654:, 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.
627:" to sell clothes and perfumes "reprehensible and evil." 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"
1547:, 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, and in particular Wojnarowicz's essay, was met with criticism, leading to the National Endowment of Arts rescinding its support for the publication.
261:(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".
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204:'s daughter) introduced Goldin to the camera in 1969 when she was sixteen years old. Still struggling from her sister's death, Goldin used the camera and photography to cherish her relationships with those she photographed. She also found the camera as a useful political tool, to inform the public about important issues silenced in America. Her early influences included
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image of minors associated with pornography. 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 to accommodate, in February 2012, the Goldin exhibition in Brazil.
531:"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."
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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
270:"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".
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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
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An exhibition of Goldin's work was censored in Brazil, two months before opening, due to its sexually explicit nature. The main reason was that some of the photographs contained children in bed with their parents, who are naked and caressing each other. In Brazil, there is a law that prohibits the
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criticizes 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
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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
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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
764:"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."
509:, manufacturers of OxyContin. 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. Goldin became aware of the Sackler family in 2017.
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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
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in 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 with
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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.
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released 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".
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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. In
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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.
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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". However, upon attending the
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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.
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demanding 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." Goldin also canceled a photo shoot with the
1539:. 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."
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images depict drug use, violent, aggressive couples and autobiographical moments. In her foreword to the book she describes it as a "diary lets people read" of people she referred to as her "tribe". Part of
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due to concerns about the New 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.
183:. Goldin had early exposure to tense family relationships, sexuality, and suicide, as her parents often argued about Goldin's older sister Barbara who ultimately died by suicide when Goldin was 11:
1565:, 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.
780:(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 lowlife
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problematic enmeshment with the histories of social surveillance and coercion, says Kotz. insider status does nothing to alter the way her pictures convert her audience into voyeurs.
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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
569:) announced it would no longer accept any gifts offered by members of the Sackler family, from whom it had received £4m. Tate Modern had been planning to display its copy of Goldin's
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series 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.
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that was criticized for being antisemitic, as it did not mention the terrorist organization Hamas or the
Israelis who were killed. The letter received more than 8,000 signatures.
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critiques gender norms ("clichés" as she calls them) by highlighting the collective human desire to form connections regardless of the emotional or physical cost. Throughout
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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."
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and date an older man. She left home by age 13 or 14 and subsequently lived in various foster homes. At 16 she enrolled at the Satya
Community School in
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nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years." In addition to
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3742:"'All the Beauty and the Bloodshed' Review: Laura Poitras's Film About How Nan Goldin Turned Her Art of Transgression Against the Sackler Family"
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Goldin, Nan; Wojnarowicz, David; Richard F. Brush Art Gallery; Visual AIDS (Organization); St. Lawrence University Festival of the Arts (1991).
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Goldin has undertaken commercial fashion photography—for Australian label Scanlan & Theodore's Spring/Summer 2010 campaign, shot with model
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if they did not turn down a gift of £1 million from the Sacklers. The gallery subsequently said it would not proceed with the donation.
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subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects
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1495:(November 16, 1989 – January 6, 1990) invited New York artists to respond to the HIV/AIDS crisis. Artists represented included
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In July 2019, Goldin and others from the group Prescription Addiction Intervention Now staged a protest in the fountain at the
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in 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.
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1980:"Emotions and Relations: Photographs by David Armstrong, Nan Goldin, Philip Lorca DiCorcis, Mark Morrisroe, and Jack Pierson"
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Goldin's work since 1995 has included a wide array of subject matter: collaborative book projects with Japanese photographer
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was driven by the need to remember her extended family. Photography was a way for her to hold onto her friends, she hoped.
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2046:. University Park, Penn. : Palmer Museum of Art in association with The Pennsylvania State University Press, c2005.
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2384:"'I don't know how they live with themselves' – artist Nan Goldin takes on the billionaire family behind OxyContin"
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So the Story Goes: Photographs by Tina Barney, Philip-Lorca DiCorcia, Nan Goldin, Sally Mann, and Larry Sultan.
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gay subculture of the late 1970s and early 1980s. She was drawn especially to the hard-drug subculture of the
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Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A with
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760:(1966). The sexuality and glamour of the film exerted a "huge effect" on her. Referring to images shown in
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In 2017, in a speech in Brazil, Goldin revealed she was recovering from opioid addiction, specifically to
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Month After Being Battered, 1984" as an iconic image which she uses to reclaim her identity and her life.
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Goldin's first solo show, held in Boston in 1973, was based on her photographic journeys among the city's
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4003:"Witnesses: against our vanishing, 1989, from the Lucy R. Lippard papers, 1930s–2010, bulk 1960s–1990"
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to raise funds for Goldin's opioid awareness group P.A.I.N. (Prescription Addiction Intervention Now).
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Goldin identified that Tate, which has received Sackler money, paid her for one of the ten copies of
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in 2015, when she was deeply addicted to OxyContin. She says she spent some of the money on buying
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In 2000, her hand was injured and she currently retains less ability to turn it than in the past.
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Westfall, Stephen. "The Ballad of Nan Goldin." BOMB No. 37 (1991): 27–31.JSTOR. Web. Mar 3, 2015.
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3764:"'All the Beauty and the Bloodshed' Wins Venice Film Festival Golden Lion: See All the Winners"
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in her teens. Goldin's father worked in broadcasting and served as the chief economist for the
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2014, Sean O'Hagan,"The Guardian","Nan Goldin:"I wanted to get high from a really early age."
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Some critics have accused Goldin of making heroin use appear glamorous and of pioneering a
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Also in 2018, she was one of several artists who participated in a $ 100 sale organized by
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An early documentary was made in 1997 on Goldin after her mid-career retrospective at the
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She also said that she would withdraw from a retrospective exhibition of her work at the
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slideshow, for a year from April 15, 2019. Goldin had not discussed the show with Tate.
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2524:"Nan Goldin Is Selling Signed Prints for $ 100 to Support Victims of the Opioid Crisis"
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1801:"Nan Goldin | Biography, Art, Documentary, Movie, & Facts | Britannica"
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1527:, Perico Pastor, Margo Pelletier, Clarence Elie-Rivera, Vittorio Scarpati, Jo Shane,
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The photographs show a transition through Goldin's travels and her life. Most of her
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festival, Arles, France. This included the work of thirteen photographers including
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www.damiencarbery.com, Website Designed, Developed and Hosted by Damien Carbery -.
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The Ballad of Shoe Dependency: Nan Goldin Shoots a New Ad Campaign for Jimmy Choo
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In 2023, Goldin was described as the most influential person in the art world in
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neighborhood; these photographs, taken between 1979 and 1986, form her slideshow
144:(Prescription Addiction Intervention Now). She lives and works in New York City.
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3956:"Nan Goldin review – Gut-wrenching, brilliant and beautiful. I cannot turn away"
3930:"Nan Goldin's Sirens exhibition is a woozy, devastating tale of addiction ★★★★★"
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2551:"Opioid crisis protesters target New York's Guggenheim over Sackler family link"
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Following graduation, Goldin moved to New York City. She began documenting the
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114:(born 1953) is an American photographer and activist. Her work often explores
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2600:"Nan Goldin threatens London gallery boycott over £1m gift from Sackler fund"
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3879:"Nan Goldin and Vivienne Dick: extraordinary art, extraordinary friendship"
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2577:"Protesters stage Guggenheim Museum demonstration to protest opioid crisis"
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In 2018, she organized a protest in the Sackler Wing's Temple of Dendur at
3708:"'All the Beauty and the Bloodshed' Review: Nan Goldin's Art and Activism"
3019:"Protesters stage sit-in demanding ceasefire in Gaza at Statue of Liberty"
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from the audio commentary by Lizzie Borden on the DVD of "Working Girls".
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2662:"'This is blood money': Tate shuns Sacklers – and others urged to follow"
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Goldin, Nan; Heiferman, Marvin; Holborn, Mark; Fletcher, Suzanne (2012).
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Goldin, Nan; Heiferman, Marvin; Holborn, Mark; Fletcher, Suzanne (1986).
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3060:"Cancelamento de exposição no Rio deixa artista norte-americana chocada"
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style that later became popularized by youth fashion magazines such as
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Lisa Cholodenko's icy 'High Art' turns from chic comedy to humiliation
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exhibition and screening, Guest of honour at Rencontres d'Arles, 2009
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2730:"Artist Nan Goldin leads die-in at V&A over use of Sackler name"
2628:"National Portrait Gallery turns down £1m grant from Sackler family"
2488:"Opioid Protest at Met Museum Targets Donors Connected to OxyContin"
2330:"Robert Pattinson Confirmed As New Face of Dior BY CHARLOTTE COWLES"
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exhibition and screening, Théâtre Antique. Rencontres d'Arles, 1997.
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The photographs by the character Lucy Berliner, played by actress
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in New York over its acceptance of funding by the Sackler family.
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2940:"An Open Letter from the Art Community to Cultural Organizations"
3905:"Life lessons we can take from Nan Goldin's seminal photography"
3792:"Photography review: Les Rencontres d'Arles 2009, Arles, France"
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3038:"Nan Goldin Boycotts New York Times Project Over Gaza Coverage"
2696:"Artist Nan Goldin protests against Sackler wing at the Louvre"
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Auto focus : the self-portrait in contemporary photography
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2993:"Artists Call for Boycott After Artforum Fires Its Top Editor"
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OxyContin, as doctors would no longer prescribe her the drug.
4055:"David Wojnarowicz: Against His Vanishing - Art Journal Open"
3162:"Nan Goldin Takes the Top Spot on ArtReview's Power 100 List"
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Goldin was born in Washington, D.C., in 1953 to middle-class
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Bottega Veneta Taps Jack Pierson for Latest Arty Ad Campaign
2198:"Nan Goldin: 'I wanted to get high from a really early age'"
1886:"Nan Goldin: 'I wanted to get high from a really early age'"
1654:""Sacklers Lie, Thousands Die": P.A.I.N. Against Big Pharma"
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Two days after the National Portrait Gallery statement, the
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communities, to which she had been introduced by her friend
2108:. "A New Chapter of Nan Goldin's Diary." November 16, 2003.
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Auto Focus: The Self-Portrait in Contemporary Photography.
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new-wave music scene, along with the city's vibrant, post-
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prints. Her work from this period is associated with the
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2147:"'Nan one month after being battered', Nan Goldin, 1984"
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3109:"Oi Futuro cancela mostra da artista Nan Goldin no Rio"
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Goldin's work is most often presented in the form of a
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Walters, Joanna; Thorpe, Vanessa (February 17, 2019).
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Brecht, Bertolt. "Three Penny Opera." Act II, song 12.
501:) pursuing social media activism directed against the
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she combined her Bowery pictures in two other series:
3136:"Nan Goldin Shares the Photography That Inspires Her"
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celebrate those who live marginal lives. Stills from
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Arresting Images: Impolitic Art and Uncivil Actions
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3436:"Gilles and Gotscho at Home, Paris (Getty Museum)"
2005:"Nan Goldin: Scopophilia, March 21 – May 24, 2014"
889:(exhibition catalogue). Paris: Yvon Lambert, 1997.
869:(exhibition catalogue). Paris: Yvon Lambert, 1995.
750:One of the reasons Goldin began photographing was
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1156:s "Power 100" list of influential people in art.
535:In February 2019, Goldin staged a protest at the
200:. A Satya staff member (existential psychologist
4573:Commandeurs of the Ordre des Arts et des Lettres
1776:"The Ballad of Sexual Dependency (Introduction)"
1999:
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1132:Edited by Nan Goldin. Göttingen: Steidl, 2017.
4084:. Canton, N.Y.: Richard F. Brush Art Gallery.
4496:. Unsourced categories may be challenged and
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3670:"Nan Goldin: In My Life: ART/new york No. 47"
875:(exhibition catalogue). Zurich: Scalo, 1996.
8:
3841:: CS1 maint: multiple names: authors list (
3352:"The Royal Photographic Society Awards 2018"
2353:"Supreme Announces Nan Goldin Collaboration"
2175:(1st American ed.). : Monacelli Press.
2764:"A Death Tarnishes Fashion's 'Heroin Look'"
1318:Nan Goldin: In My Life: ART/New York No. 47
720:are all major influences to Goldin's work.
594:In November 2019, Goldin campaigned at the
439:and Anya Kazakova, evoking memories of her
435:'s Spring/Summer 2010 campaign with models
4143:
4129:
4121:
3592:Item held by National Gallery of Australia
2259:"Guggenheim Collection Online, Nan Goldin"
1465:Marian Goodman Gallery, London, 2019/2020.
1356:Academy Award for Best Documentary Feature
1199:Academy Award for Best Documentary Feature
925:. Houston: Contemporary Arts Museum, 1999.
738:are compared to Arbus' magazine work; the
31:
20:
4628:21st-century American women photographers
4623:20th-century American women photographers
4618:Fellows of the Royal Photographic Society
4516:Learn how and when to remove this message
2896:Friedling, Melissa Pearl (June 4, 2019).
1430:Museo Nacional Centro de Arte Reina Sofía
1125:. Includes three contributions by Goldin.
319:Later published as a book with help from
3859:. Raidió Teilifís Éireann. July 18, 2017
2870:Variety : photographs by Nan Goldin
674:, hundreds of members and supporters of
3454:"The Guggenheim Museums and Foundation"
3160:Lawson-Tancred, Jo (December 1, 2023).
3058:Roberta Pennafort (November 30, 2011).
2872:. New York : Skira Rizzoli, 2009.
1855:. New York, N.Y.: Aperture Foundation.
1619:
1261:Museum of Contemporary Art, Los Angeles
1194:Centenary Medal and Honorary Fellowship
831:. Perseus Distribution Services, 1993.
495:Prescription Addiction Intervention Now
3834:
3762:Foreman, Alison (September 10, 2022).
3740:Gleiberman, Owen (September 3, 2022).
3017:Luscombe, Richard (November 6, 2023).
2120:Nan Goldin at Pa. Academy of Fine Arts
2071:. New York City: Aperture Foundation.
1812:
1810:
1346:, about Goldin, which was awarded the
992:2nd edition. Göttingen: Steidl, 2017.
118:subcultures, moments of intimacy, the
4027:Dubin, Steven C. (October 18, 2013).
3989:"Nan Goldin – This Will Not End Well"
3706:Dargis, Manohla (November 22, 2022).
3458:The Guggenheim Museums and Foundation
2891:
2889:
2863:
2861:
2859:
2857:
2728:Thorpe, Vanessa (November 16, 2019).
2694:Chrisafis, Angelique (July 1, 2019).
2518:
2516:
2037:
2035:
2033:
1632:The Guggenheim Museums and Foundation
1383:exhibition. Rencontres d'Arles, 1987.
7:
4588:People from Lexington, Massachusetts
4494:adding citations to reliable sources
3954:Searle, Adrian (November 14, 2019).
3857:"In The Picture: Nan Goldin at IMMA"
3588:"Nan one month after being battered"
2549:Joanna Walters (February 10, 2019).
2382:Walters, Joanna (January 22, 2018).
1732:. Phaidon Press. 2019. p. 155.
1535:, Shellburne Thurber, Ken Tisa, and
1491:Curated by Goldin at Artists Space,
1405:, Switzerland; Kunsthalle Wien; and
1282:National Museum of Women in the Arts
623:, Goldin herself called the use of "
617:. However, in a 2002 interview with
485:Opioid epidemic in the United States
4598:21st-century American photographers
4593:20th-century American photographers
3324:"MacDowell Medal winners 1960–2011"
3036:Dubreil, Jean (November 10, 2023).
2991:Small, Zachary (October 27, 2023).
2965:Community, Art (October 22, 2023).
1303:Photographs shown in the 1986 film
1256:Museum of Contemporary Art, Chicago
544:National Portrait Gallery in London
400:Christmas at the Other Side, Boston
159:, 1980, Cibachrome print by Goldin.
3107:Martí, Silas (November 29, 2011).
2796:Sheryl Garratt (January 6, 2002),
2660:Walters, Joanna (March 24, 2019).
2626:Badshah, Nadeem (March 19, 2019).
2575:Anna Hopkins (February 11, 2019).
2486:Moynihan, Colin (March 10, 2018).
2421:Walters, Joanna (March 22, 2019).
1352:Venice International Film Festival
1287:San Francisco Museum of Modern Art
1049:Books with contributions by Goldin
1006:Variety: Photographs by Nan Goldin
821:(exhibition catalogue). New York:
672:Israeli invasion of the Gaza Strip
16:American photographer and activist
14:
4553:LGBT people from Washington, D.C.
2762:Spindler, Amy M. (May 20, 1997).
2351:Singer, Olivia (March 26, 2018).
1333:, were based on those by Goldin.
903:Ten Years After: Naples 1986–1996
895:(exhibition catalogue). Cologne:
276:School of the Museum of Fine Arts
181:Federal Communications Commission
4484:contains unreferenced categories
4473:
4116:Nan Goldin at theCollectiveShift
3977:– via www.theguardian.com.
3440:The J. Paul Getty in Los Angeles
2827:"Nan Goldin by Stephen Westfall"
2751:– via www.theguardian.com.
2196:O'Hagan, Sean (March 22, 2014).
1884:O'Hagan, Sean (March 23, 2014).
1757:Nan Goldin: Scenes From the Edge
1543:private public via the model of
1493:Witnesses: Against Our Vanishing
1486:Witnesses: Against Our Vanishing
1448:The Ballad of Sexual Dependency,
1413:The Ballad of Sexual Dependency,
1343:All the Beauty and the Bloodshed
1204:All the Beauty and the Bloodshed
851:. San Francisco: Artspace, 1994.
657:In October 2023, soon after the
553:group of British art galleries (
3269:MacDowell will honor Nan Goldin
3066:(in Portuguese). Rio de Janeiro
2305:Ann Binlot (October 18, 2011),
2236:, BLOUINARTINFO, archived from
2230:Robert Ayers (March 27, 2006),
2069:The ballad of sexual dependency
1944:Burton, Johanna. "Nan Goldin".
1853:The ballad of sexual dependency
1819:"Nan Goldin's Life in Progress"
1703:Romack, Coco (April 12, 2021).
1369:The Ballad of Sexual Dependency
800:The Ballad of Sexual Dependency
659:2023 Hamas-led attack on Israel
648:The Ballad of Sexual Dependency
578:The Ballad of Sexual Dependency
571:The Ballad of Sexual Dependency
305:The Ballad of Sexual Dependency
129:The Ballad of Sexual Dependency
76:The Ballad of Sexual Dependency
4082:From desire: ... a queer diary
3134:Rosen, Miss (August 3, 2020).
2282:Ann Binlot (January 3, 2012),
1705:"Friends Who Teach Each Other"
1557:Goldin's second curated show,
1391:Whitney Museum of American Art
1314:Whitney Museum of American Art
923:Nan Goldin: Recent Photographs
845:. Cologne: Walter Konig, 1993.
514:The Metropolitan Museum of Art
466:In March 2018, clothing brand
412:Sisters, Saints, & Sybils.
308:—a title taken from a song in
1:
4578:Artists from Washington, D.C.
3606:"Nan Goldin | Artist Profile"
3551:"Nan as a dominatrix, Boston"
3267:Meghan Pierce(June 9, 2012),
2093:A Cookie Mueller Encyclopedia
1817:Als, Hilton (June 27, 2016).
1511:, Darrel Ellis, Allen Frame,
1480:Exhibitions curated by Goldin
1340:directed a documentary film,
1277:National Gallery of Australia
1167:Ordre des Arts et des Lettres
670:In November 2023, during the
101:Ordre des Arts et des Lettres
3386:The Art Institute of Chicago
977:. First edition. Göttingen:
963:. Editions du Regard, 2005.
661:, Goldin signed a letter on
167:parents, and grew up in the
4633:American LGBT photographers
3903:Dazed (November 14, 2019).
3818:"Nan Goldin, Weekend Plans"
3497:"Nan and Brian in Bed, NYC"
3191:September 20, 2020, at the
2967:"Both Should Come Together"
1266:Museum of Fine Arts, Boston
961:Soeurs, Saintes et Sibylles
441:Ballad of Sexual Dependency
431:; for Italian luxury label
126:. Her most notable work is
50:1953 (age 70–71)
4659:
4643:Jews from Washington, D.C.
4638:21st-century American Jews
4583:Artists from Massachusetts
3280:New Hampshire Union Leader
3115:(in Portuguese). São Paulo
1910:Westfall, Stephen (1991).
1559:From Desire: A Queer Diary
1552:From Desire: A Queer Diary
1473:Stedelijk Museum Amsterdam
1457:Irish Museum of Modern Art
1354:and was nominated for the
1251:Metropolitan Museum of Art
1192:Royal Photographic Society
863:. Tokyo: Hon don do, 1994.
596:Victoria and Albert Museum
478:
258:Ivy wearing a fall, Boston
4538:American bisexual artists
3650:. Retrieved March 2, 2017
3237:Hasselblad Award Citation
1986:. Taschen. Archived from
1424:, Paris, and traveled to
1055:Emotions & Relations.
1036:Göttingen: Steidl, 2016.
949:. London: Phaidon, 2003.
505:for their involvement in
406:In 2006, her exhibition,
30:
3573:The Museum of Modern Art
3332:. London. April 13, 2011
1217:Art Institute of Chicago
919:. Tokyo: Korinsha, 1998.
4568:Jewish American artists
4543:American bisexual women
3198:, New York/Los Angeles.
1761:The Wall Street Journal
1563:St. Lawrence University
1422:Centre Georges Pompidou
1393:, 1996 and traveled to
1022:London: Phaidon, 2014.
1008:. Skira Rizzoli, 2009.
905:. Zurich: Scalo, 1998.
685:New York Times Magazine
4613:Bisexual photographers
4608:Bisexual women artists
4327:Bernd and Hilla Becher
3624:"Goldin, Nan · SFMOMA"
3274:March 3, 2016, at the
2312:June 12, 2018, at the
2289:June 12, 2018, at the
2171:Bright, Susan (2010).
1568:
1469:This will not end well
1181:Edward MacDowell Medal
1057:Foto Series. Cologne:
917:Couples and Loneliness
893:Emotions and Relations
857:. Zurich: Scalo, 1994.
752:Michelangelo Antonioni
746:Michelangelo Antonioni
676:Jewish Voice for Peace
533:
403:
192:Goldin began to smoke
190:
160:
104:2006
97:2007
90:2012
87:Edward MacDowell Medal
4179:Henri Cartier-Bresson
3642:Nan Goldin: born 1953
3404:collectionlambert.com
3215:Hasselblad Foundation
3196:Matthew Marks Gallery
2908:10.4324/9780429303975
2868:Crump, James (2009).
1505:Philip-Lorca DiCorcia
1434:Fundação de Serralves
1403:Fotomuseum Winterthur
1395:Kunstmuseum Wolfsburg
1320:, by Paul Tschinkel.
1228:Currier Museum of Art
1093:Yale University Press
1075:Philip-Lorca diCorcia
529:
398:
185:
155:
4490:improve this article
4185:Manuel Álvarez Bravo
3400:"Collection Lambert"
2095:, Randy Press, 2010.
2042:Goldin, Nan (2005).
1387:I'll be Your Mirror,
1271:Museum of Modern Art
323:, Mark Holborn, and
3569:"Nan Goldin | MoMA"
3555:collections.mfa.org
3476:thejewishmuseum.org
3472:"The Jewish Museum"
3362:on December 4, 2018
3329:The Daily Telegraph
3294:"Medal Day History"
3250:on January 25, 2011
2240:on February 8, 2019
1925:on October 29, 2015
1803:. December 2, 2023.
1755:(October 9, 1996),
1730:Great women artists
1436:, Porto, Portugal;
1426:Whitechapel Gallery
1336:In 2022, filmmaker
1187:, Peterborough, NH.
1128:Gudzowaty, Tomasz.
1115:Thames & Hudson
975:The Beautiful Smile
873:I'll Be Your Mirror
447:in 2011 with model
364:I'll Be Your Mirror
136:documents the post-
4274:Christer Strömholm
3712:The New York Times
3042:Artmajeur Magazine
2997:The New York Times
2946:. October 19, 2023
2768:The New York Times
2579:. Fox News Channel
2530:. October 29, 2018
2492:The New York Times
2467:on January 3, 2018
2106:The New York Times
2017:on March 23, 2014.
1990:on April 25, 2015.
1709:The New York Times
1576:Rencontres d'Arles
1519:, Siobhan Liddel,
1438:Castello di Rivoli
1375:Rencontres d'Arles
1222:Collection Lambert
1034:Diving for Pearls.
404:
402:, 1972, by Goldin.
354:The New York Times
329:snapshot aesthetic
161:
4526:
4525:
4518:
4466:
4465:
4404:Wolfgang Tillmans
4351:Graciela Iturbide
4280:William Eggleston
4215:Sebastião Salgado
4151:Laureates of the
3790:(July 11, 2009).
3501:www.metmuseum.org
3304:on August 6, 2012
3113:Folha de S. Paulo
2182:978-1-58093-300-1
2091:Curley, Mallory.
2078:978-1-59711-208-6
1683:mariangoodman.com
1537:David Wojnarowicz
1327:in the 1998 film
1299:Depiction in film
1245:The Jewish Museum
1239:Guggenheim Museum
1138:978-3-95829-040-2
1042:978-3-95829-094-5
1014:978-0-8478-3255-2
998:978-3-95829-174-4
987:978-3-86521-539-0
969:978-2-84105-179-3
955:978-0-7148-4223-3
947:Devils Playground
941:978-0-7148-4073-4
911:978-3-931141-79-0
881:978-3-931141-33-2
849:Desire by Numbers
813:978-0-89381-236-2
714:David Wojnarowicz
680:Statue of Liberty
537:Guggenheim Museum
109:
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4457:Carrie Mae Weems
4392:Joan Fontcuberta
4309:Hiroshi Sugimoto
4153:Hasselblad Award
4145:
4138:
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4094:
4093:
4077:
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4066:
4061:. March 25, 2011
4059:Art Journal Open
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2127:on June 12, 2018
2115:
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2104:Tillman, Lynne.
2102:
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2010:Gagosian Gallery
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1533:Stephen Tashjian
1428:, London, 2001;
1399:Stedelijk Museum
1389:retrospectives,
1362:Solo exhibitions
1185:MacDowell Colony
1174:Hasselblad Award
1130:Beyond the Body.
867:The Golden Years
728:Both Goldin and
461:Robert Pattinson
443:; for shoemaker
408:Chasing a Ghost,
325:Suzanne Fletcher
321:Marvin Heiferman
315:Threepenny Opera
287:of Photography.
210:Federico Fellini
208:'s early films,
94:Hasselblad Award
72:
54:Washington, D.C.
35:
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4603:Opioid epidemic
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4398:Miyako Ishiuchi
4362:
4339:David Goldblatt
4333:Lee Friedlander
4303:Boris Mikhailov
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3883:The Irish Times
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2392:
2390:
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2371:
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2359:
2350:
2349:
2345:
2335:
2333:
2332:. June 12, 2013
2328:
2327:
2323:
2314:Wayback Machine
2304:
2300:
2291:Wayback Machine
2281:
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2117:
2116:
2112:
2103:
2099:
2090:
2086:
2079:
2066:
2065:
2061:
2054:
2044:Fantastic Tales
2041:
2040:
2031:
2026:
2022:
2003:
2002:
1995:
1978:
1977:
1973:
1968:
1957:
1943:
1942:
1938:
1928:
1926:
1922:
1909:
1908:
1904:
1894:
1892:
1883:
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1833:
1816:
1815:
1808:
1799:
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1794:
1784:
1782:
1773:
1772:
1768:
1753:Deborah Solomon
1751:
1747:
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1728:
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1723:
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1697:
1687:
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1651:
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1621:
1616:
1604:Anders Petersen
1600:Boris Mikhailov
1584:David Armstrong
1580:Antoine d'Agata
1573:
1555:
1531:, Janet Stein,
1499:, Tom Chesley,
1497:David Armstrong
1489:
1482:
1407:National Museum
1364:
1301:
1247:, New York City
1213:
1162:
1147:
1091:New Haven, Ct:
1063:David Armstrong
1051:
1020:Eden and After.
795:
793:Books by Goldin
790:
770:
748:
726:
712:, Larry Clark,
703:
694:
637:Fantastic Tales
487:
481:Opioid epidemic
477:
425:
387:Nobuyoshi Araki
253:David Armstrong
241:
150:
124:opioid epidemic
120:HIV/AIDS crisis
105:
103:
98:
96:
91:
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70:
57:
51:
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38:
26:
17:
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4460:
4454:
4451:Dayanita Singh
4448:
4441:
4439:
4435:
4434:
4432:
4431:
4428:Daidō Moriyama
4425:
4419:
4413:
4407:
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4395:
4389:
4383:
4377:
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4364:
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4312:
4306:
4299:
4297:
4293:
4292:
4290:
4289:
4283:
4277:
4271:
4265:
4262:Robert Häusser
4259:
4256:Susan Meiselas
4253:
4247:
4244:Josef Koudelka
4241:
4238:Richard Avedon
4235:
4228:
4226:
4222:
4221:
4219:
4218:
4212:
4209:Édouard Boubat
4206:
4203:Hiroshi Hamaya
4200:
4194:
4188:
4182:
4176:
4170:
4163:
4161:
4157:
4156:
4150:
4148:
4147:
4140:
4133:
4125:
4119:
4118:
4113:
4102:
4101:External links
4099:
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3422:Currier Museum
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2833:. October 1991
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2020:
1993:
1971:
1955:
1936:
1902:
1876:
1861:
1843:
1823:The New Yorker
1806:
1792:
1766:
1745:
1739:978-0714878775
1738:
1721:
1695:
1670:
1644:
1618:
1617:
1615:
1612:
1608:Annelies Strba
1572:
1567:
1554:
1549:
1521:Mark Morrisroe
1488:
1483:
1481:
1478:
1477:
1476:
1466:
1460:
1459:, Dublin, 2017
1454:Weekend Plans,
1451:
1445:
1442:Ujazdów Castle
1419:Le Feu Follet,
1416:
1410:
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1378:
1363:
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1141:
1126:
1123:978-0500543894
1104:
1101:978-0300114119
1086:
1083:978-3822875070
1067:Mark Morrisroe
1050:
1047:
1046:
1045:
1031:
1028:978-0714865775
1017:
1003:
1002:
1001:
972:
958:
944:
931:. 55, London:
926:
920:
914:
900:
890:
884:
870:
864:
858:
852:
846:
840:
829:The Other Side
826:
825:Gallery, 1991.
819:Cookie Mueller
816:
794:
791:
789:
786:
772:The youths in
769:
766:
747:
744:
725:
722:
702:
699:
693:
690:
567:Tate Liverpool
503:Sackler family
476:
473:
433:Bottega Veneta
424:
421:
369:All By Myself.
349:Cookie Mueller
310:Bertolt Brecht
240:
237:
149:
146:
107:
106:
84:
80:
79:
73:
67:
66:
63:
62:Known for
59:
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46:
44:
40:
39:
37:Goldin in 2017
36:
28:
27:
24:
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10:
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4589:
4586:
4584:
4581:
4579:
4576:
4574:
4571:
4569:
4566:
4564:
4563:Living people
4561:
4559:
4556:
4554:
4551:
4549:
4548:Bisexual Jews
4546:
4544:
4541:
4539:
4536:
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4533:
4520:
4517:
4509:
4506:February 2023
4499:
4495:
4491:
4485:
4482:This article
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4340:
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4321:Malick Sidibé
4319:
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4313:
4310:
4307:
4304:
4301:
4300:
4298:
4294:
4287:
4286:Cindy Sherman
4284:
4281:
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4275:
4272:
4269:
4266:
4263:
4260:
4257:
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4232:William Klein
4230:
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4091:
4087:
4083:
4076:
4073:
4060:
4056:
4050:
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4042:
4040:9781135214609
4036:
4033:. Routledge.
4032:
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3788:O'Hagan, Sean
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3586:Goldin, Nan.
3582:
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2875:
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2832:
2831:BOMB Magazine
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2803:
2799:
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2462:
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2455:Goldin, Nan.
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2357:British Vogue
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2317:BLOUINARTINFO
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2016:
2012:
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1916:BOMB Magazine
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1658:Pioneer Works
1655:
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1637:September 13,
1633:
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1517:Greer Lankton
1514:
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1440:, Turin; and
1439:
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1417:
1414:
1411:
1408:
1404:
1401:, Amsterdam;
1400:
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1338:Laura Poitras
1334:
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1306:Working Girls
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1060:
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1048:
1043:
1039:
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1032:
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855:A Double Life
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837:1-881616-03-7
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