Cherry Tomatoes 1991

Editor: Here we have Sally Mann's "Cherry Tomatoes," a gelatin silver print from 1991. The hazy, black-and-white aesthetic gives the work a somewhat dreamlike and nostalgic quality. What immediately strikes me is the unusual composition – a towel dominates the foreground, obscuring, rather than revealing, the figure behind it. What do you see in this piece, Professor? Curator: The photograph engages directly with formalism through its stark interplay of light and shadow, demanding close inspection. Consider how Mann utilizes the texture of the towel, juxtaposing its coarse weave against the smoothness of skin, rendered in monochrome. Notice the strategic placement of the spoons and scattered "cherry tomatoes"; not just as still life elements, but acting as formal devices for leading the eye. The surface itself presents as somewhat abraded, further textural contrast with the human form in the distance. Editor: That's a great point. I hadn't considered the juxtaposition of textures. So you are focusing more on the materiality than the thematic aspects? Curator: Precisely. Though narrative possibilities present themselves, formalist critique compels one to attend primarily to the structural underpinnings. Semiotics suggest a symbolic order at play, where each element is less about subject, more about pure shape in this image. Even the "damage" contributes to the image’s semiotic character. Editor: I can see that now. It's less about what's literally depicted, and more about the relationships between the textures and forms. Thank you for shedding some light on it. I had only considered the surface value until now. Curator: Indeed. Understanding the framework helps us go deeper and make discoveries, not just assumptions.