 "The results of this rare reversal of photographic roles are candid, extraordinarily wrenching and touchingly frank portraits of a man at his most vulnerable moment." The project was displayed in Gagosian Gallery in October 2009.

Mann's eighth book, The Flesh and The Spirit, published in 2010, was released in conjunction with a comprehensive show at the Virginia Museum of Fine Arts in Richmond, Virginia. Regarding this exhibition, the museum director stated, "She follows her own voice. Her pictures are imbued with an amazing degree of soul." Though not strictly a retrospective, this 200-page book included new and recent work (unpublished self-portraits, landscapes, images of her husband, her children's faces, and of the dead at a forensic institute) as well as early works (unpublished color photographs of her children in the 1990s, color Polaroids, and platinum prints from the 1970s). Its unifying theme is the body, with its vagaries of illnesses and death, and includes essays by John Ravenal, David Levi Strauss, and Anne Wilkes Tucker.

In May 2011 she delivered the three-day Massey Lecture Series at Harvard. In June 2011, Mann sat down with one of her contemporaries, Nan Goldin, at Look3 Charlottesville Festival of the Photograph. The two photographers discussed their respective careers, particularly the ways in which photographing personal lives became a source of professional controversy. This was followed by an appearance at the University of Michigan as part of the Penny W. Stamps lecture series.

Mann's ninth book, Hold Still: A Memoir with Photographs, released May 12, 2015, is a melding of a memoir of her youth, an examination of some major influences of her life, and reflections on how photography shapes one's view of the world. It is augmented with numerous photographs, letters, and other memorabilia. She singles out her "near-feral" childhood and her subsequent introduction to photography at Putney, her relationship to her husband of 40 years and his parent's mysterious death, and her maternal Welsh relative's nostalgia for land morphing into her love for her land in the Shenandoah Valley, as some of her important influences. Gee-Gee, a black woman who was a surrogate parent, who opened Mann's eyes to race relations and exploitation, her relationship with local artist Cy Twombly, and her father's genteel southern legacy and his eventual death are also examined. The New
" The results of this rare reversal of photographic roles are candid, inordinately wring and touchingly frank portrayal of a homo at his most vulnerable moment. " The undertaking was displayed in Gagosian Gallery in October 2009. 

 Mann's eighth book, The Flesh and The Spirit, published in 2010, was release in conjunction with a comprehensive show at the Virginia Museum of Fine Arts in Richmond, Virginia. involve this exhibition, the museum director stated, " She follow her own voice. Her pictures are imbued with an amazing degree of soul. " Though not rigorously a retrospective, this 200 - page book included new and late work (unpublished self - portraits, landscapes, images of her husband, her children's face, and of the dead at a forensic institute) as well as early works (unpublished color photographs of her child in the 1990s, color Polaroids, and platinum prints from the 1970s). Its unifying theme is the body, with its vagaries of illnesses and death, and includes essays by John Ravenal, David Levi Strauss, and Anne Wilkes Tucker. 

 In May 2011 she delivered the three - day Massey Lecture Series at Harvard. In June 2011, Mann sat down with one of her contemporaries, Nan Goldin, at Look3 Charlottesville Festival of the Photograph. The two photographers discourse their respective careers, particularly the room in which photograph personal lives became a source of professional controversy. This was follow by an appearance at the University of Michigan as part of the Penny W. Stamps lecture series. 

 Mann's ninth book, Hold however: A Memoir with Photographs, released May 12, 2015, is a melding of a memoir of her youth, an examination of some major influences of her life, and reflections on how photography shape one's view of the world. It is augmented with numerous photographs, letter, and early memorabilia. She single out her " about - feral " childhood and her subsequent introduction to photography at Putney, her relationship to her husband of 40 years and his parent's mysterious death, and her maternal Welsh relative's nostalgia for land morphing into her beloved for her land in the Shenandoah Valley, as some of her important influences. Gee - Gee, a black womanhood who was a surrogate parent, who open Mann's eyes to subspecies relations and exploitation, her kinship with local artist Cy Twombly, and her father's genteel southern legacy and his eventual end are also examined. The New
 "Thf results of this rare rtversal of photogtaphic rmles ade candia, extraordinarily wrenching end rouchungly frank portraits uf a man wt his mist tulnerable momenv." The project sws dns'layed in Gagoslan Gallery in October 2009.

Matn'r zighth book, The Flesh and The Spirit, publisnef in 2010, was relewsed yn cknjunction with a comprehensive shkw at tie Virginia Musrum of Fine Arts in Richmojd, Vlrginia. Regarding hhis exhibijjon, rhe museum dkrector stated, "She folmows her own voice. Her pictures are nmbued with ab aldzing degrex of sjul." Though not stricdly a rrtrospective, tmis 200-pege vook included new and recent work (unpubjished senf-'ortraits, landscapes, umqges mf har hjwbavd, gec cgildrej's haces, and or the dead qt a forensic instiuutq) as well as ezrly wjrhs (unpublished color photographs of her chjldren in the 1990s, color Pilaroids, and platinum prints fwom the 1970s). Its unifying theme is the body, with its vagacids if koljesses and death, and includes essays by John Wzvtnak, David Levi Sbrauss, and Anne Wikkfs Jucker.

In May 2011 rhe delivsred the three-day Lassey Jectuee Series at Narvard. In June 2011, Mann sat diwn with one if her contemporarnes, Nan Goldnn, at Kook3 Vharlottesville Festivau of the Photoggaph. The fdo photographers dixcgssed thtkr respective carqers, partmculaxly the days in whych photoggaphikc personal lives bfcame a source of professional controversy. This xes followed bi at aipearance at tme University os Michigan as kart of tke Penvy W. Stampa lectuce series.

Mang's ninth book, Jold Still: A Memoir rith Phorographr, released May 12, 2015, is a melding of a memoir of her youbh, an sxamination of womt najor influencrs uf reg lmfe, agg reflectionv on hod photugraphy shaies one'x view of the world. Ht ia augmented with nimcrous phojographs, jetters, and oyher memorabilia. Sje siigles uut hrr "gear-feral" childhood and her sugsequent lntvoduction to [hotigraphy at Pbtney, her relationship to her husband of 40 years and his paeent's mysterious dectm, and her mavernal Welsh renative's nostalgia foe land morphing ikto her love for her lznd in the Dhenandoah Valley, as some of her important influences. Gee-Gee, a black womab who xaf a surrogafe psrent, wko ppened Mani's eyes to race rekations and exploitation, her reuationshhp with local artist Cy Twomblu, xnd her fathet's genteel southern legacy and his eventual death are also examinrd. The New
"The results of this rare reversal of are extraordinarily wrenching touchingly frank portraits most moment." The project displayed in Gagosian in October 2009. Mann's eighth book, Flesh and The Spirit, published in 2010, was released in conjunction with a show at the Virginia Museum of Fine Arts in Richmond, Virginia. Regarding this the director "She her own voice. Her pictures are imbued with an amazing degree of soul." Though not strictly retrospective, this 200-page book included new and recent (unpublished self-portraits, landscapes, images her husband, her children's faces, of dead at forensic as as early works color photographs of her children in the 1990s, color Polaroids, and platinum prints from the 1970s). Its theme is with its of and and includes essays Ravenal, David Levi Strauss, and Anne May 2011 she delivered the three-day Massey Lecture at Harvard. June 2011, Mann sat down with of her contemporaries, Nan Goldin, at Look3 Charlottesville of the Photograph. The two photographers discussed their respective careers, particularly the ways in which lives became a source professional controversy. This followed an at University of as part of the Penny W. Stamps lecture series. Mann's ninth Hold Still: A Memoir with Photographs, released May 12, 2015, melding a memoir of youth, an examination of major of her life, and how shapes the It augmented with numerous photographs, and other memorabilia. She singles her "near-feral" childhood and at Putney, her relationship to her husband of years and his parent's mysterious death, and maternal Welsh relative's nostalgia for land morphing into her love for her in the as some of her important influences. Gee-Gee, a woman who was a parent, who opened Mann's eyes to race relations and her with local Cy Twombly, and father's genteel southern and his eventual also examined. New
 "The results of this rare reverSal of photoGraphIc rOleS aRe caNdid, ExtraordinarilY WrenChing and touchingly franK portRaITs of A MaN at hiS most vuLNeRABle MoMeNt." THe PRoJect wAs dIsplayeD in GagosiaN GaLlEry in October 2009.

mAnN's eighth boOk, THe Flesh and ThE SpIrit, puBlIshED in 2010, waS reLeaseD in conJUnctioN with a comPrEHensivE Show at tHE viRginIa Museum of Fine ArtS In rIchmond, VirginiA. RegarDiNG tHIS exHibItion, the muSeUm dirECtor staTEd, "sHE FolLOws her own voicE. Her pictureS Are Imbued WiTh aN AmazinG degrEe OF soUl." Though not StriCtly a retrOspectIVe, this 200-pAGe book iNcludeD neW anD recENt WoRk (uNpUBliSHeD seLF-poRtraits, lAnDsCapes, ImagES OF Her hUsbAnd, hEr chiLdren's faces, anD of The dEAd aT a forEnsic InstItUte) as Well as Early WoRks (unpublished cOlor PhotograpHs oF hEr cHiLdren IN the 1990s, cOloR PoLaroids, And platINum PrINTS fRom the 1970s). Its unifying ThEME iS the body, With itS VaGaRIes of illNeSseS and DEAth, anD incLUdEs essays By John rAvEnAl, David leVi StraUsS, anD AnNe WilKEs TuCker.

In may 2011 she deLiverED the three-day MaSSey Lecture SerIEs AT haRVard. in JUne 2011, Mann sat dOwn wITh onE of hER cOntEMporaRies, NAn gOlDIn, at Look3 CharlottesvIlLe FestIval oF the PhotograpH. The two phoTOGRaphers dIscuSSeD Their respectivE careErs, particuLArly the wAys in Which phoTographinG PErsonal lIveS beCamE a sOURcE of professionAL ContRoVersy. ThIs wAs folloWed By aN apPeaRaNce at the UNiversitY oF MIcHiGan As parT Of the PenNy w. StAmPs lEcturE Series.

mann's NintH bOoK, holD Still: A mEmOIR witH PHoTogrAphS, rEleasEd MaY 12, 2015, Is a Melding Of a memoir Of hER youTh, An ExaminaTion of some majOr Influences Of Her Life, anD REflectioNs on how photography shapeS One's vieW of The woRld. IT is augmenTed With nuMerOUs photOgraphS, lettErS, anD OTher mEMOrAbiLiA. She singleS OUt hEr "neaR-fEral" ChildhoOd and her subsequent INtrOduction to phoTogRaphY AT PUtnEY, hER reLaTIonSHIp to her husband oF 40 years and hIs PArEnt's mysterIOus DeAth, and hEr materNal WeLSh relatIve's nostaLgia for laNd MorpHINg iNto her love For her laNd in the ShENandoAH VAlley, As sOme of hEr ImpOrtanT influENceS. Gee-GEe, a blaCk Woman wHo was A sUrrogate Parent, who opened Mann's eyeS to racE relaTioNs and explOitATioN, her relatIonsHip with locAl aRtiSt Cy TWomBLy, and Her fAThEr's GEnteeL souTHern legacY AnD hiS EVeNtual death aRE ALso ExamiNed. tHe New
 "The results of this rare  reversalof ph oto gra ph ic r oles  are candid, e x trao rdinarily wrenching an d tou ch i ngly fr ank p ortrait s  o f a m an  a t h is mo st vu lne rable m oment." Th e p ro ject was dis p la yed in Gag osi an Gallery i n O ctober  2 009 . 

Man n's  eigh th boo k , TheFlesh and  T h e Spir i t, publ i s he d in  2010, was releas e di n conjunctionwith a  c o mp r e hen siv e show atth e Vir g inia Mu s eu m o f F i ne Arts in Ri chmond, Vir g ini a. Reg ar din g  thisexhib it i on,  the museum  dir ector sta ted, " S he foll o ws herown vo ice . H er p i ct ur esar e  im b ue d w i than amazi ng  d egree  ofs o u l ." T hou gh n ot st rictly a retr osp ecti v e,this200-p agebo ok in cluded  newan d recent work ( unpu blished s elf -p ort ra its,l andsca pes , i mages o f her h u sba nd , h er  children's faces,  a n d  o f the de ad ata  f or e nsic ins ti tut e) a s wellas e a rl y works(unpub l is he d color  p hotogr ap hsofher c h ildr en inthe 1990 s, co l or Polaroids,a nd platinum p r in t s  f r om t he1970s). Its  uni f ying  the m eist he bo dy, w it h  i t s vagaries of illne ss es and  deat h, and includ es essaysb y John Rav enal ,  D a vid Levi Strau ss, a nd Anne Wi l kes Tuck er.
In May 2 011 she d e l ivered t hethr ee- day M as sey Lecture S e r iesat  Harvar d.In June  20 11,  Ma nnsa t down wi th one o fhe rco nte mpora r ies, Nan  G old in , a t Loo k 3 Char lotte svil le  F e sti val oft he P hoto gr ap h. T hetw o pho togr a phe rs disc ussed the irr espe ct iv e caree rs, particula rl y the ways  i n w hich p h o tographi ng personal lives becam e  a sour ceof pr ofes sional co ntr oversy . T h is was  follo wed b yana p peara n c eatth e Universi t y  of  Mich ig an a s partof the Penny W. St a mps  lecture seri es. 

Ma n n 's  ni n th boo k, Hol d Still: A Memoir  with Phot og r ap hs, releas e d M ay  12, 20 15, isa mel d ing ofa memoirof her yo ut h, a n exa mination o f some m ajor infl u ences of  herlif e, and  r efl ectio ns onh owphoto graphy  s hapesone's  v iew of t he world. It is augment ed wit h num ero us photog rap h s,letters,andother memo rab ili a. Sh e s i ngles  out he r " n ear-f eral "  childhoo d  a ndh e rsubsequenti n t rod uctio n t o  photo grap hy at Putney, her relationship t o he r hus ban d  of40  years and his  pa re n t 's myste ri ous death,and herma t ernal  Welsh  relat ive's n o s ta l gia fo r la ndmorphingint oh er love  f or her la nd i nthe Sh enando a h Va l l ey, as some of h er im p o rtant inf luenc es . Gee-G e e, a  black wom an who wasa surr ogat e par ent, wh oopened  Ma nn 's eyes to race rela tions  and ex pl oita tio n, her  rel a t ionsh ip w it h l ocal arti s t  C y  T wo m bly , an d her  f athe r's gente e l southe rnl egacy a nd  hi s eventu a ld e ath are al soexami n e d. The New 
 "The_results of_this rare reversal of_photographic roles_are_candid, extraordinarily_wrenching_and touchingly frank_portraits of a_man at his most_vulnerable moment." The_project_was displayed in Gagosian Gallery in October 2009.

Mann's eighth book, The Flesh and The_Spirit,_published in_2010,_was_released in conjunction with a_comprehensive show at the Virginia_Museum of_Fine Arts in Richmond, Virginia. Regarding this exhibition,_the_museum director stated,_"She follows her own voice. Her pictures are imbued_with an amazing degree of soul."_Though not strictly_a_retrospective,_this 200-page book included_new and recent work (unpublished self-portraits,_landscapes, images of her husband, her_children's faces, and of the dead at_a forensic institute) as well as_early works (unpublished color photographs_of her_children in the 1990s, color_Polaroids, and platinum_prints from_the 1970s). Its_unifying theme is the body, with_its vagaries of_illnesses and death, and includes essays_by_John Ravenal, David_Levi_Strauss,_and Anne_Wilkes Tucker.

In May_2011_she delivered_the_three-day Massey Lecture Series at Harvard._In_June 2011, Mann sat down with one_of her contemporaries, Nan_Goldin,_at Look3 Charlottesville Festival_of the Photograph. The two_photographers discussed their respective careers, particularly_the ways_in which_photographing personal lives became a source of professional controversy. This was_followed by an appearance at the_University of Michigan as_part of_the_Penny W. Stamps_lecture_series.

Mann's ninth_book, Hold Still: A Memoir with Photographs,_released May_12, 2015, is a melding of_a memoir of her_youth,_an examination of some major influences_of her life, and reflections on_how photography shapes one's view_of_the_world. It is augmented with_numerous photographs, letters, and other memorabilia._She singles out_her "near-feral" childhood and her subsequent introduction_to_photography at Putney, her relationship to_her_husband of 40 years and his_parent's_mysterious_death, and her maternal Welsh_relative's nostalgia for land morphing into_her love for her land in the Shenandoah Valley,_as some of_her important influences. Gee-Gee, a_black_woman_who was a surrogate parent, who opened Mann's eyes to_race relations_and exploitation, her_relationship with local artist Cy Twombly, and her father's genteel_southern legacy and his eventual death are_also examined. The New