Nan Goldin

From Wikipedia, the free encyclopedia
Jump to: navigation, search
Nan Goldin
Nan Goldin.jpg
Nan Goldin, 2009
Born (1953-09-12) September 12, 1953 (age 61)
Washington D.C. United States
Nationality American
Known for Photography
Notable work The Ballad of Sexual Dependency 1986
Awards Hasselblad Award, 2007

Nancy "Nan" Goldin (born September 12, 1953) is an American photographer. She lives and works in New York City, Berlin, and Paris.[1]

Life and work[edit]

The Ballad of Sexual Dependency (1986). The image on the cover is "Nan and Brian in Bed" (1981).
Nan Goldin, The Hug, NYC, 1980, cibachrome, 40 x 30 inches
Nan Goldin, Misty and Jimmy Paulette in a Taxi, NYC, 1991, 30 x 40 inches

Goldin was born in Washington, D.C., and grew up in the Boston suburb of Lexington, to middle-class Jewish parents. Goldin’s father worked in broadcasting, and served as the chief economist for the Federal Communications Commission.[2] After attending the nearby Lexington High School, Goldin left home at 13-14. She enrolled at the Setya Community School in Lincoln, where a teacher, Philosopher Rollo May’s daughter introduced her to the camera in 1968. Goldin was then fifteen years old. Her first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transsexual communities, to which she had been introduced by her friend David Armstrong. While living in downtown Boston at age 18, Goldin “fell in with the drag queens,” living with them and photographing them.[3] 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 recreate themselves and manifest their fantasies publically. I think it’s brave”.[3] Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A with “BOMB,” “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. 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”.[3] Goldin describes her life as being completely immersed in the queens’. However, after she went to the school of Museum of Fine Arts in Boston, 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, Boston/Tufts University in 1977/1978, where she had worked mostly with Cibachrome prints.

Following graduation, Goldin moved to New York City. She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. She was drawn especially to the hard-drug subculture of the Bowery neighborhood; these photographs, taken between 1979 and 1986, form her famous work The Ballad of Sexual Dependency — a title taken from a song in Bertolt Brecht's Threepenny Opera.[4] Published with help from Marvin Heiferman, Mark Holborn, and Suzanne Fletcher, these snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. In her foreword to the book she describes it as a “diary [she] lets people read” of people she referred to as her “tribe”. The photographs show a transition through Goldin’s travels and her life.[5] Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller.[6] In 2003, The New York Times nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years."[7] In addition to Ballad, she combined her Bowery pictures in two other series: I'll Be Your Mirror (from a song on The Velvet Underground's The Velvet Underground & Nico album) and All By Myself.

Goldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous being a 45 minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality; these frames are usually shot with available light. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public.[8] In the book Auto-Focus, her photographs are described as a way to “learn the stories and intimate details of those closest to her”. It speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling. It references one of Goldin’s famous photographs 'Nan One Month After Being Battered, 1984' as an iconic image which she uses to reclaim her identity and her life.[9]

The Devil’s Playground is one of Goldin’s most famous published works, including her most modern images from her series Elements, 57 Days, Still on Earth, and From Here to Maternity.

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

In 2002, her hand was injured in a fall, and she currently retains less ability to turn it than in the past.[citation needed]

Nan Goldin, Christmas at the Other Side, Boston, 1972, gelatin-silver print, 16 x 20 inches

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 presentation Sisters, Saints, & Sybils which has been described as disturbing.[citation needed] 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.[10]

Australian label Scanlan & Theodore commissioned Goldin with its spring/summer 2010 campaign, shot with model Erin Wasson in upstate New York. Commissioned by Italian luxury label Bottega Veneta, she photographed models Sean O'Pry and Anya Kazakova for the brand’s spring/summer 2010 campaign, evoking memories of her Ballad of Sexual Dependency.[11] In 2011, Goldin made an advertising campaign with model Linda Vojtova for luxury shoemaker Jimmy Choo.[12] In 2013, she photographed an advertising campaign for Dior titled 1000 LIVES, featuring Robert Pattinson.[13]

Early influences[edit]


Some critics have accused her of making heroin-use appear glamorous, and of pioneering a grunge style that later became popularized by youth fashion magazines such as The Face and I-D. However, in a 2002 interview with The Observer, Goldin herself called the use of "heroin chic" to sell clothes and perfumes "reprehensible and evil."[14] 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” [15]


An exhibition of Goldin's work was censored in Brazil, two months before opening, due to its sexually explicit nature.[16] The main reason was the photographs containing sexual acts next to children.[16] In Brazil, there is a law that prohibits the image of minors associated with pornography.[17] 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 the Rio de Janeiro Museum of Modern Art changed the schedule in order to accommodate, in February 2012, the Goldin exhibition in Brazil.[18]


Books by Goldin[edit]

Books with contributions by Goldin[edit]



Portrayal in film[edit]

The photographs by the character Lucy Berliner, played by actress Ally Sheedy in the 1998 film High Art, were based on those by Goldin.[23]

Art market[edit]

Goldin has been represented in America exclusively by Matthew Marks Gallery since 1992 and Yvon Lambert Gallery in Paris.

Selected solo exhibitions[edit]


  1. ^ a b Nan Goldin: Scopophilia, March 21 - May 24, 2014 Gagosian Gallery, Rome.
  2. ^ Deborah Solomon (October 9, 1996), Nan Goldin: Scenes From the Edge Wall Street Journal.
  3. ^ a b c Westfall, Stephen. "The Ballad of Nan Goldin." BOMB No. 37 (1991): 27-31.JSTOR. Web. 03 Mar. 2015.
  4. ^ Brecht, Bertolt. "Three Penny Opera." Act II, song 12.
  5. ^ Heiferman, Nan Goldin ; edited with Marvin; Holborn,, Mark; Fletcher, Suzanne. The ballad of sexual dependency (2012 reissue. ed.). New York, N.Y.: Aperture Foundation. ISBN 978-1-59711-208-6. 
  6. ^ Curley, Mallory. A Cookie Mueller Encyclopedia, Randy Press, 2010.
  7. ^ Tillman, Lynne. The New York Times. "A New Chapter of Nan Goldin's Diary." 16 November 2003.
  8. ^ Nan Goldin at Pa. Academy of Fine Arts, BLOUINARTINFO, September 11, 2007, retrieved 2008-04-23 
  9. ^ Bright, Susan (2010). Auto focus : the self-portrait in contemporary photography (1st American ed. ed.). [New York]: Monacelli Press. ISBN 978-1-58093-300-1. 
  10. ^ Robert Ayers (March 27, 2006), Nan Goldin, BLOUINARTINFO, retrieved 2008-04-23 
  11. ^ Ann Binlot (January 3, 2012), Bottega Veneta Taps Jack Pierson for Latest Arty Ad Campaign BLOUINARTINFO.
  12. ^ Ann Binlot (October 18, 2011), The Ballad of Shoe Dependency: Nan Goldin Shoots a New Ad Campaign for Jimmy Choo BLOUINARTINFO.
  13. ^ "Robert Pattinson Confirmed As New Face of Dior BY CHARLOTTE COWLES". Retrieved 12 June 2013. 
  14. ^ Sheryl Garratt (January 6, 2002), The dark room, Guardian News and Media Limited, retrieved 2010-03-08, 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. 
  15. ^ Goldin admits, “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”
  16. ^ a b,cancelamento-de-exposicao-no-rio-deixa-artista-norte-americana-chocada,805090,0.htm#
  17. ^
  18. ^
  19. ^ Nan Goldin Matthew Marks Gallery, New York/Los Angeles.
  20. ^ Nan Goldin, Hasselblad Foundation, 2007, retrieved 2010-03-08 
  21. ^ Hasselblad Award Citation, Hasselblad Foundation, March 8, 2007, retrieved 2010-03-08 
  22. ^ Meghan Pierce(June 9, 2012), MacDowell will honor Nan Goldin New Hampshire Union Leader.
  23. ^ Lisa Cholodenko's icy 'High Art' turns from chic comedy to humiliation

External links[edit]