Untitled 2000 - 2001

Editor: Here we have Sally Mann's "Untitled" from 2000-2001, a gelatin-silver print. It features what appears to be a bone against a mottled grey background. The whole image feels quite gothic and isolated. What's your take on this piece? Curator: It’s interesting that you pick up on the gothic elements. For me, Mann's still life operates as a powerful memento mori, prompting reflection on mortality and the body. Looking at it through the lens of feminist theory, one could read the bone as a confrontation with patriarchal structures that historically have objectified and dissected the female form. What do you think about how the stark black and white amplifies this sentiment? Editor: I hadn’t considered the feminist reading of it, but I see what you mean. The starkness does make it feel like a clinical examination. Is the focus on a single bone meant to be symbolic, too? Curator: Absolutely. Think about the historical context of scientific illustration, often used to categorize and control bodies, particularly those of marginalized groups. The isolation of the bone draws attention to its inherent vulnerability but also its resilience as an artifact of what once was. What other questions arise for you when considering power structures present in this piece? Editor: The fragility and strength are very apparent, now that you mention it. I guess I'm wondering if Mann is critiquing these power structures or just presenting them. Curator: Perhaps both? By presenting this image, she invites a dialogue about the gaze, about who gets to examine and interpret, and about the stories bones themselves can tell, pushing back against the erasure of marginalized voices within the historical narrative. Editor: That makes so much sense. I didn’t appreciate how much the history and power dynamics inform the work. Curator: It's precisely that intersectional lens that allows us to unearth richer meanings in art, and our own roles in interpreting its implications.