Blogas Artioma

Sally Mann albumas „Immediate family“. Daug labai gerų nuotraukų. Visi nekrofilų pedofilų nekentėjai gali eiti nachui užsiimti kitokia turininga veikla ir negaišti laiko.

Foto © Sally Mann.

Mann is perhaps best known ^[5] for Immediate Family, her third collection, published in 1992. The NY Times said, “Probably no photographer in history has enjoyed such a burst of success in the art world.” ^[2] The book consists of 65 black and white photographs of her three children, all under the age of 10. Many of the pictures were taken at the family’s remote summer cabin along the river, where the children played and swam in the nude. Many explore typical childhood themes (skinny dipping, reading the funnies, dressing up, vamping, napping, playing board games) but others touch on darker themes such as insecurity, loneliness, injury, sexuality and death. The controversy on its release was intense, including accusations of child pornography (both in America^[6] and abroad ^[7]) and of contrived fiction with constructed tableaux. ^[2] One image of her 4 year old daughter (Virginia at 4) was censored by the Wall Street Journal with black bars over her eyes, nipples and vagina [sic]. ^[8] Mann herself considered these photographs to be “natural through the eyes of a mother, since she has seen her children in every state: happy, sad, playful, sick, bloodied, angry and even naked.” ^[9] Critics agreed, saying her “vision in large measure [is] accurate, and a welcome corrective to familiar notions of youth as a time of unalloyed sweetness and innocence,” ^[10] and that the book “created a place that looked like Eden, then cast upon it the subdued and shifting light of nostalgia, sexuality and death.” ^[11] When Time magazine named her “America’s Best Photographer” in 2001, they said:

“Mann recorded a combination of spontaneous and carefully arranged moments of childhood repose and revealingly—sometimes unnervingly—imaginative play. What the outraged critics of her child nudes failed to grant was the patent devotion involved throughout the project and the delighted complicity of her son and daughters in so many of the solemn or playful events. No other collection of family photographs is remotely like it, in both its naked candor and the fervor of its maternal curiosity and care.” ^[12]