Traveling Exhibitions

 

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American Art and Artists

Posing Beauty In
African American Culture

Sally Mann:
The Family and The Land

Paul Outerbridge:
New Color Photographs
from Mexico and California

Stefan Sagmeister: Things I have learned in my life

Yosuf Karsh:
Regarding Heroes


Modern/Contemporary Art

Uncanny Likeness: The
Contemporary Self-Portrait

Artists, Poets & Intimates:
Portraits of a Life
by Françoise Gilot

Modern Photography of the
Russian Avant-Garde

Almost Alice: New Illustrations of Wonderland by Maggie Taylor

The Great Picture

Cuba Avant-Garde:
Contemporary Cuban Art from the Farber Collection

Book of Lies:
Volumes I, II, and III

André Kertész: On Reading


Artist Retrospectives

Mythopoetic Seeing:
Twenty-Five Years of Photographs
by Elisabeth Sunday

SAGA: The Journey of
Arno Rafael Minkkinen
Thirty-Five Years of Photographs


Architecture/Decorative Art

Peter Shire: Chairs

Julius Shulman:
Desert Modern

Hollyock House and
Olive Hill:
Frank Lloyd Wright and
Edmund Teske


History and Culture

E. O. Hoppé:
The Indian Subcontinent
on the Cusp of Change

The Black & White Fifties:
South Africa Photographs by Jurgen Schadeberg

number of works:
71

frame sizes:
20 x 24 to 40 x 50 inches
(50 x 60 to 100 x 130 cm)

space requirements:
300 linear feet
(140 linear meters)

tour dates:
Summer 2008–2011

participation fee:
*medium

see booking information

 

*Because projects are planned years in advance, the final participation fee may not be published. Fees fall within the following ranges:

low: under $10,000
medium: $10,000–$20,000
high: over $20,000


Sally Mann: The Family and The Land


I was once asked what my work was about and before I could think about something art-speaky and smart, my lizard brain instructed my tongue to say “The family and the land.” Once it was out, I tried to tart it up with profundities but stopped, realizing that there was, at least for me, nothing of greater significance. That’s it. That’s the alpha and the omega, the beginning and the end.

Until I was sent to boarding school in chill New England, the farm where I live and the greater South that embraces it, were as elemental to me as the air I breathed. Separated from them for the 6 years of my good Northern education, I suffered some of the pain of Faulkner’s anguished Quentin Compson, missing my homeland with an almost physical pain. I returned to my native Virginia in 1972 and almost every picture I have taken since then has involved the complicated Southern landscape and the lives of the three children that we raised within it.

While not a retrospective, this show takes us on an abbreviated tour of these concerns over about 25 years; the “Immediate Family” pictures of 1984–1994, the “Virginia” and “Deep South” landscapes overlapping and succeeding the family work, the otherworldly faces of the children, now mature, and my interest in the natural cycle of death and renewal in “Matter Lent” and “What Remains.”

—Sally Mann

 

Image:
Emmett, Jessie, and Virginia, 1989, gelatin-silver print 20 x 24 inches. Courtesy of the artist.

 

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