The notion that 'The Family and the Land' is Manns first solo exhibition in London, seems quite preternatural when you consider that in 2001 Time Magazine described Sally Mann as 'America's Best Photographer'. No doubt those who like their photographs know of Mann, not only because she takes admirable pictures but also because her work is associated with pushing and over stepping the fine lines.’ The Family and the Land' presents fine examples of both of these associations, presenting a collection of work based on portraits of her three children and decaying corpses. The series of images which focus on her three children are extremely intimate and revealing, perhaps the sensitivity of the images lies in the idea that Mann is more than a photographer here she is also a mother and she captures the innocence and vulnerability of youth. When photographing the anonymous deceased there is sensitivity and a beauty to the idea of natures work. It is easy to understand why Sally Mann has met questions and concerns from the press and public about the themes of her work with her work, what is unusual and surprising is that it is the uncontroversial series of Faces that is perhaps the high point of the exhibition.’ The Family and the Land' depict Manns ability to create something much more significant than a great image, and runs until September 19th at The Photography Gallery, London.
By Katriona Flynn
