Wikipedia

Nan Goldin

Nancy Goldin(born 1953)[1]is an American photographer and activist. Her work explores in snapshot-style the emotions of the individual, in intimate relationships, and thebohemianLGBTsubcultural communities, especially dealing with the devastatingHIV/AIDS crisisof the 1980s. Her most notable work isThe Ballad of Sexual Dependency.In theslideshowandmonograph(1986) Goldin portrayed her chosen "family", meanwhiledocumentingthepost-punkand gay subcultures. She is a founding member of the advocacy groupP.A.I.N.(Prescription Addiction Intervention Now) against theopioid epidemic.[2]She lives and works in New York City.[3][4]

Nan Goldin
Goldin in 2017
Born
Nancy Goldin

1953 (age 70–71)
Washington, D.C.,U.S.
Known forPhotography
Notable workThe Ballad of Sexual Dependency(1986)
AwardsEdward MacDowell Medal
2012

Hasselblad Award
2007

Ordre des Arts et des Lettres
2006

The 2022 documentary filmAll the Beauty and the Bloodshedchronicles her work as an artist and activist, and won many accolades such as aPeabody Award,[5]and theGolden Lionat the Venice Film Festival.[6]

Early life

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The Hug, NYC,1980, Cibachrome print by Goldin

Goldin was born in Washington, D.C., in 1953[7]to middle-classJewishparents, and grew up in theBostonsuburb ofSwampscott,moving toLexingtonin her teens. Goldin's father worked in broadcasting and served as the chief economist for theFederal Communications Commission.[8]Goldin had early exposure to tense family relationships, as her parents often argued about Goldin's older sister Barbara who ultimately committed suicide when Goldin was 11:"This was in 1965, when teenage suicide was a taboo subject. I was very close to my sister and aware of some of the forces that led her to choose suicide. I saw the role that her sexuality and its repression played in her destruction. Because of the times, the early sixties, women who were angry and sexual were frightening, outside the range of acceptable behavior, beyond control. By the time she was eighteen, she saw that her only way to get out was to lie down on the tracks of the commuter train outside of Washington, D.C. It was an act of immense will."[9]

Goldin began to smokemarijuanaand date an older man. She left home by age 13 and subsequently lived in various foster homes.[10]At 16 she enrolled at the Satya Community School inLincoln, MA,that followed the educational concept ofSummerhill.[11]AfterPolaroiddonated some cameras to the school, a staff member (existential psychologistRollo May's daughter) introduced Goldin to photography in 1969 when she was sixteen years old.[12]Still struggling from her sister's death, Goldin used the camera to cherish her relationships with those she photographed.[13]At first she tried to emulate early as well as contemporaryfashion photographyby the likes ofGuy BourdinandHelmut NewtoninFrenchandItalianVoguemagazine issues she stole and then she and her peers would be occupied with for hours.Henry Horenstein,whose evening class atNew England School of PhotographyGoldin attended, appreciated her pictures and showed herLarry Clark's bookTulsathat had just come out in 1971 and documented Clark's life within a group of "speedfreaks". It opened her eyes and shifted her focus from fashion to art photography. Through Horenstein Goldin also got to know the work ofAugust SanderandLisette Model(Goldin attended a class by her in 1974). She finally enrolled at the School of theMuseum of Fine Arts in Bostonwith her friend from Satya,David Armstrong.There she metPhilip-Lorca diCorciaandMark Morrisroe,and began to photograph in color.[14]


Life and work

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Goldin's first solo show, held in Boston in 1973, was based on her photographic journeys among the city'sgayandtransgendercommunities, to which she had been introduced by her friendDavid Armstrong.[15]While living in downtown Boston at age 18, Goldin "fell in with the drag queens," living with them and photographing them.[16]Among her work from this period isIvy wearing a fall, Boston(1973). Unlike some photographers who were interested in psychoanalyzing or exposing the queens, Goldin admired and respected their sexuality. Goldin said, "My desire was to show them as a third gender, as another sexual option, a gender option. And to show them with a lot of respect and love, to kind of glorify them because I really admire people who can re-create themselves and manifest their fantasies publicly. I think it's brave".[16]

Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A withBomb"I remember going through a psychology book trying to find something about it when I was nineteen. There was one little chapter about it in an abnormal psych book that made it sound so... I don't know what they ascribed it to, but it was so bizarre. And that's where I was at that time in my life".[16]

Goldin describes her life as having been completely immersed in that of the queens. "I lived with them; it was my whole focus. Everything I did – that's who I was all the time. And that's who I wanted to be".[16]However, upon attending theSchool of the Museum of Fine Artsin Boston, when her professors told her to go back and photograph queens again, Goldin admitted her work was not the same as when she had lived with them. Goldin graduated from the School of the Museum of Fine Arts in 1977/1978, where she had worked mostly withCibachromeprints. Her work from this period is associated with theBoston Schoolof Photography.[17]

Following graduation, Goldin moved to New York City.[18]She began documenting thepost-punknew-wave music scene, along with the city's vibrant, post-Stonewallgay subculture of the late 1970s and early 1980s. A first exposure to a wider audience was her participation in the 1981 exhibitionNew York/New WaveatPS1.[19]

The Ballad of Sexual Dependency

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In the young, sex-affirmative, hard-drug subculture of theBoweryneighborhood she found her "tribe," which became the subject of her photographs taken between 1979 and 1986. These pictures constitute herslideshowThe Ballad of Sexual Dependency,which she initially showed to her peers in clubs and other venues they frequented. Their immediate reaction to the pictures shaped its constantly evolving form. Later versions of the cycle had around 700 images screened in about 45 minutes (ca. 3 seconds per slide). After the slideshow was screened at theWhitney Biennialin 1985, it was published as a book a year later byAperturewith help fromMarvin Heiferman,Mark Holborn, and her friendSuzanne Fletcher.[20] Taken from a song inBertolt Brecht'sThreepenny Opera[21]the title printed onflyersandpostersfor the events was originally an undefined plural,Ballads of Sexual Dependency,referring to the slideshow'sdeejayedsoundtrack with songs byThe Velvet Underground,Screamin' Jay Hawkins,Petula Clark,Nina Simone,chansons byCharles AznavourandEdith Piaf,arias sung byMaria Callasa. o. The book's 125 pictures were sequenced in a similar way with song titles.

Thesnapshot aestheticimages were dominantly taken indoors and by night: "That series is stark. It's allflash-lit.I honestly didn't know about natural light then and how it affected the colour of the skin because I never went out in daylight. "[11]They depict autobiographical moments, mostly of friends, women and men for themselves and couples, often nude, some causual, some explicit, but also a small spread with kids and groups of people partying; they show love, joy and confidence, but also vulnerability, tears and the result of violence, especially an incident at the end of her intense relationship with Brian, who is subject of many images as well as on the book cover. Her self-portrait, "Nan One Month After Being Battered, 1984", was called the center-piece of theBallad.[22]In her foreword to the book she describes it as a "diary [she] lets people read" of people she referred to as her "tribe". Part ofBalladwas driven by the need to remember her chosen family. Photography was a way for her to hold onto her friends, she hoped.[23]

After theBallad

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The photographs show a transition through Goldin's travels and her life. Most of herBalladsubjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjectsGreer LanktonandCookie Mueller.[24]In 2003,The New York Timesnodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years."[25]In addition toBallad,she combined her Bowery pictures in two other series:I'll Be Your MirrorandAll by Myself.

Beside theBallad,Goldin's work series are most often presented in the form of a slideshows, and have been shown at galleries, museums, photo and film festivals. The main themes of her early pictures are love, gender, domesticity, and sexuality. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency.[26]In the bookAuto-Focus,her photographs are described as a way to "learn the stories and intimate details of those closest to her". The book speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling and references one of Goldin's photographs "Nan One Month After Being Battered, 1984"[27]as an iconic image which she uses to reclaim her identity and her life.[28]

Goldin's work since 1995 has included a wide array of subject matter: a collaborative book project with Japanese photographerNobuyoshi Araki;New York City skylines and uncanny landscapes; people (notably in water) and her lover, Siobhan; and babies, parenthood and family life.

In 2000, her hand was injured and she currently retains less ability to handle a camera.[11]

Christmas at The Other Side, Boston,1972, by Goldin

In 2006, her exhibition,Chasing a Ghost,opened in New York. It was the first installation by her to include moving pictures, a fully narrative score, and voiceover, and included the three-screen slide and video presentationSisters, Saints, & Sybils,which premiered in Paris the year before. The work involved her sister Barbara's suicide and how she coped through production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films.[29]

After some time, her photos moved from portrayals of dangerous youthful abandonment to scenes of parenthood and family life in progressively worldwide settings. Goldin currently resides and works in New York, Paris, as well as London.[30]

Fashion

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Goldin has undertaken commercial fashion photography—for Australian label Scanlan & Theodore's Spring/Summer 2010 campaign, shot with modelErin Wasson;for Italian luxury labelBottega Veneta's Spring/Summer 2010 campaign with modelsSean O'Pryand Anya Kazakova, evoking memories of herBallad of Sexual Dependency;[31]for shoemakerJimmy Chooin 2011 with modelLinda Vojtova;[32]and forDiorin 2013,1000 LIVES,featuringRobert Pattinson.[33]

In March 2018, clothing brandSupremereleased a collaborative range with Goldin as part of their Spring/Summer 2018 collection. This consisted of jackets, sweatshirts and t-shirts in various colors, with designs titled "Misty and Jimmy Paulette", "Kim in Rhinestone" and "Nan as a dominatrix".[34]

Critique

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Some critics have accused Goldin of making heroin use appear glamorous and of pioneering agrungestyle that later became popularized by youth fashion magazines such asThe FaceandI-D.[35]However, in a 2002 interview withThe Observer,Goldin herself called the use of "heroin chic"to sell clothes and perfumes" reprehensible and evil. "[36]Goldin admits to having a romanticized image of drug culture at a young age, but she soon saw the error in this ideal: "I had a totally romantic notion of being a junkie. I wanted to be one." Goldin's substance usage stopped after she became intrigued with the idea of memory in her work, "When people talk about the immediacy in my work, that's what its about: this need to remember and record every single thing"[37]

Goldin's interest in drugs stemmed from a sort of rebellion against parental guidance that parallels her decision to run away from home at a young age, "I wanted to get high from a really early age. I wanted to be a junkie. That's what intrigues me. Part was the Velvet Underground and the Beats and all that stuff. But, really, I wanted to be as different from my mother as I could and define myself as far as possible from the suburban life I was brought up in."[11]

Goldin denies the role of voyeur; she is instead a queer insider sharing the same experiences as her subjects: "I'm not crashing; this is my party. This is my family, my history." She insists her subjects have veto power over what she exhibits.[38]InFantastic TalesLiz Kotzcriticizes Goldin's claim that she is just as much a part of what she is photographing rather than exploiting her subjects. Goldin's insistence on intimacy between artist and subject is an attempt to relegitimize the codes and conventions of social documentary, presumably by ridding them of their problematic enmeshment with the histories of social surveillance and coercion, says Kotz. [Her] insider status does nothing to alter the way her pictures convert her audience into voyeurs.[23]

Goldin'sThe Ballad of Sexual Dependencycritiques gender norms ( "clichés" as she calls them) by highlighting the collective human desire to form connections regardless of the emotional or physical cost.[39]ThroughoutBallad,Goldin showcases some difficult moments for both herself and her friends, especially in relation to their codependency in search of genuine connection. Her friends are a diverse cast consisting of many non-conforming gender identities and sexualities; Goldin's photography exposes many narratives that most would turn a blind eye to, such as the intense intimacy and pain of same-sex relationships. The AIDS epidemic cost most of Goldin's friends their lives, now preserved in time through the photos that she captured of them. Throughout this period of loss, the desire for connection was further perpetuated and Goldin and her remaining friend group found it essential to remain in close contact with one another. This constant desire for intimacy and connection highlights the similarities amongst people, despite their more obvious differences, emphasizing the societally upheld "differences" between men and women.[39]

Influences

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Her friends and colleaguesPeter Hujar,Larry Clark, andDavid Wojnarowicz,as well as historical figures likeAugust SanderandClaude Cahunwere all major influences to Goldin's work.[40]

Diane Arbus

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Both Goldin andDiane Arbuscelebrate those who live marginal lives.[23]Stills fromVarietyare compared to Arbus' magazine work; theVarietyseries portray "the rich collision of music, club life, and art production of the Lower East Side pre and post AIDS period". Both artists ask to reexamine artists' intentionality.[38]

Michelangelo Antonioni

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One of the reasons Goldin began photographing wasMichelangelo Antonioni'sBlow Up(1966). The sexuality and glamour of the film exerted a "huge effect" on her. Referring to images shown inBallad,"the beaten down and beaten up personages, with their gritty, disheveled miens, which populate these early pictures, often photographed in the dark and dank, ramshackle interiors, relate physically and emotionally to the alienated and marginal character types that attracted Antonioni."[38]

Larry Clark

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The youths inLarry Clark'sTulsa(1971) presented a striking contrast to any wholesome, down-home stereotype of the heartland that captured the collective American imagination. He turned the camera on himself and his lowlifeamphetamine-shooting board of hanger-ons. Goldin would adopt Clark's approach to image-making.[38]

Activism

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Opioid crisis

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See also:Opioid epidemicandOpioid epidemic in the United States

In 2017, in a speech in Brazil, Goldin revealed she was recovering from opioid addiction,[41]specifically toOxyContin,after being prescribed the drug after wrist surgery.[42]She had sought treatment for her addiction and battled through rehab. This led to her setting up a campaign calledPrescription Addiction Intervention Now(P.A.I.N.) pursuing social media activism directed against theSackler familyfor their involvement inPurdue Pharma,manufacturers of OxyContin.[41][43]Goldin has said the campaign attempts to contrast the philanthropic contributions of the Sackler family to art galleries, museums and universities with a lack of responsibility taken for the opioid crisis.[41]Goldin became aware of the Sackler family in 2017.[42]

In 2018, she organized a protest in the Sackler Wing's Temple of Dendur atThe Metropolitan Museum of Art.The protest called for museums and other cultural institutions not to accept money from the Sackler family.[44]

Also in 2018, she was one of several artists who participated in a $100 sale organized byMagnum PhotosandApertureto raise funds for Goldin's opioid awareness group P.A.I.N. (Prescription Addiction Intervention Now).[45]

"I've started a group called P.A.I.N. to address the opioid crisis. We are a group of artists, activists and addicts that believe in direct action. We target the Sackler family, who manufactured and pushed OxyContin, through the museums and universities that carry their name. We speak for the 250,000 bodies that no longer can."[45]

In February 2019, Goldin staged a protest at theGuggenheim Museumin New York over its acceptance of funding by the Sackler family.[46][47]

She also said that she would withdraw from a retrospective exhibition of her work at theNational Portrait Gallery in Londonif they did not turn down a gift of £1 million from the Sacklers.[48]The gallery subsequently said it would not proceed with the donation.[49]

Two days after the National Portrait Gallery statement, theTategroup of British art galleries (Tate ModernandTate Britainin London,Tate St IvesandTate Liverpool) announced it would no longer accept any gifts offered by members of the Sackler family, from whom it had received £4 million.[42]Tate Modern had been planning to display its copy of Goldin'sThe Ballad of Sexual Dependencyslideshow, for a year from April 15, 2019.[50]Goldin had not discussed the show with Tate.[42]

Goldin identified that Tate, which has received Sackler money, paid her for one of the ten copies ofThe Ballad of Sexual Dependencyin 2015, when she was deeply addicted to OxyContin.[42]She says she spent some of the money on buyingblack marketOxyContin, as doctors would no longer prescribe her the drug.[42]

In July 2019, Goldin and others from the group Prescription Addiction Intervention Now staged a protest in the fountain at theLouvrein Paris. The protest was to try to persuade the museum to change the name of its Sackler wing, which is made up of 12 rooms.[51]In November that year, Goldin campaigned at theVictoria and Albert Museum,London.[52]

Hamas–Israel conflict

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In October 2023, soon after the2023 Hamas-led attack on Israel,Goldin signed a letter onArtforumthat was criticized for being antisemitic, as it did not mention the Palestinian organization Hamas or the Israelis who were killed.[53]The letter received more than 8,000 signatures.[54][55]

In November 2023, during theIsraeli invasion of the Gaza Strip,hundreds of members and supporters ofJewish Voice for Peace–New York City (JVP-NYC) took part in a sit-in protest in front of New York'sStatue of Libertydemanding a ceasefire in Gaza. Goldin addressed the demonstration, saying, "As long as the people of Gaza are screaming, we need to yell louder, no matter who attempts to silence us."[56]Goldin also canceled a photo shoot with theNew York Times Magazinedue to concerns about theNew York Times'reporting on the Gaza crisis, accusing the newspaper of complicity with Israel in its reporting and further questioning its handling of Palestinian perspectives.[57]Goldin was arrested on October 14, 2024 durring a Jewish Voice for Peace protest in New york City.[58]

Recognition

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In 2023, Goldin was described as the most influential person in the art world inArtReview's "Power 100" list of influential people in art.[59]

Awards

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Censorship case in Brasil

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An exhibition of Goldin's work was censored in Brazil, two months before opening, due to its sexually explicit nature.[70]The main reason was that some of the photographs contained children in bed with their parents, who are naked and caressing each other.[70]In Brazil, there is a law that prohibits the image of minors associated with pornography.[71] The sponsor of the exhibition, a cellphone company, claimed to be unaware of the content of Goldin's work and that there was a conflict between the work and its educational project. The curator of theRio de Janeiro Museum of Modern Artchanged the schedule to accommodate, in February 2012, the Goldin exhibition in Brazil.[72]

Collections

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Sorted by state.

United States

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Solo exhibitions

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For somegroup exhibitionssee catalogues listed inBooks on Goldin.

Exhibitions curated by Goldin

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Witnesses: Against Our Vanishing

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Curated by Goldin at Artists Space,Witnesses: Against Our Vanishing(November 16, 1989 – January 6, 1990) invited New York artists to respond to the HIV/AIDS crisis. Artists represented includedDavid Armstrong,Tom Chesley,Dorit Cypis,Philip-Lorca DiCorcia,Jane Dickson,Darrel Ellis, Allen Frame,Peter Hujar,Greer Lankton,Siobhan Liddel,Mark Morrisroe,Jamie Nares,Perico Pastor, Margo Pelletier, Clarence Elie-Rivera, Vittorio Scarpati, Jo Shane,Kiki Smith,Janet Stein,Stephen Tashjian,Shellburne Thurber, Ken Tisa, andDavid Wojnarowicz.Goldin noted that artists' works varied in response, as "out of loss comes memory pieces, tributes to friends and lovers who have died; out of anger comes explorations of the political cause and effects of the disease."[99]

David Wojnarowicz's essay "Post Cards from America: X-Rays from Hell" in the exhibition's catalogue criticized conservative legislation that Wojnarowicz believed would increase the spread of HIV by discouraging safe sex education. Additionally, Wojnarowicz speaks about the efficacy of making the private public via the model ofouting,as he and Goldin believed empowerment begins through self-disclosure. Embracing personal identities then becomes a political statement that disrupts oppressive rules of behavior of bourgeois society – though Wojnarowicz does admit outing may lock a subject into a single frozen identity. Goldin's show was also met with criticism, but in particular Wojnarowicz's explicit essay, Goldin as curator stood by, lead to theNational Endowment for the Artsrescinding its support for the publication.[100][101]

From Desire: A Queer Diary

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Goldin's second curated show,From Desire: A Queer Diary(March 29 – April 19, 1991), was held at the Richard F. Brush Art Gallery atSt. Lawrence University,Canton, NY. Artists who were exhibited included David Armstrong, Eve Ashcraft, Kathryn Clark, Joyce Culver,Zoe Leonard,Simon Leung,Robert Mapplethorpe,Robert Windrum, and David Wojnarowicz.[102]

Nan's Guests

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Rencontres d'Arles2009, Arles, France.[88]The major show of the photo festival included the work of thirteen photographers includingAntoine d'Agata,David Armstrong,JH Engström,Christine Fenzl,Jim Goldberg,Boris Mikhailov,Anders PetersenandAnnelies Strba.As guest of honor she also chooseLeigh Ledarefor a solo show.

Publications

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  • The Ballad of Sexual Dependency,edited withMarvin Heiferman,Mark Holborn and Suzanne Fletcher. New York:Aperture,1986.ISBN978-0-89381-236-2.Kodak Photobook Award (Arles 1987).
    • Remastered reissue: 2012. ISBN 978-1-59711-208-6.
    • New afterword: 2021.
  • The Other Side(DAAD Artists-in-Residence Program,Berlin). Zurich: Scalo, 1993.ISBN1-881616-03-7.
    • Expanded 2nd edition with revised introduction by Goldin. Göttingen:Steidl,2019 (2nd pr. 2023). ISBN 978-3-95829-613-8.
  • Vakat,with poems by Joachim Sartorius. Cologne: Walter Konig, 1993.
  • Desire by Numbers,with fiction byKlaus Kertess.San Francisco: Artspace, 1994.
  • A Double Life,withDavid Armstrong.Zurich: Scalo, 1994.
  • Tokyo Love,withNobuyoshi Araki.Tokyo: Hon don do, 1994.
  • I'll Be Your Mirror(exhibition catalogue), edited by Elisabeth Sussman and David Armstrong. Zurich: Scalo, 1996.ISBN978-3-931141-33-2.
  • Ten Years After: Naples 1986–1996,with Guido Costa (text), edited with Gigi Giannuzzi and Guido Costa. Zurich: Scalo, 1998.ISBN978-3-931141-79-0.
  • Couples and Loneliness,edited with Taka Kawachi. Kyoto: Korinsha, 1998. ISBN 4-77130342-8 (English/Japanese).
  • Nan Goldin: Recent Photographs(exhibition catalogue). Houston:Contemporary Arts Museum,1999.
  • The Devil's Playground.London: Phaidon, 2003.ISBN978-0-7148-4223-3.
  • Soeurs, Saintes et Sibylles.Editions du Regard, 2005.ISBN978-2-84105-179-3(French).
  • The Beautiful Smile(Hasselblad Award), edited by Jack Ritchey,Gerhard Steidland Walter Keller.Hasselblad Center,Gothenburg, and Göttingen: Steidl, 2007.ISBN3-86521-539-4.
  • Variety.Photographs by Nan Goldin (from the Film byBette Gordon),text byJames Crump.New York: Skira Rizzoli, 2009.ISBN978-0-8478-3255-2.
  • Eden and After,with Guido Costa. London: Phaidon, 2014.ISBN978-07148-6577-5.[103]
  • Diving for Pearls(exhibition catalogue). Göttingen: Steidl, 2016.ISBN978-3-95829-094-5.
  • Visible/Invisible(exhibition catalogue,Château de Versailles), Ed. Dilecta, 2019, ISBN 264408372796.
  • Käthe-Kollwitz-Preis 2022: Nan Goldin(exhibition catalogue). Berlin:Akademie der Künste,2023, ISBN 978-3-8833-1253-8.
  • This Will Not End Well(exhibition catalogue). Stockholm:Moderna Museet,and Göttingen: Steidl, 2023. ISBN 978-3-96999-058-2.

Publications with contributions by Goldin

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  • "Peter Hujar",in:Parkett,No. 44.Zurich: Parkett, 1995. ISBN 3-907509-94-3, S. 15f(–22). (German/English).[104]
  • David Armstrong:The Silver Cord.Afterword by Goldin. Zurich/Berlin/New York: Scalo, 1997. ISBN 3-931141-48-9.
  • Parkett No. 57:Doug Aitken,Thomas Hirschhorn,Nan Goldin.Zurich: Parkett, 1999 (German/English).
  • Jean-Christian Bourcart.Madonnes Infertiles.Text by Goldin. Paris: TDM Editions, 2002.
  • Jean-Christian Bourcart.All About Love.Text by Goldin. Loco, 2014. ISBN 978-2-91950734-4.
  • Tomasz Gudzowaty.Beyond the Body.Edited by Goldin. Göttingen: Steidl, 2017.ISBN978-3-95829-040-2.
  • "I Survived the Opioid Crisis". In:Artforum,January 2018.
  • Christine Fenzl.Land in Sonne.Texts by Dani Levy and Goldin. Ostfildern: Hatje Cantz, 2019. ISBN 978-3-7757-4609-0.

Books on Goldin

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Listed are catalogues of group exhibitions, Goldin took part in, that reveal different facets of her work and biography by comparison with other like-minded artists, as well as publications on different subjects like the portrait, the self-portrait, subcultures in art, autobiographical storytelling and its meaning, the snapshot as expressive style etc.

Depiction in film

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Feature films

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With experimental filmmakerBette GordonGoldin worked several times. InEmpty Suitcasesfrom 1980 she acted alongside Irish artist and friendVivienne Dick.In the 1983 filmVarietyGoldin plays a character called Nan. She also accompanied the production of the film with her camera; the photographs were published in 2009 (see bibliography). For Gordon's 1998Luminous Motion,she worked again asstill photographer.[105]

Goldin also provided still photography for two films bySara Driver:You Are Not I(1981, co-written byJim Jarmuschand its director), starring Goldin's lover and friend Suzanne Fletcher, and herself playing one of the accident victims. In 1993 followedWhen Pigs FlywithAlfred Molina.

Photographs shown in the 1986 filmWorking Girls,as taken by the lead character Molly, were those of Goldin.[106]

In the production ofMary Harron's infamousI Shot Andy Warhol(1996) withLili TaylorasValerie Solanas,Goldin is listed for "special photography".

The photographs by the character Lucy Berliner, played by actressAlly SheedyinLisa Cholodenko's 1998 filmHigh Art,were based on those by Goldin.[107]

In the second season of the 2017HBOseriesThe DeucebyGeorge PelecanosandDavid Simonshe has a cameo sitting at a bar.

Documentary films

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On the occasion of her first major retrospective in the UK an early documentary was made beforehand in 1995 for theBBCby Edmund Coulthard, called like the show,I'll Be Your Mirror.[10]The film received a Teddy Award at theBerlin International Film Festival1996, and the City of Melbourne Award at theMelbourne International Film Festival.[108]

Paul Tschinkel did a 30 minute feature on occasion of the retrospective being shown at theWhitney Museumin New York, titledNan Goldin: In My Life.[109]

The intimate hour-long portraitNan Goldin: I Remember Your Facedirected by Sabine Lidl came out in 2011.[110][111]

In 2022, filmmakerLaura Poitras'Peabody Award-winning[112]documentaryAll the Beauty and the Bloodshedon Goldin premiered at the79th Venice International Film Festival,[113][114]The feature-length film interweaves Goldin's biography told by herself, with her engagement with P.A.I.N. against the Sackler family, evolving in part during theCovid-19 pandemic.The film was awarded theGolden Lionin Venice and was nominated for theAcademy Award for Best Documentary Feature.[115]

References

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  1. ^"Nan Goldin".The Guggenheim Museums and Foundation.Archivedfrom the original on March 8, 2018.RetrievedSeptember 13,2024.
  2. ^O’Neill-Butler, Lauren.""Sacklers Lie, Thousands Die": P.A.I.N. Against Big Pharma ".Pioneer Works.RetrievedApril 28,2022.
  3. ^"Nan Goldin".mariangoodman.com.RetrievedDecember 16,2022.
  4. ^Romack, Coco (April 12, 2021)."Friends Who Teach Each Other".The New York Times.Archivedfrom the original on December 16, 2022.RetrievedDecember 16,2022.
  5. ^https://peabodyawards.com/award-profile/all-the-beauty-and-the-bloodshed/
  6. ^https://www.nytimes.com/2022/09/10/movies/all-the-beauty-and-the-bloodshed-venice.html
  7. ^Great women artists.Phaidon Press. 2019. p. 155.ISBN978-0714878775.
  8. ^Solomon, Deborah(October 9, 1996)."Nan Goldin: Scenes From the Edge".The Wall Street Journal.Archived fromthe originalon February 22, 2017.
  9. ^Goldin, Nan."The Ballad of Sexual Dependency (Introduction)".Aperture.org.Archived fromthe originalon March 5, 2018.RetrievedMarch 4,2018.
  10. ^ab"Nan Goldin, American photographer".Encyclopedia Britannica.September 8, 2024.RetrievedSeptember 29,2024.
  11. ^abcdO'Hagan, Sean (March 22, 2014)."Nan Goldin: 'I wanted to get high from a really early age'".The Guardian.ISSN0261-3077.Archivedfrom the original on January 23, 2018.RetrievedFebruary 16,2017.
  12. ^Als, Hilton (June 27, 2016)."Nan Goldin's Life in Progress".The New Yorker.ISSN0028-792X.RetrievedMarch 4,2018.(paywall after three free articles)
  13. ^Goldin, Nan (1986). Goldin, Nan; Heiferman, Marvin; Holborn, Mark; Fletcher, Suzanne (eds.).The Ballad of Sexual Dependency.New York: Aperture Foundation.ISBN0893812366.
  14. ^Sussman, Elisabeth. "Nan Goldin: [de:Zeitbilder]", p. 30, in:Sussman, Elisabeth; Armstrong, David, eds. (1996).Nan Goldin – I'll Be Your Mirror.New York and Zurich: Whitney Museum of American Art and Scalo.ISBN978-3-931141-33-2.
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  33. ^Charlotte Cowles (June 12, 2013)."Robert Pattinson Confirmed as New Face of Dior".New York Magazine.Archivedfrom the original on June 16, 2013.RetrievedJune 12,2013.
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  36. ^Sheryl Garratt (January 6, 2002),"The dark room",The Guardian,retrievedMarch 8,2010,I never took pictures of people doing heroin to sell clothes. And I have a bit of a problem with it. Like this Dior campaign right now, where the girl is really dope-sick then she sprays Addiction perfume and suddenly she's high. I find that really reprehensible and evil.
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  89. ^Randy Kennedy (October 26, 2011)."The Look of Love".The New York Times.Archivedfrom the original on October 2, 2024.RetrievedSeptember 28,2024.
  90. ^Karen Rosenberg (December 18, 2011)."A Voyeur Makes Herself at Home in the Louvre".The New York Times(Review).Archivedfrom the original on June 17, 2022.RetrievedSeptember 28,2024.
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  104. ^Parkett No. 42in 1994 featured already a photo spread called "Insert" by Goldin.
  105. ^This and all following data from thecast and crew listingArchivedOctober 2, 2024, at theWayback Machinefrom the Nan Goldin page on IMDb. Retrieved September 29, 2024.
  106. ^Audio commentary by Lizzie Borden on the DVD of "Working Girls".Publisher, date, timestamp missing
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