NAN

Goldin

BY RUBY SMITH

Page 1

it's not about a style or a look or a setup. It's about emotional obsession and empathy- Nan Goldin [1]
Nan Goldins photography is a personal autobiography to her own life, the gritty realities of life on the fringes of society. From drug fueled bohemia to relationship failures, Goldins work never fails to expose the delicate vulnerability of those in the frame. On September 12, 1953, Goldin was born in Washington, D.C. However, her family moved to Boston shortly after and in 1965, at the age of 12 Goldins sister committed suicide. This event is poignant in Goldins work and ultimately what inspired her to document her life through photography. In the years that followed she would document her journeys to her grave and to the train track which took her life, a large part of this was to preserve her ever fading memory; Photography saved my life. Every time i go through something scary and traumatic, I survive by taking pictures [2]. This was the start of a life spanning career documentingher life in retrospect, a snapshot autobiography of her life.After this tragic event her grief left her feeling like an outsider within her own family and in school. This resulted in her moving to Massachusetts a year later, at the age of thirteen to live with a foster family. Here, she went to Satya Community School, and met David Armstrong and Suzanne Fletcher. It was in Massachusetts that under the inuence of her new friends they began to reinvent themselves. Heavily inuenced by fashion photography, with notable inuences from Sherman they dressed up as one another, taking on different personalities and appearances. They would experiment with different genders and masculine/feminine attire which began to shape how Goldin perceived gender roles, thus inuencing the future of her photographic work. She went on to photographing drag queen beauty contests, depicting her subjects not as freaks or those on the outskirts of society but as people in the most simple, non-judgmental way. Nan illustrates their lives as confused and often reckless. However their reinvention into another gender is careful and delicate, the time taken almost similar to that of a portrait or work of art, reinventing themselves as a beautiful artifact of the person they once were. Goldins transition as a student of Boston School of Art marked her change into colour photography, the use of which she is now famous for. She started experimenting with ash where she would usually use natural light which added to the vibrancy and exposure, this is now referred to as the Goldin look. She printed her photographs from slides which adds to the vividness once again, extenuating the hues, in a process called Cibachrome. This adds to the clarity and accuracy to the original print because it is printed on polyester instead of paper the image will not fade or discolour. This also adds somewhat to her informal aesthetic, her images are content driven and are somewhat exposed in articial light, focusing the audiences gaze. In someways this reinforces Goldins obsession with preserving memories of the past, Stories can be rewritten, memory cant. If each picture is a story , then the accumulation of these pictures comes closer to the experience of memory, a story without end, by using Cibachrome and producing medium that is unfadeable to the test of time from this she has produced the ultimate memory.

Page 2

At this time Goldin was largely inuenced by fashion and glamour magazines, in 1974 a teacher at her school showed her the work of Larry Clark which changed her view of art photography. The book Tulsa increased her awareness of personal diaristic imagery as an art form, exposing personal experiences to an audience- a main inuence towards The Ballad. She was previously inuenced by black and white glamour photographers such as Cecil Beaton (famous for her imagery of Twiggy, Marilyn and Audrey Hepburn) as well as Horst. In the late 70s Goldin moved to the Bowery in New York City. She started to document the lives of her new almost surrogate family, young people like herself also alienated by society, their lives involved drugs, sex and violence.This work led to her rst exhibition in 1987 and a publication with Aperture in 1986 called The Ballad of Sexual Dependency her work shown through slides, her artistic medium which she is now famous for. Through her imagery she explores the idea of gender politics, stereotyped actions and behaviors of males and females at the time. The roles of men and women are portrayed as contrasting throughout the book whether its shown in the violence of one month after being battered or the sensual imagery of Patrick and Terri on their wedding night. In a foreword written by Goldin herself in the book she states that, My desire is to preserve the sense of peoples lives, to endow them with the strength and beauty I see in them.... I want to show exactly what my world looks like, without glamorization, without glorication[3]. She does this through the connection she has between the person and the frame, especially because she is not an outsider, the viewer becomes the voyeur to the most intimate of images. Gripped by her love of cinema, Goldin describes herself as a lmmaker waiting to make a lm [4], because of this at the start of her career as a photographer she didnt see her images in galleries but in slideshows. These took place in Tin Pan Alley an iconic backdrop to a selection intimate images of Cookie Mueller as well as the location for many up-and-coming artists such as Kiki Smith. However this wasnt for personal gratication, but to show her friends the recent images she had taken of them and the experiences that they have gone through. The Ballad Of Sexual Dependency, which the slideshow is now called ran for 45 minutes, displaying the iconic colour photography lit with ash that she is famous for. Over the years, this slideshow has evolved, pictures have been added and taken away, songs have changed however the intimacy and rawness remain unchanged regardless of their original capture date. Ive been doing the The Ballad since 81. Its grown and grown and grown and now it has to be digitised, so its kind of set.... Slideshows you can constantly re-edit, which cinema doesnt allow you to do. [5] 1988 saw Goldin in a detoxication clinic after her a peak in her this many self-portraits emerged. Although self-portraiture in her early work, the images from this period express claustrophobia and the feeling of connement, although some also project emotions of humbleness and a reective attitude. For instance in Self Portrait with Milagro, Goldin is depicted as sitting on her bed in the clinic, her body arched forward almost protruding out of the frame, giving the feeling of entrapment. Her face and body blurred but a focus remains sharply dened on her hand on the pillow. The neutral colours are broken by her bright red lipstick a statement in which Goldin

drug and alcohol abuse, from had been experimented with

Page 3

is trying to remain herself in such a disciplined institution. During this time she was faced with another severe grievance, many of her close friends were dying of AIDS. In the early 1980s AIDS was considered a new disease, it emerged in California and New York with a small number of men being diagnosed with rare forms of cancer/ pneumonia. Those who were affected were of similar characteristics, they were gay and/or a heavy drug users. The government failed to respond to the epidemic, which by 1983 was diagnosed in 3,064 people, 1,292 of which died within a year of being diagnosed. Discrimination and hostility towards the homosexual community grew as the disease was referred to as gay cancer or community-acquired immune dysfunction. Nan was still in detox at this point, someone had said to me, How can you be killing yourself when your friends around you are dying? And that woke me up. [6] From this she was discharged out of a halfway house and back into the lives of her friends. During this time Goldin photographed her dying friends, producing a collection of portraits to commemorate her long time friend Cookie Mueller, The Cookie Portfolio which spanned images of them together in their youth to her untimely funeral in 1989. Goldin collaborated with long-time best friend David Armstrong on a book called A Double Life, this was composed of images from Goldins early black and white imagery to the colour images of The Ballad of Sexual Dependency, some of the images are of the same subject matter taken by both photographers, creating a connection and contrast between their styles. Armstrongs work in this exhibition was primarily black and white portraiture which is seen as quite arty and fashionable compared to the grittiness of Goldins work. Goldins short time period of fame came from a relatively small group of images (although ever expanding), which had a seemingly large inuence on the portrayal of the 1970-80s. She hasnt released a book in numerous years because of a contract she has to uphold, in result of this the art world sees her as a dead artist. However regardless of this, she does admit that having a camera isnt a essential accessory in her life anymore, and blames this on the fact that everyone takes photos....the whole issue of digital is so depressing to me[7]. On the other hand, I believe that a lot of this is because although The Ballad depicts her life at that time through a whirlwind of angst and lust, she uses the journey in her imagery as a trip to self discovery. From her sisters suicide to taking drugs and hanging out with drag queens, people who you would typically associate as feeling discomfort in their own skin and appearance to portray themselves as someone else. She herself has changed as a person, and through this journey her subject matter has been very focused, however, because of her personal welfare and the consequences of a drug fulled lifestyle her subject matter has to evolve with her. The seventies have passed, the publics awareness of sub-cultures has increased, the pictures in the Ballad havent changed. But Cookie is dead, Kenny is dead, Mark is dead, Max is dead, Vittorio is dead. So for me, the book is now a volume of loss, while still a ballad of love[8]. Goldin photographs mainly children now, although she has none of her own, she captures those belonging to a deceased friend or a child she is godmother of. They are the new generation project for her, I dont remember much ever felling like a child, so maybe photographing them triggers memories.... they havent been socially conditioned yet, so they can scream and express how they feel publicly[9]. This freedom and energy which is similar to that of the people in The Ballad that gripped her. She captures feelings similar to her early work, and continues to be non-judging and although it is somewhat intrusive bringing private life to a public forum her images remain softer and captured in a more delicate nature. She still explores tender relationships but between children and parents and gender identication remains a theme

Page 4

throughout. However this is a discovery into sexuality through the bodies and personas of children without societies dictation, children are in some ways as much on the fringe of society as the characters she met in the 70s, undermined and misunderstood. Her views on sexuality havent changed but matured, she looks at children because they are not conditioned into a sexuality and at a young age are unaware children shouldnt be afraid of their own bodies; its the worst thing you can do to a human being[10]. Nan Goldins recent work is different. From her early imagery from the 1970s you are taken on a journey through The Ballad, the drugs, violence and abuse and like Goldin you also emerge wiser and with a greater understanding of identity. Her techniques and compositional ideas have not changed and in some ways nor has her subject matter, however she does take a step back and is taking this journey at a much slower pace. She isnt the Nan Goldin from the 70s, her closest friends were taken from her and she now lives on in their memory. Her feelings and state of mind have changed, her imagery is crisper and more focused, she seems to take more time and delicacy into the nal image, she describes this change from blurriness as It used to be because I was drunk, but now i am not. The drugs inuenced all my life. Both good and bad [11]. However, regardless of this, controversy is never far away. Two of her photographs, Sisters, Saints & Sybils which was shot in the chapel of the Piti-Saltrire hospital was deemed as pornographic by a priest. Another, Klara and Eddie belly dancing which is from the private collection of Sir Elton John was removed form Baltic Centre for Contemporary Art after the police seized the image from concerns that it could be classed as child pornography. Innocent and beautiful or pornographic? She went to Berlin, to open an exhibition there which included the image, thus releasing the statement People who think this is pornography are sick. She entitled the gallery, a visual diary which incorporated a series of images spanning 1984 to 2009, two thirds of which had never been seen before. Goldin will continue to do what she does best, capture an autobiographical representation of her life, portraying the essence of innocence. I dont ever want tot be susceptible to anyone elses version of my history. I dont ever want to lose the real memory of anyone again. [12]

Page 6

Nan and Brian In Bed, 1983

Nan and Brian in bed is a poignant image taken from the Ballad of Sexual Dependancy. Throughout the Ballad we see varying turmoils that face the couple, from their owering romance to ending image Nan One Month After Being Beaten. Her adoration for Brian in the Ballad is largely signicant, he is a main subject focus and in turn someone of signicant and adoration. This is no different in this image. Goldin portrays herself in this image as a passive female, she is introverted and to herself her body turned downward grasping around the pillow. Her gaze however is closely focused on the male gure in the foreground, he is dened by the golden light entering the room from the left. Goldins emotion is sincere and natural, her gaze giving the viewer an indication his importance. He however is disregarding her gaze, and is turned away from her which subsequently gives the feeling that he is self absorbed and making the audience feel pity towards Goldin. Is this unrequited love? Her hand is carefully placed by her side, central to the frame making her wedding ring in focus, this holds connotations of purity and delity. The colour is very signicant, the golden glow illuminating the image and giving it a central focal point which is almost a physical divide between the two lovers. The colour portrays feelings of warmth and security and it is visually eye-pleasing due to the positioning of the gures with the other items in the room. Nan is framed by the horizontal line of the bed frame which touches the back of the male gure locking her in. Compositionally, Nan is situated in the submissive lower third of the image whilst Brian is in the domineering upper third of the image. This adds a sense of order to the image and also gives the feeling that it has been cropped on purpose to t this rule of thirds. In this image taken before the previous the viewer can see that much like other images by Goldin the light is articial. In this image its vibrancy is capturing the couples intimacy, a denite change from the previous image, Nan is now dominating the image.

Page 7

Page 8

Swan-Like Embrace, 2011

Swan-Like Embrace is part of Goldins 2011 Scopophilia collection of images. Goldins imagery is well known for its gender powerplay and voyeuristic elements. Within this collection she produces comparisons and juxtapositions between her own work and her own observations within collections at the Louvre, Paris. Goldin explains her feelings towards scopophilia as, the intense desire- and the fulllment of desireexperienced through looking. These images partictuarly touch on the common ideology that is the male gaze. The foundations of which were written by the late Laura Mulvey who was inuenced by psychoanalysis Lucien Freud. Mulvey argued that women in lm were objectied and represented merely used as visual pleasure and arousal of the male voyeur. The male voyeuristic element in her images relies heavily on the idea of powerplay, if an assumption is made that the viewer is male then the images will portray particular patriarchy towards the gures in the image. Compositionally, Swan-Like Embrace is divided into two images, the left an original capture from Goldin and the right a cropped version of Paolo and Francesca in hell by Scheffer. The at first glance the images contrast well visually, both share a two couples with blunt outlines which make them dominate the black background. The main difference between these two images is the mood, Scheffer protrays the two figures as soft and delicate, her face almost expressionless and her grip on the male looking overly vulnerable and desperate. The womans pose and her breast being central focus grants itself to the male gaze, she i being sexually objectified as an item of desire through her positioning towards the male and her nudity. Goldins image however is visually similar it holds a certain passion that the painting lacks. The bruised legs and plastered toes of the female in the image is a gritty reminder of Goldin in the Ballad... era, the image being overtly sexual in positioning of the males hands makes it slightly unnatural to the ideas of scopophilia/ the male gaze. Viewing the powerplay in the image, the woman is dominating the frame, her hands are pulling the lover, she is compassionate and making action and mood of the frame. It can be argued that because of this she is still seen as an object of desire and is being objectified because of it, in the sense that men want to be with her and women want to be her, i believe however that the image evokes feelings of passion rather than feelings of dominance and objectification. She is not naked or looking vulnerable, her face is hidden adding an anonymity to the image.

Page 9

Page 10

Self-Portrait with Milagro, 1988

Nan took a number of self-portraits in 1988 after submitting herself to a detox clinic for her drug and alcohol abuse. The use of self-portraits were a significant factor in helping her out of what she states as an identity crisis. At this time in her life she had spent the last 15 years in utter darkness, the transvestites she was living with were not allowed to be seen out in the day so she would be a photographer at a bar called the other side at nights, becoming practically nocturnal. Her addiction kept her in her room for six months so her life in hospital was the first time she realised that natural light would affect colour film, she had to learn her photography techniques again. Her life was reaching a turning point, she was viewing herself for the first time sober and becoming comfortable with herself again, her work became all about light both metaphorically and literally, her life was moving from the darkness into the light of the day. In Self-Portrait with Milagro, Nan is depicted on her bed in the clinic, she is protruding from the frame compositionally in the forefront of the image. Her body arched forward and slightly cramped which gives the image a feeling of entrapment and discomfort. Her close proximity to the camera blurs the image slightly and the main focus is on her hand resting on a pillow with an institutional logo for the clinic on. The cross above her bed is hers although she is Jewish, this gives the image a certain feeling hope and forgiveness but to her does not hold any religious values. The bright flash she has used in this image drains it of all other colours, the room being very bland, however this makes a certain focus on her bright red lipstick, which shows parts of her personality shining through in such an institutionalised background. Once again this image is well taken compositionally, her red lips fit into the upper third of the square, dominating the picture both physically and visually. This leaves the side of her body facing away and the pillow which displays the hospital branded upon it in the lower third. This brings connotations of her dominating her alcoholism pushing herself out of the frame, but it is also a focal point of the image, the pillow creases deep and defined. I also think it is especially interesting when an artist talks openly about her work; It was the starting point for all the work that ive done since. Now my pictures are more introspective, quieter, and not about extremes of behavior in the same way, although there is still the urge to push limits. The energy in the pictures is different now: theyre more focused and theres more clarity. There is both darkness and light, and whats in between. Photography has been redemptive for me. Its kept me alive, and it helped me chart my descent and my reconstruction. [7]

Page 12

Cookie In Tin Pan Alley, 1983

Up until the production of Variety, Goldin would always give a resolute no when being asked whether she would consider fashion or assignment work. Which can be seen as quite bizaree due to her early influences of of fashion photography and how she has always called herself a film maker waiting to make a film [8] This is understandable due to the severely diaristic intimate viewpoint in which her work entails. Due to this, the series of cinematic narrative portraits she produced for Bette Gordons,1983 film variety is a glimpse into the artistic process of Goldins work. The film has developing themes which are similar whilst also running alongside ideas of the dark and deeply sexual risque. The film follows a Christine, a woman who ventures into the world of pornography and eventually seeing fulfillment in various sexual partners. Even in the 1980s this was challenging the current morals and gender roles of women. During the film the camera shifts between Christines eyes and viewer observing her, the viewer undergoes being subjected to passers glared, being sized up and checked out when in Christines perspective. In the image above, the viewer in the voyeur observing the young woman in the image, her arms crossed and introverted, cigarette and alcohol in front of her, she is sitting with another perhaps the person that is looking at her, yet she is not making any connection or displaying any emotion to the camera which suggests that it isnt a particularly pleasant meeting. After previous analysis of this image, I found it hard to feel any emotional connection towards it, it didnt feel as emotionally involved as Goldins previous work. However, this a picture of Cookie Mueller, a good friend of Nans who at the time was dying of A.I.D.S, since this image has been used to help to humanise AIDS. At this time Mueller would of been unable to talk and have to walk with a stick, these physical changes are noted by the camera angle looking down on her but slightly away, this could also be a note on how other people view her as a sexual object or as a person with AIDS. The lighting in the image is dark, yet carefully focused around the woman in the foreground. Due to the use of flash which Goldin frequently uses she is protruding from the frame, her white jumper contrasting against her deep coloured surroundings. The whiteness explores angelic connotations, yet Goldin is positioned away from her, purposely wanting her whole body and the wall to be exposed. She visually mimics the mannequin to the left of the wall, the bodice is also white and her stare unemotional. Her body is introverted, her arms folded and she seems inapproachable. Her face is looking downward in a reflective manner, is seen trapped in her own world consumed by her thoughts.

RESPONSES

Callum at Waxham, 2012

This is my first image response to Nan Goldins work, the main influence I wanted to take from her work is the use of colour and light as well as the camera connection with the subject in the image. The image above is taken of a friend at Waxham on holiday, I believe that it has a emotional connection through the use of direct gaze and a typically Goldin style capture. The use of bright flash intensifies the colours of the image with close focus around the boy in the foregrounds face who is in central focus to the image. The image was taken late evening, the area around the foreground figure is darker and distant, the top of his head fitting in with the marshes in the background. The caravan on the left of the image and the chair on the right add two diagonals to help weight the image. I did use flash, which is obvious because of the central focused brightness, however it isnt overpowering and still allows tonal and temperature range.

Sarah in my bedroom, 2012

This is a picture of a close friend of mine in the sunlight caught through my bedroom windows in summer. What I nd most striking is her bright yellow top she is wearing and the fact that at the time she was not looking down in disgust but watching a video. Unlike the work of Goldin that I have previously analysed this image incorporates natural lighting. The light, which is similar to that in Nan and Brian in Bed divides the image diagonally, lighting the girl in the photographs face and top. The girl is not connecting to the camera and facing downwards, because the light does not go onto her face the viewer is unsure whether her eyes are closed, but she is presumably looking down at something. The light softens the image and also offers a contrast between light and dark, from the left being the darkest as it gradually brightens towards the right. There is a denite change between working in articial light and natural light, this image was an experiment at rst which exposure and how the lm would pick up the light. It was bright enough to not wash the background with a ash of white and I really wanted to capture the ashes of natural light against the wall and on her face. By taking this image I have become more aware of the differences between working with ash and natural light. It is very easy to take an image in a poorly lit room and put the ash on, it will aid focus and also make the subject matter clearer. However the ash can be overpowering, especially if the subject matter is close. This can cause an image to be too bright, restricting varying tones, shadow and colour.

Page 15

Max kicking Jake in the face, 2012

This image was taken at a party over summer, I really like the way that I have captured the energy and apprehension of the image, seconds before the violence. Unlike the other images I have chosen as responses I have changed the colour to black and white, the main reason for this is because it emphasises the grittiness and the contrast between light and dark. I changed the levels and brightness on photoshop as I wanted the figure in the upper right third to appear as if they were jumping out of the darkness in the upper right corner. The repetitive nature of the fence in the background gives the image an ominous feeling. You only see the dark shadowy face of the boy in the upper right third, his positioning higher to the boy in the foreground which adds to the idea of powerplay and strength between the two. As this image is taken before the violence I believe that it has a foreboding feeling with the viewer who is wondering what happened seconds afterwards.

Ellie and Ashlynne in Waxham, Summer 2012

This image is of my two close friends taken on a camping holiday over summer, it holds fond memories of swimming in a warm sun heated sea and beer fueled evenings which always lead back to the shore. I am unsure whether this was sunrise or sunset but I presume it is sunset. This image portrays the essence of Goldin through the bright central focus from the flash, I particularly like that the subjects are situated between two foreground tents and are illuminated against a black background. The jagged line separating the sky from the background of trees breaks the image up into two sections from cluttered to calm. This also reminds me of the work by Ryan Mcinnley, who was directly influenced by Goldin also.

Page 17

CONCLUSION
Since the beginning of my project looking at Nan Goldin has allowed me to develop more sophisticated camera skills. I am more thoughtful and aware of my surroundings and the inuence of natural and articial light, I now look for compositional changes as well as the use of shadow. Light and colour is now a central focus within my work. Depicting autobiographical everyday life has been a main focus for my work and this lead me to study Goldin, however after my research and analysis I am questioning her artistic decisions and whether her work is accidental or really thought through and intentional. Her images, from rst observation seem to be taken by someone who wants to capture the moment I will take a photograph no matter what, with knowledge of her experiences and history it is easy to argue that her images arent compositionally brilliant, or thought through, but simply capturing a moment. The depth and density of her subject matter makes up for her somewhat erraticand obsessive desire to capture her life.

Nan Goldin, 1988, Self Portrait with Milagro, Available at; " http://emuseum2.guggenheim.org/ media/full/2003.2_ph_web.jpg " [29th June]

Nan Goldin, 1983, Nan and Brian in bed, New York City, USA, Available at; "http://champagneandheels.com/wp-content/ uploads/2010/07/Nan-Goldin-Nan-And-Brian-in-bedNYC-1983.jpg" Accessed; [29th June]

Accidental or Intentional? These images prove that Goldin is wise to the rule of thirds, whether this is by cropping post-capture or not, the use of this compositional technique gives her images an exceeding visual depth which adds to its connotations and analysis. Although I want to believe that Goldins work is a coincidence, the constant use of upper left dominance and lower right submissive is very sophisticated and condent. These images have been thought through and decided, factors that are similar to that of set up studio work. The lighting capturing Brians left side in Nan and Brian In Bed or the sharp focus of the hospital pillowcases and her hand in the lower right of Self Portrait with Milagro seem too perfect to be accidental.

Page 18

By using what I have learnt from Goldin I am going to continue to capture everyday life and events, however I am looking to challenge my understanding of photography again. My preferred medium to work with is 35mm and over my course I am interested in looking at black and white photography once again. It is, in someways bolder, more poignant and by using light and dark can incorporate striking shapes and denser imagery. I am more aware of my development as a photographer whilst doing this project in light and colour and the signicant details that this corresponds to. I have taken on more of a Goldin style attitude, of photographing whar is going on in my life at the moment than trying to set up forced imagry in the studio. Through this i believe that i can show compassion and capture a signicant feeling of the moment in my images. i dont set anything up which people nd impossible to believe, but its true Nan Goldin [12]

Final Word Count: 6806

Page 19

BIBLIOGRAPHY AND SOURCES

Page One MAKE SURE THIS IS CORRECT Nan Goldin (DATE), (Place) [Image Online] http://blog.madphoto.es/2012/01/ fotografo-del-viernes-nan-goldin/ Accessed 21st June 2012 Page Five

Nan Goldin, 1983, Nan and Brian in bed, New York City, USA, [Image Online] Available at; "http://champagneandheels.com/wp-content/ uploads/2010/07/Nan-Goldin-Nan-And-Brianin-bed-NYC-1983.jpg Accessed; [10th September] Nan Goldin, 1983, Nan and Brian in bed, New York City, USA, [Image Online] Available at; "http://litspat.medialoperations.com/les/ 2010/06/alex2.png Accessed; [10th September]

Page Two Nan Goldin, 1984,Nan One Month After Being Battered. Available at: HYPERLINK "http:// coincidences.typepad.com/ still_images_and_moving_o/2004/07/ nan_goldin_a_pe.html [29th June] Nan Goldin, 1987, Patrick and Teri on their Wedding Night. [Image Online] Available at: "http://25.media.tumblr.com/ tumblr_liuszwllqg1qzfl2oo1_1280.png [29th June] Page Three Nan Goldin, 1995, Kathleen at the Bowery Bar. [Image Online] Available at: "http:// www.blckdmnds.com/wp-content/uploads/ 2012/04/nan-goldin3.jpg [29th June]

Page Six

Page Seven Nan Goldin, 2011, Swan-Like Embrace [image online] Available at: http:// artmostfierce.blogspot.co.uk/2011/10/nangoldin-scopophilia-1029-122311.html [Accessed on 3rd August]

Page Eight Paolo and Francesca in hell, Ary Scheffer, 1855. [Image online] http:// theibtaurisblog.files.wordpress.com/2012/02/ ary_scheffer__francesca_da_rimini_en_paolo_malatesta_a anschouwd_door_dante_en_vergilius_1854.j pg [Accessed 4th August] Collection of images, Nan Goldin, 2011 [image online] http://livingproofmag.com/ mag/wp-content/uploads/2011/11/350293.jpg [accessed on 3rd June]

Nan Goldin, unknown date, unknown title. [Image Online] Available at:"http://4.bp.blogspot.com/ _T961o3r1ib8/S6t6bxGfTwI/AAAAAAAAH6E/ l4Utn9dMzoU/s1600/Picture+19.png 30th June]

Page Four Nan Goldin, 1978, Nan as a dominatrix, Boston, USA, [Image Online] Available at; "Nan-Goldin.Nan-as-a-dominatrix-Boston-1978.jpg" Accessed; [29th June] Page Nine Nan Goldin, 1988, Self Portrait with Milagro, Available at; "http:// emuseum2.guggenheim.org/media/full/ 2003.2_ph_web.jpg "[29th June]

Nan Goldin, <unknown date>, <unknown name>, Page Eleven <unknown location>, USA, [Image Online] Available at; <http://static.guim.co.uk/sys-images/ Guardian/Pix/pictures/2011/7/25/1311613813446/ Nan-Goldin---My-Best-Shot-001.jpg> Accessed; [10th September]

Nan Goldin, 1983, Cookie. Available at; "http://thephotobook.files.wordpress.com/ 2009/12/variety_woman.jpg"[29th June]

Page 20

Page Twelve

Nan and Cookie in a photobooth, 1983, Cookie. Available at; "tumblr_lztze0l9Tg1qa1jtwo1_500.jpg" [30th June]

Nan Goldin, 1988, Self Portrait with Milagro, Available at; "http:// emuseum2.guggenheim.org/media/full/ 2003.2_ph_web.jpg "[29th June]

http://s3.amazonaws.com/plexus_ent/ posters/original/Variety.jpg

Nan Goldin, 1984, Suzanne in the green bathroom, Pergamon Museum, East Berlin, Available at; "http://www.flickr.com/photos/ julien-bouvier/5808818728/ "[29th June]

Page Eighteen

Nan Goldin, 1983, Nan and Brian in bed, New York City, USA, [Image Online] Available at; "http://champagneandheels.com/wp-content/ uploads/2010/07/Nan-Goldin-Nan-And-Brianin-bed-NYC-1983.jpg Accessed; [10th September]

Quotes
[1] (p1) http://www.harpersbazaar.com/magazine/feature-articles/nan-goldin-in-the-frame-1110-2 [2] (p1) fotoapeta.art.pl/2003/ngie.php [3] (p3) Goldin, N, 1986, The Ballad Of Sexual Dependancy, USA, Aperture http://productionofimages.files.wordpress.com/2009/10/ nan-goldin-ballad-of-sexual-dependency.pdf [4] (p3) http://www.dazeddigital.com/photography/article/12184/1/nan-goldin [5] http://www.dazeddigital.com/photography/article/12184/1/nan-goldin [6] (p4) http://digitaljournalist.org/issue0106/voices_goldin.htm [7] http://www.guardian.co.uk/artanddesign/2011/jul/24/photograph-nan-goldin-best-shots [8] ballad final word bit at the back [9] http://www.guardian.co.uk/artanddesign/2011/jul/24/photograph-nan-goldin-best-shots [10] http://www.guardian.co.uk/artanddesign/2011/jul/24/photograph-nan-goldin-best-shots [11] fotoapeta.art.pl/2003/ngie.php [12] at the end of the ballad

Online Resources

Juxtapoz, 2011. Nan Goldin at Matthew Marks Gallery, [online] Available at: < http://www.juxtapoz.com/Gallery/nan-goldin-at-matthewmarks-gallery/nan-goldin-at-matthew-marks-gallery8-15444> [Accessed 20 June 2012]. White Hot Magazine, 2012, Nan Goldin @ Matthew Marks Gallery [online] Available at ,<http://whitehotmagazine.com/articles/nan-goldinmatthew-marks-gallery/2440> [Accessed 20 June 2012] Internet-five50 2012, Nan Goldin [blog] Available at: <http://internet-five50.blogspot.co.uk/2012/03/nan-goldin.html> [Accessed 30th June 2012]

Page 21

Aimstar, 2012, NAN GOLDIN SCOPOPHILIA [online] Available at: <http://www.thestarklife.com/2011/11/01/nan-goldinscopophilia-exhibit/> Accessed on: 1st September 2012 Ary Scheffer, 2012, Francesca da Rimini, [blog] Available at: <http://mydailyartdisplay.wordpress.com/2012/05/15/francesca-darimini-by-ary-scheffer/> Accessed on: 1st September Virgin Research, 2007, Laura Mulvey and the Male Gaze Summarised [blog] Available at: <http://virgin-research.blogspot.co.uk/ 2007/12/laura-mulvey-and-male-gaze-summarised.html> Accessed on: 30th June 2012 Stanford Encyclopedia of Philosophy, 2004, Feminism Aesthetics, [online] Available at: <http://plato.stanford.edu/entries/ feminism-aesthetics/> Accessed on: 30th June 2012 Geraldine Visco, 2011, Reconnecting and Exploring the Love of Looking with Nan Goldin [online] Available at: <http:// hyperallergic.com/40008/nan-goldin-scopophilia-matthew-marks-gallery/ >Accessed on: 30th June 2012 Randy Kennedy, 2011, The Look of Love, The New York Times [online] Available at: <http://www.nytimes.com/2011/10/27/arts/ design/nan-goldin-at-the-matthew-marks-gallery.html> Accessed on: 30th June 2012 A selection of images by Nan Goldin, 2010, [online] Available at: <http://everyday-i-show.livejournal.com/53918.html> Accessed on: 30th June 2012 Andrijana Pajovic, 2006, Nan and Brian in Bed, MY HISTORY project, Saatchi Online, Available at: <http:// www.saatchionline.com/art/Unknown-Nan-and-Brian-in-Bed-MY-HISTORY-project/78266/576371/view> Accessed on: 30th June 2012 Alexander Venetis, 2010, The Photography of Nan Goldin: the Intersubjectivem Aesthetic and Intertextual Space, [online] Available at: <http://litspat.medialoperations.com/2010/06/03/the-photography-of-nan-goldin-the-intersubjective-aesthetic-andintertextual-space/> Accessed on: 5th July 2012 Coincidences, 2004, Nan Goldin: A Personal Favourite Who Still Sings Ballads Sweetly, [online] Available at: <http:// coincidences.typepad.com/still_images_and_moving_o/2004/07/nan_goldin_a_pe.html> Accessed on: 20th July 2012 Leonardo Brancaglion, 2012, Nan Goldin e o retrato dos seres marginalizados, [online] Available at: <http://art.findartinfo.com/ art.asp?i=39&p=50&old=1> Accessed on: 20th July 2012 Drunken Irishman, 2012, The spread of AIDS in the 1980s, [online] Available at: <http://www.democraticunderground.com/ 1002766167> Accessed on: 25th July 2012 Nan Goldin, Biography, [online] Available at: <http://www.brain-juice.com/cgi-bin/show_bio.cgi?p_id=88> Accessed on: 25th July 2012 Advert, [no date], The history of HIV & AIDS: United States of America, [online] Available at: <http://www.avert.org/aidshistory-america.html> Accessed on: 25th July 2012 Nan Goldin, 2001, 20 Years: Aids & Photography, Digital Journalist Online, Available at: <http://www.americansuburbx.com/ 2012/04/theory-nan-goldin-on-cookie-mueller.html> Accessed on: 25th July Glenn OBrien, 2011, Nan Goldin: In The Frame, Harpers Bazaar [Online], Avaliable at: <http://www.harpersbazaar.com/ magazine/feature-articles/nan-goldin-in-the-frame-1110-2> Accessed on: 1st September Janna Ireland, 2009, The Ballad Of Sexual Dependancy, Nan Goldins Famous Slideshow at MoMA, [Online] Available at: <http://visualarts.slowcentury.com/post/86796415/the-ballad-of-sexual-dependency> Accessed on: 1st September http://www.argentinaindependent.com/tag/nan-goldin/ http://litspat.medialoperations.com/2010/06/03/the-photography-of-nan-goldin-the-intersubjective-aesthetic-and-intertextualspace/ http://www.telegraph.co.uk/culture/photography/5648658/Nan-Goldin-unafraid-of-the-dark.html

Book Resources

Goldin, N, 1986, The Ballad Of Sexual Dependancy, USA, Aperture Jeffery, I and Phaidon Editors, 1997, The Photobook, London UK, Phaidon Press Limited Braudy, L. 1974, Film Theory and Criticism: Introductory Readings, 6th Edition, OUP USA Barthes, R. 1993, Camera Lucida- Reflections on Photography, Vintage Classics Crump, J. 2009, Variety Photographs by Nan Goldin, Rizzoli International Publications

Video

Elphistone, 2008. Portraits of Contemporary Photographers, 2000 by William Klein [video online] Available at:

Part One: http://www.youtube.com/watch?v=0Z3sihEuiEk Part Two: http://www.youtube.com/watch?v=KUX5rR5d4oQ&feature=related [Accessed on: 20th September 2012]

Audio

http://whitney.org/WatchAndListen/AudioGuides?play_id=355

EDITS

Max kicking Jake in the face, 2012

Original

Black and White

Changing the levels, increasing the darkness- making details bolder

Image with edit

Then by making it bolder and then using black and white the image is much darker than what a black and white/greyscale edit would do.