Immediate Family by Sally Mann. Third printing. SIGNED
Immediate Family by Sally Mann. Aperture Foundation. (1992). Third printing. SIGNED by Sally Mann on the title page. Laid is is a pamphlet from PBS called 'Limits of Expression', which was probably presented at a book signing at which this book was signed. ISBN-13: 0893815187. 11 1/4" x 9 3/4" pages not numbered Hardcover with dust jacket. DUST JACKET: Bumping and rubbing to dj edges. A small gouge on the front panel which does break the cover ink and paper and is also mirrored slightly on the front cover. There are other scratches and gouges on the back panel which do not break the cover ink. Otherwise, no unusual folds or creases. No tears. No clips. No missing pieces. Not price-clipped with dj price of $40.00. BOOK: Light cover edge wear. There is a light ripple to the top of the pages. Otherwise, no previous owner markings. No tears, folds or creases to pages. Binding is tight with no looseness to pages. Not ex-library, not remaindered and not a facsimile reprint. For sale by Jon Wobber, bookseller since 1978. OVERSIZE FB27a
"Immediate Family is a 1992 photography book by Sally Mann. Images from the book were first exhibited in 1990 by Edwynn Houk Gallery in New York City.[1] The book is published by Aperture and contains 65 duotone images. The book predominately features Mann's three children, Emmett, Jessie and Virginia, when all were under 10 years old. Thirteen of the pictures show nudity and three show minor injuries; Emmett with a nosebleed, Jessie with a cut and stitches, and Jessie with a swollen eye from an insect bite. Many explore typical childhood activities at the family's remote summer cabin along the Maury River (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. Several images from the book were re-published in Mann's next book, Still Time.[2]
In a cover story for the The New York Times Magazine, Richard B. Woodward wrote that "Probably no photographer in history has enjoyed such a burst of success in the art world". By September 1992, 300 prints from the book had already been ordered, earning "well over a half-million dollars".[6]
The book was met with "great acclaim and discomfort".[7] Critical review varied from praising the book as "timeless and magic," to chastising it as "pornographic and exploitative."[8] Blake Morrison commented that Immediate Family made Mann famous for the wrong reasons; "because critics exaggerated the intimacy of the photos at the expense of their artfulness; and because the American religious right accused her of pornography when her camera was capturing beauty and transience."[9]" - wikipedia
"Immediate Family is a 1992 photography book by Sally Mann. Images from the book were first exhibited in 1990 by Edwynn Houk Gallery in New York City.[1] The book is published by Aperture and contains 65 duotone images. The book predominately features Mann's three children, Emmett, Jessie and Virginia, when all were under 10 years old. Thirteen of the pictures show nudity and three show minor injuries; Emmett with a nosebleed, Jessie with a cut and stitches, and Jessie with a swollen eye from an insect bite. Many explore typical childhood activities at the family's remote summer cabin along the Maury River (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. Several images from the book were re-published in Mann's next book, Still Time.[2]
In a cover story for the The New York Times Magazine, Richard B. Woodward wrote that "Probably no photographer in history has enjoyed such a burst of success in the art world". By September 1992, 300 prints from the book had already been ordered, earning "well over a half-million dollars".[6]
The book was met with "great acclaim and discomfort".[7] Critical review varied from praising the book as "timeless and magic," to chastising it as "pornographic and exploitative."[8] Blake Morrison commented that Immediate Family made Mann famous for the wrong reasons; "because critics exaggerated the intimacy of the photos at the expense of their artfulness; and because the American religious right accused her of pornography when her camera was capturing beauty and transience."[9]" - wikipedia
