Dear Sally Mann,
The bravery in your albums Immediate Family and At Twelve is simply profound. The non-traditional use of your camera to capture the air surrounding your children is alluring in a way that most individuals can’t grasp. The black and white photos allow for the audience to focus on the content of the photos instead of being busied with the different colors. The controversies around your works are certainly reasonable; no one person wants to embrace a mother who uses her children, all of her children, for art. The opinions seem to be coming from a broad perspective, instead of taking the time to admire the little, if not hidden details. It’s occurred to me that most negative critiques come from a parental viewpoint, seemingly neglecting the art aspect in which you put all your efforts.
As a fellow artist, and open minded individual, I am able to grip the charm you use to convey a deeper meaning behind the surreal images you capture. I also am able to understand a bit of that message, the subtle yet ever so present realities that provoke criticism in your work.
The confronting gazes your children offer elicit a domineering presence, almost daring the viewer to make a remark about their nature as seen in the photo titled “Doubts and Pouts” where a small Virginia, arms crossed, stands in front of the camera. The closed postures, the solemn faces, and even the ever so ‘grown up’ objects like that of your photo “Candied Cigarettes” that sometimes pop up give an air of experience. Your children wear stern expressions as I have seen only on the faces of those troubled with the shadows of reality. It’s as if their innocent facial features betray their adulterous body language and spark an inner conflict that only the viewer can attempt to find clarification from. They warn the gazer to take cautious steps so as to not disturb the fleeting momentary feeling of peace that seems to be so hard to find. Never before have I seen those features worn on a child, even for a split second. It seems almost unreal to me that children are even able to make those expressions which further captures my admiration for your work.
Before reading Jessie’s overall opinion on living in your work, I was a bit doubtful myself about the way you went about things. I questioned myself as to whether it was alright for your children to be seen that way when they’d not given actual permission. Under normal circumstances the subject being photographed would have had to have given consent to the photographer to be able to put him/her under that light. To be exposed thoroughly like that is something a person would have to be comfortable with from the beginning. Then again, they’d be old enough to understand the situation. However, I came to realize that although each of your children handles the publicity differently, neither of them reject your ideas. They came to embrace the art world you thrust them into and as Jessie says it has indeed become a part of their lives.
All in all the permission, even if received almost years later unwillingly, is given then there is no sense in arguing. Your work is marvelous without a doubt and your children were the perfect models to be dazzled with. I have been enlightened and maybe even inspired by your albums, as I have been introduced to a new world of courageous art.
Sincerely,
Brianna Ruiz
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