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Essay / Research Paper Abstract
In twelve pages this paper examines the naturalistic photography of controversial artist Sally Mann, and include discussion of her famous “Immediate Family” collection as well as her family pictures (notably of her young and often nude children), Southern landscapes, battlefields, “Body Farm,” “Faces,” “Proud Flesh,” and ambrotypes. Nine sources are listed in the bibliography.
Page Count:
12 pages (~225 words per page)
File: TG61_TGsallymann.rtf
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Unformatted sample text from the term paper:
within the scope of her Lexington, Virginia farm. Sally Mann photographs the people and sights that define her life and shares them in imaginative ways that have won equal
amounts of lavish praise and harsh criticism. Nevertheless, she stays true to her art and steadfast in her right to depict her husband, children, and surroundings with a brutal
honesty that may be refreshing to some while disturbing to others. Her subjects may change, but her natural style of photography and her commitment to maintaining her own artistic
integrity remains unchanged with the passage of time. Born in Lexington, Virginia on May 1, 1951, Sally Mann was the youngest child and only daughter of Robert and Elizabeth
Evans Munger. She enjoyed what she proudly describes to be a "feral" childhood, which included running naked in the outdoors, as did her older brothers (Roberts 18). Her
liberal-minded father was a physician and an ardent participant in the civil rights movement of the 1960s. Mann affectionately refers to her father as an "oddball," who unknowingly established
her career path with the camera he gave her when she was 17. He wanted to share with his daughter his dual passions for nature and photography. Dr.
Mungers photographic collection included several shots of a nude young Sally playing outside. For him, such family photographs were completely natural forms of artistic expression. To censor such
beauty would be unethical. Robert Munger gave his daughter her most important piece of professional advice when he told her that the only subjects "worthy of art were love,
death and whimsy" (Roberts 18). Sally Mann would later say of her childhood, "I dont remember the things that other people remember from their childhood. Sometimes I think
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