and black-and-white photographs, taken between 1999 and 2012, she records in fleeting impressions the Lexington, Virginia studio of the late Cy Twombly, her close friend and mentor. Following presentations at Gagosian New York and Paris, this exhibition has special resonance in Italy, Twombly's adopted and imaginative home for several decades. Twombly and Mann were both born and raised in Virginia. The landscape to which he returned each year is also the memoryscape of Mann’s connection to him. In her recent and celebrated memoir Hold Still, she recalls his elemental nature, his Southern courtesy, his wry and gentle humor. -
Larry Sultan: Whose American Dream
In the mid-1980s, Larry Sultan had a studio just over the Golden Gate Bridge at the southern tip of Marin County, California. The Headlands Philip Gefter Center for the Arts had converted several old military barracks into artists’ studios and granted him a large second-story room with wood plank floors, a high ceiling, and two sizeable windows with a direct view of Rodeo Beach. Sunlight danced on the walls. Whose I lived in Sausalito then, a recent refugee from New York. Larry was head of the photography program at the San Francisco Art Institute and had hired me as an adjunct faculty member—the begin- ning of our virtually familial lifelong friendship. Maybe once a week I would drive over to his studio for an afternoon visit. At the time Larry was working on his series Pictures from Home (1983–91), a component of which consists of hundreds of still frames he had chosen from old American Dream? home movies made by his parents during his childhood in Los Angeles in the 1950s. Pinned to the wall of his studio were small prints of the film stills assembled in a tidy grid above his worktable. I’d walk in and he would be standing there staring at the grid, sipping a little scotch, moving a few pictures around, having himself some fun. We might talk for a while about the placement of one picture (Somewhere Between next to another, the cinematic rhythm of the grid, the psychological clues residing in the scavenged record of his childhood, or even whether this kind of personal documentation had any cultural rele- vance at all. -
Tomma Abts Francis Alÿs Mamma Andersson Karla Black Michaël
Tomma Abts 2015 Books Zwirner David Francis Alÿs Mamma Andersson Karla Black Michaël Borremans Carol Bove R. Crumb Raoul De Keyser Philip-Lorca diCorcia Stan Douglas Marlene Dumas Marcel Dzama Dan Flavin Suzan Frecon Isa Genzken Donald Judd On Kawara Toba Khedoori Jeff Koons Yayoi Kusama Kerry James Marshall Gordon Matta-Clark John McCracken Oscar Murillo Alice Neel Jockum Nordström Chris Ofili Palermo Raymond Pettibon Neo Rauch Ad Reinhardt Jason Rhoades Michael Riedel Bridget Riley Thomas Ruff Fred Sandback Jan Schoonhoven Richard Serra Yutaka Sone Al Taylor Diana Thater Wolfgang Tillmans Luc Tuymans James Welling Doug Wheeler Christopher Williams Jordan Wolfson Lisa Yuskavage David Zwirner Books Recent and Forthcoming Publications No Problem: Cologne/New York – Bridget Riley: The Stripe Paintings – Yayoi Kusama: I Who Have Arrived In Heaven Jeff Koons: Gazing Ball Ad Reinhardt Ad Reinhardt: How To Look: Art Comics Richard Serra: Early Work Richard Serra: Vertical and Horizontal Reversals Jason Rhoades: PeaRoeFoam John McCracken: Works from – Donald Judd Dan Flavin: Series and Progressions Fred Sandback: Decades On Kawara: Date Paintings in New York and Other Cities Alice Neel: Drawings and Watercolors – Who is sleeping on my pillow: Mamma Andersson and Jockum Nordström Kerry James Marshall: Look See Neo Rauch: At the Well Raymond Pettibon: Surfers – Raymond Pettibon: Here’s Your Irony Back, Political Works – Raymond Pettibon: To Wit Jordan Wolfson: California Jordan Wolfson: Ecce Homo / le Poseur Marlene -
The Dynamics of Adolescence and Mothers
Future Clan: A Visual Investigation into the Dynamics of Adolescence and Mothers by Gabrielle Falconer A thesis submitted to the Department of Fine Arts In conformity with the requirements for the degree of PhD University of Tasmania April, 2012 Abstract This project is a visual interpretation of my journey of motherhood at the time of my son‟s adolescence. Adolescence encompasses a reshaping of roles and relationships for both mother and son and these shifts are often accompanied by confusion and conflict. The relationship between parent and child is central, and is presented in this submission from the perspective of the mother. The balance between dependency and independence for the adolescent, and a mother‟s response to these oscillations, has been central to the overall project. There are a number of questions that arise from this personal investigation that have a theoretical underpinning, including; How can portraiture explore the complex realm of selfhood and the subject? and What place does such an intimate exploration of a lived experience have in contemporary art? and Why has this aspect of women‟s lives been so little explored by artists? The exegesis reviews feminist writing on motherhood and art, such as theorists Marianne Hirsch, Carol Armstrong Rozsika Parker and Andrea Liss. It is significant that as recently as the 2009 publication Feminist Art and the Maternal, Andrea Liss questions why the perspective of the mother has been under- represented within contemporary art practice. Following this there is a discussion of portraiture and expressionism and how these operate within this research project. Finally there is a discussion of printmaking processes that allow for an expression of the embodied experience of motherhood and how the use of a camera to record poses, expresses the fragmented experience of parenting. -
The Vicinity of Narrative on His Work Desk in Oakland, California, Todd Hi
The Vicinity of Narrative On his work desk in Oakland, California, Todd Hido arranges and rearranges a stack of his photographs alongside vintage shots that he found at a yard sale. These are the origins of Excerpts from Silver Meadows: a singular order that Hido makes out of his special brand of chaos. ‘When viewers arrive at a book of photographs, they’re expecting something that makes sense,’ he tells me. ‘But I think ambiguity is an incredibly important and powerful tool.’ So here he is, connecting disparate images to give shape to a precise uncertainty. The end result will, of course, be this book, made up of many different elements and layers — different breeds of photographs that Hido has taken over the years, yes, but also pulp fiction covers and snapshots Hido took when he was twelve years old. These are asides not found in any of his previous, tightly edited monographs. Hido is deep in the work process when I ask him if this ‘departure’ is intentional: this incorporation of archival material and private moments captured on film years ago, or by someone else entirely. ‘It’s actually not a departure at all,’ he tells me. ‘I’ve been working like this since I first got to graduate school. Even then, it was my way of experimenting more.’ Still, he didn’t put these unusual combinations out into the world until three years ago, when he made ‘a little ’zine-like book published in Japan called Nymph Daughters.’ The book integrated, among other unexpected images, heart-shaped, hot pink spray-painted drips layered over seedy found personal ads. -
Picturing the South” Series with Commemorative 2021 Exhibition and New Photography Commissions
FOR IMMEDIATE RELEASE HIGH MUSEUM OF ART CELEBRATES 25th ANNIVERSARY OF “PICTURING THE SOUTH” SERIES WITH COMMEMORATIVE 2021 EXHIBITION AND NEW PHOTOGRAPHY COMMISSIONS Sheila Pree Bright, Jim Goldberg and An-My Lê to create new works for the High’s collection Photographs to premiere in 2021 exhibition featuring groundbreaking “Picturing the South” commissions from the past 25 years ATLANTA, Oct. 14, 2020 — The High Museum of Art has commissioned Sheila Pree Bright, Jim Goldberg and An-My Lê for the Museum’s ongoing “Picturing the South” photography series, which will celebrate its 25th anniversary in 2021. To commemorate the occasion, the High will present a special exhibition debuting these new works alongside past commissions from the series by artists including Richard Misrach, Sally Mann, Dawoud Bey, Emmet Gowin and Alec Soth. Launched in 1996, “Picturing the South” supports established and emerging photographers in creating new bodies of work inspired by the American South for the Museum’s collection, which is the largest and most significant public repository of the region’s contributions to photography. Bright, Goldberg and Lê’s commissioned works will shed light on prevailing themes and movements in the American South, including racial and national identity. “For 25 years, the High has commissioned noted photographers to focus their lenses on the American South, calling attention to universal issues, such as the impacts of environmental pollution, struggles of impoverished communities, and young people’s grappling with public perception verses private self, that make up the fabric of our shared experiences,” said Rand Suffolk, the High’s Nancy and Holcombe T. -
Send2press® Media List 2009, Weekly U.S. Newspapers *Disclaimer: Media Outlets Subject to Change; This Is Not Our Complete Database!
Send2Press® Media Lists 2009 — Page 1 of 125 www.send2press.com/lists/ Send2Press® Media List 2009, Weekly U.S. Newspapers *Disclaimer: media outlets subject to change; this is not our complete database! AK Anchorage Press AK Arctic Sounder AK Dutch Harbor Fisherman AK Tundra Drums AK Cordova Times AK Delta Wind AK Bristol Bay Times AK Alaska Star AK Chilkat Valley News AK Homer News AK Homer Tribune AK Capital City Weekly AK Clarion Dispatch AK Nome Nugget AK Petersburg Pilot AK Seward Phoenix Log AK Skagway News AK The Island News AK Mukluk News AK Valdez Star AK Frontiersman AK The Valley Sun AK Wrangell Sentinel AL Abbeville Herald AL Sand Mountain Reporter AL DadevilleDadeville RecordRecord AL Arab Tribune AL Atmore Advance AL Corner News AL Baldwin Times AL Western Star AAL Alabama MessengerMessenger AL Birmingham Weekly AL Over the Mountain Jrnl. AL Brewton Standard AL Choctaw Advocate AL Wilcox Progressive Era AL Pickens County Herald Content and information is Copr. © 1983‐2009 by NEOTROPE® — All Rights Reserved. Send2Press® Media Lists 2009 — Page 2 of 125 AL Cherokee County Herald AL Cherokee Post AL Centreville Press AL Washington County News AL Call‐News AL Chilton County News AL Clanton Advertiser AL Clayton Record AL Shelby County Reporter AL The Beacon AL Cullman Tribune AL Daphne Bulletin AL The Sun AL Dothan Progress AL Elba Clipper AL Sun Courier AL The Southeast Sun AL Eufaula Tribune AL Greene County Independent AL Evergreen Courant AL Fairhope Courier AL The Times Record AL Tri‐City Ledger AL Florala News AL Courier Journal AL The Onlooker AL De Kalb Advertiser AL The Messenger AL North Jefferson News AL Geneva County Reaper AL Hartford News Herald AL Samson Ledger AL Choctaw Sun AL The Greensboro Watchman AL Butler Countyy News AL Greenville Advocate AL Lowndes Signal AL Clarke County Democrat AL The Islander AL The Advertiser‐Gleam AL Northwest Alabaman AL TheThe JournalJournal‐RecordRecord AL Journal Record AL Trinity News AL Hartselle Enquirer AL The Cleburne News AL The South Alabamian Content and information is Copr. -
Masters of Narrative.Pdf
Masters of narrative ROGER BALLEN Roger Ballen was born in New York City, New York, USA in 1950. He has lived in Johannesburg since the 1970s. Beginning by documenting the small dorps or villages of rural South Africa, Ballen starting photographing the inhabitants of these places in the late 1980s and early 1990s. http://www.rogerballen.com/asylum-of-the-birds/ http://www.asylumofthebirds.com were all taken entirely within the confines of a house in a Johannesburg suburb, the location of which remains a tightly guarded secret. The inhabitants of the house, both people and animals, and most notably the ever-present birds, are the cast who perform within a sculptural and decorated theatrical interior that the author creates and orchestrates. JIM GOLDBERG A major mixed media exhibition by Goldberg concerning homeless children in California entitled Raised by Wolves began traveling in 1995 and was accompanied by a book of the same title.[⁹] A review of the exhibition at the Corcoran Gallery of Art noted that Goldberg made reference to other artists and photographers; used photographs, videos, objects, and texts to convey meaning; and "let his viewers feel, in some corner of their psyches, the lure of abject lowliness, the siren call of pain."[⁹] Although the accompanying book received one mixed review shortly after publication,[¹⁰] it was described as "a heartbreaking novel with pictures",[⁹] and Martin Parr and Gerry Badger in their book The Photobook: A History praised it as "complex and thoughtful."[¹¹] http://vimeo.com/39715337 http://www.magnumphotos.com/C.aspx? VP3=CMS3&VF=MAGO31_10_VForm&ERID=24KL53ZHEN Joan Fontcuberta A detail from The Miracle of Levitation, 2002, by Joan Fontcuberta. -
Sally Mann Remembered Light Cy Twombly in Lexington
G A G O S I A N December 7, 2017 SALLY MANN REMEMBERED LIGHT CY TWOMBLY IN LEXINGTON EXTENDED! Through Saturday, April 29, 2017 4 rue de Ponthieu 75008 Paris There is a sense of immutable, eternal life. And in these new works there is a sense about Cy’s own continuum—the ongoing quality of his great legacy and his art—it’s not a memorialization, it’s a living thing. —Sally Mann Gagosian Paris is pleased to present “Remembered Light,” an exhibition of color and black- and-white photographs by Sally Mann, taken between 1999 and 2012. Following its New York debut in September 2016, the exhibition has been adapted for the Paris gallery, taking on a more intimate scale and incorporating several previously unseen works. Mann is known and regarded for her images of personal and familiar subjects rendered sublime and disquieting: children, landscape, family, and the nature of mortality. In previous projects, she explored relationships between parent and child, husband and wife, brother and Page 1 of 3 sister, nature and history. In her latest exhibition of photographs spanning more than a decade, she records in fleeting impressions the working habitat of the late Cy Twombly, her close friend and mentor. Twombly and Mann are both natives of Virginia. The landscape to which Twombly returned each year is also the memoryscape of Mann’s connection to him. This was documented in her recent and celebrated memoir Hold Still, in which she recalls his elemental nature, his southern courtesy, his wry and gentle humor. Recalling her time with Twombly, Mann