“Southern Landscape” Shipping Soon

March 10, 2014 § Leave a comment



Living in the South means being both nourished and wounded by the experience. To identify a person as a Southerner is always to suggest not only that her history is inescapable and profoundly formative, but that it is also imperishably present. Southerners live at the nexus between myth and reality where that peculiar amalgam of sorrow, humility, honor, loyalty, graciousness and renegade defiance plays out against a backdrop of profligate physical beauty.

In this new age of finance, digital technology, and quick surface effects, Sally Mann’s photographs are our evangels of the eye, enabling us to walk more gladly and lightly. Confronting her work is like discovering a new, mysterious and beautiful world. It oµers a way to redeem a society that is in decline from greed and pettiness. For like other truly great and enduring artists, she has remained faithful to the love of craft, only using technology in the service of her eye and aesthetic, creating beauty and re-enchanting the world.

We let the remarkable, ordinary wonders of living slip into the oblivion of memory, but they are the very moments Sally Mann lovingly records, resurrects, and returns to us. I would not be surprised if at the moment of our deaths the last thoughts that flicker before our consciousness look like photographs by Sally Mann, and I will be disappointed if mine do not.

from John Wood’s introduction in “The New City” with poems by Maclean Gander

November 14, 2012 § Leave a comment

It is a cliché to think that the only way an artist can be original is by repudiating and turning his back upon the past. The past is often less of a burden than the present. Quite often the present carries far more fearsome baggage with it than any past, for if an artist does not accept the received conventions and strictures of his own time, he may well be completely ignored. It is a brave artist who chooses not to paint, photograph, or write like his contemporaries. Every period has its received aesthetic. What chance for recognition would a hyper-realist, for example, have had in New York in the 1950’s during the heyday of Abstract Expressionism? And how easy is it today for an artist to get attention if the work is not in some way “edgy,” a word used to suggest that some unpleasant feature of it is a commendable act of artistic bravery?

In The Culture of Hope philosopher and art critic Frederick Turner wrote, “Sometimes the present creates the future by breaking the shackles of the past; but sometimes the past creates the future by breaking the shackles of the present.”  That is exactly what Jefferson Hayman does in his art—he allows the past to break through the rules and restrictions of the present….

Jefferson Hayman

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