From the NGA Schedule:

Sally Mann: A Thousand Crossings
National Gallery of Art, Washington, March 4–May 28, 2018
Peabody Essex Museum, Salem, June 30–September 23, 2018
J. Paul Getty Museum, Los Angeles, November 20, 2018–February 10, 2019
Museum of Fine Arts, Houston, March 3–May 27, 2019
Galerie nationale du Jeu de Paume, Paris, June 17 –September 22, 2019
High Museum of Art, Atlanta, October 19, 2019 –January 12, 2020

For more than forty years, Sally Mann (b. 1951, Lexington, Virginia) has made experimental, elegiac, and hauntingly beautiful photographs that span a broad body of work including portraits, still lifes, and landscapes. Sally Mann: A Thousand Crossings explores how her relationship with the South has shaped her work. Some 125 photographs, many of which have not been exhibited or published previously, offer both a sweeping overview of Mann's artistic achievement and a focused exploration on the continuing influence of the South on her work. Mann's powerful and provocative work is organized into five sections: family, landscape, battlefields, legacy, and mortality. The exhibition is accompanied by a fully illustrated catalog with essays that explore the development of Mann's art; her family photographs; contemporary representations of the black body; the landscape as repository of cultural and personal memory; and Mann's debt to 19th-century photographers and techniques.

The Joel Peter Witkin pics are far less disturbing to me. What is the context of two young girls pretending to be mothers with bored, angry faces, and even a dangling half smoked cigarette? Or of a boy in a white shirt and bow tie posing in a slaughter house? The images are shocking and jarring because of the potential beauty of the children juxtaposed with an ugly context. Are these supposed to be anti-Norman Rockwell pics, or supposed portraits of the offspring of the zombie apocalypse? I find nothing beautiful or redeeming about these pics of children. They are shocking and ugly. I can't think of any parents who would want these pics of their own children.

The Joel Peter Witkin pics are far less disturbing to me. What is the context of two young girls pretending to be mothers with bored, angry faces, and even a dangling half smoked cigarette? Or of a boy in a white shirt and bow tie posing in a slaughter house? The images are shocking and jarring because of the potential beauty of the children juxtaposed with an ugly context. Are these supposed to be anti-Norman Rockwell pics, or supposed portraits of the offspring of the zombie apocalypse? I find nothing beautiful or redeeming about these pics of children. They are shocking and ugly. I can't think of any parents who would want these pics of their own children.

From the NGA Schedule:

Sally Mann: A Thousand Crossings
National Gallery of Art, Washington, March 4–May 28, 2018
Peabody Essex Museum, Salem, June 30–September 23, 2018
J. Paul Getty Museum, Los Angeles, November 20, 2018–February 10, 2019
Museum of Fine Arts, Houston, March 3–May 27, 2019
Galerie nationale du Jeu de Paume, Paris, June 17 –September 22, 2019
High Museum of Art, Atlanta, October 19, 2019 –January 12, 2020

For more than forty years, Sally Mann (b. 1951, Lexington, Virginia) has made experimental, elegiac, and hauntingly beautiful photographs that span a broad body of work including portraits, still lifes, and landscapes. Sally Mann: A Thousand Crossings explores how her relationship with the South has shaped her work. Some 125 photographs, many of which have not been exhibited or published previously, offer both a sweeping overview of Mann's artistic achievement and a focused exploration on the continuing influence of the South on her work. Mann's powerful and provocative work is organized into five sections: family, landscape, battlefields, legacy, and mortality. The exhibition is accompanied by a fully illustrated catalog with essays that explore the development of Mann's art; her family photographs; contemporary representations of the black body; the landscape as repository of cultural and personal memory; and Mann's debt to 19th-century photographers and techniques.