Nan Goldin: Difference between revisions

Nan Goldin
Nan Goldin
	Goldin in 2017
Born	Nancy Goldin; 1953 (age 70–71); Washington, D.C., U.S.
Known for	Photography
Notable work	The Ballad of Sexual Dependency (1986)
Awards	Edward MacDowell Medal ; 2012 ; Hasselblad Award ; 2007 ; Ordre des Arts et des Lettres ; 2006 ;

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Nancy Goldin (born 1953)^[1] is an American photographer and activist. Her work explores in snapshot-style the emotions of the individual, in intimate relationships, and the bohemian LGBT subcultural communities, especially dealing with the devastating HIV/AIDS crisis of the 1980s. Her most notable work is The Ballad of Sexual Dependency. In the slideshow and monograph (1986) Goldin portrayed her chosen "family", meanwhile documenting the post-punk and gay subcultures. She is a founding member of the advocacy group P.A.I.N. (Prescription Addiction Intervention Now) against the opioid epidemic.^[2] She lives and works in New York City.^[3]^[4]

The 2022 documentary film All the Beauty and the Bloodshed chronicles her work as an artist and activist, and won many accolades such as a Peabody Award, ^[5] and the Golden Lion at the Venice Film Festival. ^[6]

Early life

*The Hug, NYC*, 1980, Cibachrome print by Goldin

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

Goldin began to smoke marijuana and date an older man. She left home by age 13 and subsequently lived in various foster homes.^[10] At 16 she enrolled at the Satya Community School in Lincoln, MA, that followed the educational concept of Summerhill.^[11] After Polaroid donated some cameras to the school, a staff member (existential psychologist Rollo May's daughter) introduced Goldin to photography in 1969 when she was sixteen years old.^[12] Still struggling from her sister's death, Goldin used the camera to cherish her relationships with those she photographed.^[13] At first she tried to emulate early as well as contemporary fashion photography by the likes of Guy Bourdin and Helmut Newton in French and Italian Vogue magazine issues she stole and then she and her peers would be occupied with for hours. Henry Horenstein, whose evening class at New England School of Photography Goldin attended, appreciated her pictures and showed her Larry Clark's book Tulsa that had just come out in 1971 and documented Clark's life within a group of "speedfreaks". It opened her eyes and shifted her focus from fashion to art photography. Through Horenstein Goldin also got to know the work of August Sander and Lisette Model (Goldin attended a class by her in 1974). She finally enrolled at the School of the Museum of Fine Arts in Boston with her friend from Satya, David Armstrong. There she met Philip-Lorca diCorcia and Mark Morrisroe, and began to photograph in color.^[14]

Life and work

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

Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A 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".^[16]

Goldin describes her life as having been completely immersed in that of the queens. "I lived with them; it was my whole focus. Everything I did – that's who I was all the time. And that's who I wanted to be".^[16] However, upon attending the School of the Museum of Fine Arts 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 Cibachrome prints. Her work from this period is associated with the Boston School of Photography.^[17]

Following graduation, Goldin moved to New York City.^[18] 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. A first exposure to a wider audience was her participation in the 1981 exhibition New York/New Wave at PS1.^[19]

The Ballad of Sexual Dependency

In the young, sex-affirmative, hard-drug subculture of the Bowery neighborhood she found her "tribe," which became the subject of her photographs taken between 1979 and 1986. These pictures constitute her slideshow The Ballad of Sexual Dependency, which she initially showed to her peers in clubs and other venues they frequented. Their immediate reaction to the pictures shaped its constantly evolving form. Later versions of the cycle had around 700 images screened in about 45 minutes (ca. 3 seconds per slide). After the slideshow was screened at the Whitney Biennial in 1985, it was published as a book a year later by Aperture with help from Marvin Heiferman, Mark Holborn, and her friend Suzanne Fletcher.^[20] Taken from a song in Bertolt Brecht's Threepenny Opera^[21] the title printed on flyers and posters for the events was originally an undefined plural, Ballads of Sexual Dependency, referring to the slideshow's deejayed soundtrack with songs by The Velvet Underground, Screamin' Jay Hawkins, Petula Clark, Nina Simone, chansons by Charles Aznavour and Edith Piaf, arias sung by Maria Callas a. o. The book's 125 pictures were sequenced in a similar way with song titles.

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

After the Ballad

The photographs show a transition through Goldin's travels and her life. 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.^[24] 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."^[25] In addition to Ballad, she combined her Bowery pictures in two other series: I'll Be Your Mirror and All by Myself.

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

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

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

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 premiered in Paris the year before. The work involved her sister Barbara's suicide and how she coped through production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films.^[29]

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

Fashion

Goldin has undertaken commercial fashion photography—for Australian label Scanlan & Theodore's Spring/Summer 2010 campaign, shot with model Erin Wasson; for Italian luxury label Bottega Veneta's Spring/Summer 2010 campaign with models Sean O'Pry and Anya Kazakova, evoking memories of her Ballad of Sexual Dependency;^[31] for shoemaker Jimmy Choo in 2011 with model Linda Vojtova;^[32] and for Dior in 2013, 1000 LIVES, featuring Robert Pattinson.^[33]

In March 2018, clothing brand Supreme 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".^[34]

Critique

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

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

Goldin denies the role of voyeur; she is instead a queer insider sharing the same experiences as her subjects: "I'm not crashing; this is my party. This is my family, my history." She insists her subjects have veto power over what she exhibits.^[38] In Fantastic Tales Liz Kotz 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 problematic enmeshment with the histories of social surveillance and coercion, says Kotz. [Her] insider status does nothing to alter the way her pictures convert her audience into voyeurs.^[23]

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

Influences

Her friends and colleagues Peter Hujar, Larry Clark, and David Wojnarowicz, as well as historical figures like August Sander and Claude Cahun were all major influences to Goldin's work.^[40]

Diane Arbus

Both Goldin and Diane Arbus celebrate those who live marginal lives.^[23] Stills from Variety are compared to Arbus' magazine work; the Variety 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.^[38]

Michelangelo Antonioni

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

Larry Clark

The youths in Larry Clark's Tulsa (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 amphetamine-shooting board of hanger-ons. Goldin would adopt Clark's approach to image-making.^[38]

Activism

Opioid crisis

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

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

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

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

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

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

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

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

In July 2019, Goldin and others from the group Prescription Addiction Intervention Now staged a protest in the fountain at the Louvre 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.^[51] In November that year, Goldin campaigned at the Victoria and Albert Museum, London.^[52]

Hamas–Israel conflict

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

In November 2023, during the Israeli invasion of the Gaza Strip, hundreds of members and supporters of Jewish Voice for Peace–New York City (JVP-NYC) took part in a sit-in protest in front of New York's Statue of Liberty 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."^[56] Goldin also canceled a photo shoot with the New York Times Magazine 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.^[57] Goldin was arrested on October 14, 2024 durring a Jewish Voice for Peace protest in New york City.^[58]

Recognition

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

Awards

1989: Camera Austria Prize for Contemporary Photography, Graz, Austria^[60]
1991: Louis Comfort Tiffany Foundation Award, Cold Spring Harbor, Long Island^[61]
1991: DAAD Artists-in-Residence program, Berlin, Germany^[62]
2006: Ordre des Arts et des Lettres, France^[63]
2007: Hasselblad Award, Gothenburg, Sweden^[64]^[65]
2012: 53rd Edward MacDowell Medal, MacDowell Colony, Peterborough, New Hampshire, US.^[66]^[67]^[68]
2018: Royal Photographic Society Centenary Medal and Honorary Fellowship, London, UK^[69]
2022: Käthe-Kollwitz-Preis, Academy of Arts, Berlin, Germany
2023: Peabody Award for All the Beauty and the Bloodshed

Censorship case in Brasil

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

Collections

Sorted by state.

National Gallery of Australia, Canberra, Australia^[73]
Galerie Rudolfinum, Prague, Czech Republic
Centre Pompidou, Paris, France
Goetz Collection, Munich, Germany
Castello di Rivoli Museum of Contemporary Art, Torino, Italy
Astrup Fearnley Museum of Modern Art, Oslo, Norway
Fotomuseum Winterthur, Switzerland
Tate, London, UK^[74]

United States

Museum of Fine Arts, Boston^[75]
Art Institute of Chicago^[76]
Museum of Contemporary Art, Chicago^[77]
Getty Museum, Los Angeles^[78]
Museum of Contemporary Art, Los Angeles^[79]
Currier Museum of Art, Manchester, New Hampshire^[80]
New York

San Francisco Museum of Modern Art^[86]
National Museum of Women in the Arts, Washington, D.C.^[87]

Solo exhibitions

1987: The Ballad of Sexual Dependency, screening and exhibition, Rencontres d'Arles
1991: Cookie Mueller, Pace/MacGill Gallery, New York (catalogue)
1992: Getrennte Welten/Separate Worlds with Gundula Schulze, Kunst-Werke Berlin, curated by Klaus Biesenbach and Inge Herbert (small catalogue)
1993: Die andere Seite (The Other Side), DAAD Artists-in-Residence program, Berlin (book)
1995: The Golden Years, Yvon Lambert Gallery, Paris (catalogue)
1996: I'll Be Your Mirror, retrospective, Whitney Museum of American Art (book), and traveled to
- Kunstmuseum Wolfsburg, Germany
- Stedelijk Museum, Amsterdam
- Fotomuseum Winterthur, Switzerland
- Kunsthalle Wien
- National Museum, Prague
1997: Rencontres d'Arles, 10 year anniversary of screening The Ballad of Sexual Dependency (Théâtre Antique)
1997: Love Streams, Yvon Lambert Gallery, Paris (catalogue)
2001: Le Feu Follet/The Devil's Playground, Centre Georges Pompidou, Paris (book), and traveled to
- Whitechapel Gallery, London
- Museo Nacional Centro de Arte Reina Sofía, Madrid
- Fundação de Serralves, Porto, Portugal
- Castello di Rivoli, Turin
- Ujazdów Castle, Warsaw.^[18]
2005: Soeurs, Saintes et Sibylles, commissioned for the Chapelle St. Louis de la Salpêtrière at Festival d'automne, Paris; first installation with three screens and film (catalogue)
2006: Chasing a Ghost, Matthew Marks Gallery, New York
2007: Hasselblad Award, Hasselblad Center, Gothenburg (book)
2009: Rencontres d'Arles, Guest of honour, screening of The Ballad of Sexual Dependency^[88]
2010: Scopophilia, Louvre, Paris^[89]
- 2011: Matthew Marks Gallery^[90]
2015: Diving for Pearls, Kestner Gesellschaft, Hannover (book)
2016/17: The Ballad of Sexual Dependency, MoMA, New York
2017: Weekend Plans, Irish Museum of Modern Art, Dublin, alongside exhibition by Vivienne Dick; showed some drawings and photographs taken in Ireland (catalogue and edition)^[91]^[92]^[93]
2019/20: Sirens, Marian Goodman Gallery, London^[94]^[95]^[96]
2022: Käthe-Kollwitz-Preis 2022: Nan Goldin, Akademie der Künste, Berlin (book)
2023/24: This Will Not End Well, Moderna Museet, Stockholm, Focussed on slideshows and films (book). Travelled to
- Stedelijk Museum Amsterdam^[97]
- Neue Nationalgalerie, Berlin.^[98]

For some group exhibitions see catalogues listed in Books on Goldin.

Exhibitions curated by Goldin

Witnesses: Against Our Vanishing

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

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

From Desire: A Queer Diary

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

Nan's Guests

Rencontres d'Arles 2009, Arles, France.^[88] The major show of the photo festival included the work of thirteen photographers including Antoine d'Agata, David Armstrong, JH Engström, Christine Fenzl, Jim Goldberg, Boris Mikhailov, Anders Petersen and Annelies Strba. As guest of honor she also choose Leigh Ledare for a solo show.

Publications

The Ballad of Sexual Dependency, edited with Marvin Heiferman, Mark Holborn and Suzanne Fletcher. New York: Aperture, 1986. ISBN 978-0-89381-236-2. Kodak Photobook Award (Arles 1987).
- Remastered reissue: 2012. ISBN 978-1-59711-208-6.
- New afterword: 2021.
The Other Side (DAAD Artists-in-Residence Program, Berlin). Zurich: Scalo, 1993. ISBN 1-881616-03-7.
- Expanded 2nd edition with revised introduction by Goldin. Göttingen: Steidl, 2019 (2nd pr. 2023). ISBN 978-3-95829-613-8.
Vakat, with poems by Joachim Sartorius. Cologne: Walter Konig, 1993.
Desire by Numbers, with fiction by Klaus Kertess. San Francisco: Artspace, 1994.
A Double Life, with David Armstrong. Zurich: Scalo, 1994.
Tokyo Love, with Nobuyoshi Araki. Tokyo: Hon don do, 1994.
I'll Be Your Mirror (exhibition catalogue), edited by Elisabeth Sussman and David Armstrong. Zurich: Scalo, 1996. ISBN 978-3-931141-33-2.
Ten Years After: Naples 1986–1996, with Guido Costa (text), edited with Gigi Giannuzzi and Guido Costa. Zurich: Scalo, 1998. ISBN 978-3-931141-79-0.
Couples and Loneliness, edited with Taka Kawachi. Kyoto: Korinsha, 1998. ISBN 4-77130342-8 (English/Japanese).
Nan Goldin: Recent Photographs (exhibition catalogue). Houston: Contemporary Arts Museum, 1999.
The Devil's Playground. London: Phaidon, 2003. ISBN 978-0-7148-4223-3.
Soeurs, Saintes et Sibylles. Editions du Regard, 2005. ISBN 978-2-84105-179-3 (French).
The Beautiful Smile (Hasselblad Award), edited by Jack Ritchey, Gerhard Steidl and Walter Keller. Hasselblad Center, Gothenburg, and Göttingen: Steidl, 2007. ISBN 3-86521-539-4.
- 2nd edition. Göttingen: Steidl, 2017. ISBN 978-3-95829-174-4.
Variety. Photographs by Nan Goldin (from the Film by Bette Gordon), text by James Crump. New York: Skira Rizzoli, 2009. ISBN 978-0-8478-3255-2.
Eden and After, with Guido Costa. London: Phaidon, 2014. ISBN 978-07148-6577-5.^[103]
Diving for Pearls (exhibition catalogue). Göttingen: Steidl, 2016. ISBN 978-3-95829-094-5.
Visible/Invisible (exhibition catalogue, Château de Versailles), Ed. Dilecta, 2019, ISBN 264408372796.
Käthe-Kollwitz-Preis 2022: Nan Goldin (exhibition catalogue). Berlin: Akademie der Künste, 2023, ISBN 978-3-8833-1253-8.
This Will Not End Well (exhibition catalogue). Stockholm: Moderna Museet, and Göttingen: Steidl, 2023. ISBN 978-3-96999-058-2.

Publications with contributions by Goldin

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

Books on Goldin

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

Aperture #103 – Fiction and Metaphor. Kenneth Rush on Cindy Sherman and Nan Goldin. New York: Aperture, 1986.
Max Kozloff. Real Faces. Exhibition catalogue, with Bill Burke, Birney Imes, Judith Joy Ross and Goldin. New York: Whitney Museum of American Art at Philip Morris, 1988.
Philip Monk. The American Trip: Larry Clark, Nan Goldin, Cady Noland, Richard Prince... Exhibition catalogue, Contemporary Art Gallery at Harbourfront Centre, Toronto. Power Plant, 1996. ISBN 092104707X. On America and its image of the outcast.
Nobuyoshi Araki/Diane Arbus/Nan Goldin. Exhibition catalogue, Goetz Collection, Munich: Sammlung Goetz, 1997. Texts by Elisabeth Bronfen, Johannes Meinhardt, Ingvild Goetz and Goldin (German/English).
Emotions and Relations: Nan Goldin, David Armstrong, Mark Morrisroe, Jack Pierson and Philip-Lorca diCorcia. Exhibition catalogue, Hamburger Kunsthalle (curated by F. C. Gundlach). Cologne: Taschen, 1998. ISBN 3-82287507-4 (English/German/French). "Five from Boston."
Rachel Rosenfield Lafo, Gillian Nagler: Photography in Boston: 1955–1985. Exhibition catalogue, DeCordova Museum. Cambridge, Mass.: MIT Press, 2000. ISBN 0262122294. Broad survey featuring Berenice Abbott, William Wegman, Lotte Jacobi, Harold Edgerton a. o.
Lisa Liebman. Nan Goldin. Phaidon 55, London: Phaidon, 2001. ISBN 978-0-7148-4073-4. Small but quality paperback introduction.
Katherine A. Bussard. So the Story Goes: Photographs by Tina Barney, Philip-Lorca DiCorcia, Nan Goldin, Sally Mann, and Larry Sultan. New Haven, Ct: Yale University Press, 2006. ISBN 978-0300114119.
Susan Bright. Auto Focus: The Self-Portrait in Contemporary Photography. London: Thames & Hudson, 2010. ISBN 978-0500543894.
Daniel Jelitzka, Gerald A. Matt (eds.). Die Kamera ist grausam / The camera is cruel: Lisette Model, Diane Arbus, Nan Goldin. Vienna: Verlag für moderne Kunst, 2018 (German/English).
Catherine Zuromskis. Snapshot Photography. Cambridge, Mass.: MIT Press, 2021. ISBN 9780262544115.

Depiction in film

Feature films

With experimental filmmaker Bette Gordon Goldin worked several times. In Empty Suitcases from 1980 she acted alongside Irish artist and friend Vivienne Dick. In the 1983 film Variety Goldin plays a character called Nan. She also accompanied the production of the film with her camera; the photographs were published in 2009 (see bibliography). For Gordon's 1998 Luminous Motion, she worked again as still photographer.^[105]

Goldin also provided still photography for two films by Sara Driver: You Are Not I (1981, co-written by Jim Jarmusch and its director), starring Goldin's lover and friend Suzanne Fletcher, and herself playing one of the accident victims. In 1993 followed When Pigs Fly with Alfred Molina.

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

In the production of Mary Harron's infamous I Shot Andy Warhol (1996) with Lili Taylor as Valerie Solanas, Goldin is listed for "special photography".

The photographs by the character Lucy Berliner, played by actress Ally Sheedy in Lisa Cholodenko's 1998 film High Art, were based on those by Goldin.^[107]

In the second season of the 2017 HBO series The Deuce by George Pelecanos and David Simon she has a cameo sitting at a bar.

Documentary films

On the occasion of her first major retrospective in the UK an early documentary was made beforehand in 1995 for the BBC by Edmund Coulthard, called like the show, I'll Be Your Mirror.^[10] The film received a Teddy Award at the Berlin International Film Festival 1996, and the City of Melbourne Award at the Melbourne International Film Festival.^[108]

Paul Tschinkel did a 30 minute feature on occasion of the retrospective being shown at the Whitney Museum in New York, titled Nan Goldin: In My Life.^[109]

The intimate hour-long portrait Nan Goldin: I Remember Your Face directed by Sabine Lidl came out in 2011.^[110]^[111]

In 2022, filmmaker Laura Poitras' Peabody Award-winning ^[112] documentary All the Beauty and the Bloodshed on Goldin premiered at the 79th Venice International Film Festival,^[113]^[114] The feature-length film interweaves Goldin's biography told by herself, with her engagement with P.A.I.N. against the Sackler family, evolving in part during the Covid-19 pandemic. The film was awarded the Golden Lion in Venice and was nominated for the Academy Award for Best Documentary Feature.^[115]

References

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^ O’Neill-Butler, Lauren. ""Sacklers Lie, Thousands Die": P.A.I.N. Against Big Pharma". Pioneer Works. Retrieved April 28, 2022.
^ "Nan Goldin". mariangoodman.com. Retrieved December 16, 2022.
^ Romack, Coco (April 12, 2021). "Friends Who Teach Each Other". The New York Times. Archived from the original on December 16, 2022. Retrieved December 16, 2022.
^ https://peabodyawards.com/award-profile/all-the-beauty-and-the-bloodshed/
^ https://www.nytimes.com/2022/09/10/movies/all-the-beauty-and-the-bloodshed-venice.html
^ Great women artists. Phaidon Press. 2019. p. 155. ISBN 978-0714878775.
^ Solomon, Deborah (October 9, 1996). "Nan Goldin: Scenes From the Edge". The Wall Street Journal. Archived from the original on February 22, 2017.
^ Goldin, Nan. "The Ballad of Sexual Dependency (Introduction)". Aperture.org. Archived from the original on March 5, 2018. Retrieved March 4, 2018.
^ ^a ^b "Nan Goldin, American photographer". Encyclopedia Britannica. September 8, 2024. Retrieved September 29, 2024.
^ ^a ^b ^c ^d O'Hagan, Sean (March 22, 2014). "Nan Goldin: 'I wanted to get high from a really early age'". The Guardian. ISSN 0261-3077. Archived from the original on January 23, 2018. Retrieved February 16, 2017.
^ Als, Hilton (June 27, 2016). "Nan Goldin's Life in Progress". The New Yorker. ISSN 0028-792X. Retrieved March 4, 2018. (paywall after three free articles)
^ Goldin, Nan (1986). Goldin, Nan; Heiferman, Marvin; Holborn, Mark; Fletcher, Suzanne (eds.). The Ballad of Sexual Dependency. New York: Aperture Foundation. ISBN 0893812366.
^ Sussman, Elisabeth. "Nan Goldin: [de:Zeitbilder]", p. 30, in: Sussman, Elisabeth; Armstrong, David, eds. (1996). Nan Goldin – I'll Be Your Mirror. New York and Zurich: Whitney Museum of American Art and Scalo. ISBN 978-3-931141-33-2.
^ Burton, Johanna. "Nan Goldin". ProQuest 914170687.
^ ^a ^b ^c ^d Westfall, Stephen. "The Ballad of Nan Goldin." Bomb No. 37 (1991): 27–31. Retrieved Mar 3, 2015.
^ "Emotions and Relations: Photographs by David Armstrong, Nan Goldin, Philip Lorca DiCorcis, Mark Morrisroe, and Jack Pierson". photo-eye. Taschen. Archived from the original on April 25, 2015.
^ ^a ^b "Nan Goldin: Scopophilia, March 21 – May 24, 2014". Gagosian Gallery. Archived from the original on March 23, 2014.
^ "New York/New Wave (Feb 15–Apr 5, 1981, MoMA PS1)". The Museum of Modern Art (Archive).
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^ Brecht, Bertolt. Three Penny Opera, Act II, song 12.
^ Ballad, p. 83. Ref...
^ ^a ^b ^c Goldin, Nan (2005). Fantastic Tales. University Park, Penn.: Palmer Museum of Art in association with The Pennsylvania State University Press. ISBN 9780911209631.
^ Curley, Mallory. A Cookie Mueller Encyclopedia, Randy Press, 2010.
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^ Sheryl Garratt (January 6, 2002), "The dark room", The Guardian, retrieved March 8, 2010, I never took pictures of people doing heroin to sell clothes. And I have a bit of a problem with it. Like this Dior campaign right now, where the girl is really dope-sick then she sprays Addiction perfume and suddenly she's high. I find that really reprehensible and evil.
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^ Audio commentary by Lizzie Borden on the DVD of "Working Girls".^{Publisher, date, timestamp missing}
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^ Foreman, Alison (September 10, 2022). "'All the Beauty and the Bloodshed' Wins Venice Film Festival Golden Lion: See All the Winners". Archived from the original on September 10, 2022. Retrieved November 23, 2022.

External links

[1] "Nan Goldin". The Guggenheim Museums and Foundation. Archived from the original on March 8, 2018. Retrieved September 13, 2024.

[2] O’Neill-Butler, Lauren. ""Sacklers Lie, Thousands Die": P.A.I.N. Against Big Pharma". Pioneer Works. Retrieved April 28, 2022.

[3] "Nan Goldin". mariangoodman.com. Retrieved December 16, 2022.

[4] Romack, Coco (April 12, 2021). "Friends Who Teach Each Other". The New York Times. Archived from the original on December 16, 2022. Retrieved December 16, 2022.

[5] ttps://peabodyawards.com/award-profile/all-the-beauty-and-the-bloodshed/

[6] ttps://www.nytimes.com/2022/09/10/movies/all-the-beauty-and-the-bloodshed-venice.html

[Phaidon_Editors-7] Great women artists. Phaidon Press. 2019. p. 155. ISBN 978-0714878775.

[8] Solomon, Deborah (October 9, 1996). "Nan Goldin: Scenes From the Edge". The Wall Street Journal. Archived from the original on February 22, 2017.

[9] Goldin, Nan. "The Ballad of Sexual Dependency (Introduction)". Aperture.org. Archived from the original on March 5, 2018. Retrieved March 4, 2018.

[Britannica-10] "Nan Goldin, American photographer". Encyclopedia Britannica. September 8, 2024. Retrieved September 29, 2024.

[O'Hagan14-11] O'Hagan, Sean (March 22, 2014). "Nan Goldin: 'I wanted to get high from a really early age'". The Guardian. ISSN 0261-3077. Archived from the original on January 23, 2018. Retrieved February 16, 2017.

[auto-12] Als, Hilton (June 27, 2016). "Nan Goldin's Life in Progress". The New Yorker. ISSN 0028-792X. Retrieved March 4, 2018. (paywall after three free articles)

[13] Goldin, Nan (1986). Goldin, Nan; Heiferman, Marvin; Holborn, Mark; Fletcher, Suzanne (eds.). The Ballad of Sexual Dependency. New York: Aperture Foundation. ISBN 0893812366.

[14] Sussman, Elisabeth. "Nan Goldin: [de:Zeitbilder]", p. 30, in: Sussman, Elisabeth; Armstrong, David, eds. (1996). Nan Goldin – I'll Be Your Mirror. New York and Zurich: Whitney Museum of American Art and Scalo. ISBN 978-3-931141-33-2.

[15] Burton, Johanna. "Nan Goldin". ProQuest 914170687.

[Westfall,_Stephen_1991-16] Westfall, Stephen. "The Ballad of Nan Goldin." Bomb No. 37 (1991): 27–31. Retrieved Mar 3, 2015.

[17] "Emotions and Relations: Photographs by David Armstrong, Nan Goldin, Philip Lorca DiCorcis, Mark Morrisroe, and Jack Pierson". photo-eye. Taschen. Archived from the original on April 25, 2015.

[gagosian.com-18] "Nan Goldin: Scopophilia, March 21 – May 24, 2014". Gagosian Gallery. Archived from the original on March 23, 2014.

[19] "New York/New Wave (Feb 15–Apr 5, 1981, MoMA PS1)". The Museum of Modern Art (Archive).

[20] Goldin, Nan; Heiferman, Marvin; Holborn, Mark; Fletcher, Suzanne (2012) [1986]. The Ballad of Sexual Dependency (2 ed.). New York City: Aperture Foundation. ISBN 978-1-59711-208-6.

[21] Brecht, Bertolt. Three Penny Opera, Act II, song 12.

[22] Ballad, p. 83. Ref...

[:0-23] Goldin, Nan (2005). Fantastic Tales. University Park, Penn.: Palmer Museum of Art in association with The Pennsylvania State University Press. ISBN 9780911209631.

[24] Curley, Mallory. A Cookie Mueller Encyclopedia, Randy Press, 2010.

[25] Tillman, Lynne. "A New Chapter of Nan Goldin's Diary." The New York Times, November 16, 2003.

[26] Nan Goldin at Pa. Academy of Fine Arts, Blouinartinfo, September 11, 2007, archived from the original on June 12, 2018, retrieved April 23, 2008

[27] Tate. "'Nan one month after being battered', Nan Goldin, 1984". Tate. Archived from the original on March 28, 2022. Retrieved May 23, 2022.

[28] Bright, Susan (2010). Auto Focus: The Self-Portrait in Contemporary Photography. [New York]: Monacelli Press. p. 000. ISBN 978-1-58093-300-1.

[NGI-29] Robert Ayers (March 27, 2006), Nan Goldin, Blouinartinfo, archived from the original on February 8, 2019, retrieved April 23, 2008 Archive-url only shows html code of page (2024-10-03).

[30] "Guggenheim Collection Online, Nan Goldin". guggenheim.org. Archived from the original on March 8, 2018. Retrieved March 7, 2018.

[31] Ann Binlot (January 3, 2012), Bottega Veneta Taps Jack Pierson for Latest Arty Ad Campaign Archived June 12, 2018, at the Wayback Machine Blouinartinfo.

[32] Ann Binlot (October 18, 2011), The Ballad of Shoe Dependency: Nan Goldin Shoots a New Ad Campaign for Jimmy Choo Archived June 12, 2018, at the Wayback Machine Blouinartinfo.

[33] Charlotte Cowles (June 12, 2013). "Robert Pattinson Confirmed as New Face of Dior". New York Magazine. Archived from the original on June 16, 2013. Retrieved June 12, 2013.

[34] Singer, Olivia (March 26, 2018). "Supreme Announces Nan Goldin Collaboration". British Vogue. Retrieved February 17, 2019.

[35] Spindler, Amy M. (May 20, 1997). "A Death Tarnishes Fashion's 'Heroin Look'". The New York Times. ISSN 0362-4331. Archived from the original on January 27, 2024. Retrieved March 20, 2018.

[36] Sheryl Garratt (January 6, 2002), "The dark room", The Guardian, retrieved March 8, 2010, I never took pictures of people doing heroin to sell clothes. And I have a bit of a problem with it. Like this Dior campaign right now, where the girl is really dope-sick then she sprays Addiction perfume and suddenly she's high. I find that really reprehensible and evil.

[37] Westfall, Stephen (October 1991). "Nan Goldin". Bomb Magazine. Retrieved March 20, 2018.

[:1-38] Crump, James (2009). Variety. Photographs by Nan Goldin. New York: Skira Rizzoli. ISBN 9780847832552.

[:3-39] Friedling, Melissa Pearl (June 4, 2019). Recovering Women. doi:10.4324/9780429303975. ISBN 9780429303975. S2CID 199141219.

[40] Rosen, Miss (August 3, 2020). "Nan Goldin Shares the Photography That Inspires Her". huckmag. Archived from the original on December 14, 2023. Retrieved December 13, 2023.

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[102] Goldin, Nan; Wojnarowicz, David; Richard F. Brush Art Gallery; Visual AIDS (Organization); St. Lawrence University Festival of the Arts (1991). From desire: ... a queer diary. Canton, N.Y.: Richard F. Brush Art Gallery. OCLC 228438880.

[103] Nan Goldin – 'My Work Comes from Empathy and Love' on Tate Shots produced by the Tate, uploaded May 1, 2014, on YouTube.

[104] Parkett No. 42 in 1994 featured already a photo spread called "Insert" by Goldin.

[105] This and all following data from the cast and crew listing Archived October 2, 2024, at the Wayback Machine from the Nan Goldin page on IMDb. Retrieved September 29, 2024.

[106] Audio commentary by Lizzie Borden on the DVD of "Working Girls".^{Publisher, date, timestamp missing}

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[111] Trailer of the film on YouTube. Retrieved September 28, 2024.

[112] ttps://peabodyawards.com/award-profile/all-the-beauty-and-the-bloodshed/

[113] Dargis, Manohla (November 22, 2022). "'All the Beauty and the Bloodshed' Review: Nan Goldin's Art and Activism". The New York Times (Critic's Pick). ISSN 0362-4331. Archived from the original on February 26, 2023. Retrieved November 23, 2022.

[114] Gleiberman, Owen (September 3, 2022). "'All the Beauty and the Bloodshed' Review: Laura Poitras's Film About How Nan Goldin Turned Her Art of Transgression Against the Sackler Family". Archived from the original on February 28, 2023. Retrieved November 23, 2022.

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 }}
-'''Nancy Goldin''' (born 1953)<ref>{{Cite web |title=Nan Goldin |url=https://www.guggenheim.org/artwork/artist/nan-goldin |access-date=2024-09-13 |website=The Guggenheim Museums and Foundation |language=en-US |archive-date=March 8, 2018 |archive-url=https://web.archive.org/web/20180308231557/https://www.guggenheim.org/artwork/artist/nan-goldin |url-status=live }}</ref> is an American photographer and activist. Her work explores in snapshot-style the emotions of the individual, in  intimate relationships, and the [[Bohemian style|bohemian]] [[LGBT]] subcultural communities, especially dealing with the devastating [[HIV/AIDS in the United States|HIV/AIDS crisis]] of the 1980s. Her most notable work is ''[[The Ballad of Sexual Dependency]]''. In the [[slideshow]] and [[monograph]] (1986) Goldin portrayed her chosen "family", meanwhile [[Documentation|documenting]] the [[post-punk]] and gay subcultures. She is a founding member of the advocacy group [[P.A.I.N.]] (Prescription Addiction Intervention Now) against the [[opioid epidemic]].<ref>{{Cite web |last=O’Neill-Butler |first=Lauren |title="Sacklers Lie, Thousands Die": P.A.I.N. Against Big Pharma |url=https://pioneerworks.org/broadcast/lauren-oneill-butler-pain |access-date=2022-04-28 |website=Pioneer Works |language=en}}</ref> She lives and works in New York City.<ref>{{Cite web |title=Nan Goldin |url=https://www.mariangoodman.com/artists/44-nan-goldin/ |access-date=16 December 2022 |website=mariangoodman.com}}</ref><ref>{{Cite news |last=Romack |first=Coco |date=April 12, 2021 |title=Friends Who Teach Each Other |url=https://www.nytimes.com/2021/04/12/t-magazine/nan-goldin-thora-siemsen.html |access-date=16 December 2022 |work=The New York Times |archive-date=December 16, 2022 |archive-url=https://web.archive.org/web/20221216195636/https://www.nytimes.com/2021/04/12/t-magazine/nan-goldin-thora-siemsen.html |url-status=live }}</ref>
+'''Nancy Goldin''' (born 1953)<ref>{{Cite web |title=Nan Goldin |url=https://www.guggenheim.org/artwork/artist/nan-goldin |access-date=2024-09-13 |website=The Guggenheim Museums and Foundation |language=en-US |archive-date=March 8, 2018 |archive-url=https://web.archive.org/web/20180308231557/https://www.guggenheim.org/artwork/artist/nan-goldin |url-status=live }}</ref> is an American photographer and activist. Her work explores in snapshot-style the emotions of the individual, in intimate relationships, and the [[Bohemian style|bohemian]] [[LGBT]] subcultural communities, especially dealing with the devastating [[HIV/AIDS in the United States|HIV/AIDS crisis]] of the 1980s. Her most notable work is ''[[The Ballad of Sexual Dependency]]''. In the [[slideshow]] and [[monograph]] (1986) Goldin portrayed her chosen "family", meanwhile [[Documentation|documenting]] the [[post-punk]] and gay subcultures. She is a founding member of the advocacy group [[P.A.I.N.]] (Prescription Addiction Intervention Now) against the [[opioid epidemic]].<ref>{{Cite web |last=O’Neill-Butler |first=Lauren |title="Sacklers Lie, Thousands Die": P.A.I.N. Against Big Pharma |url=https://pioneerworks.org/broadcast/lauren-oneill-butler-pain |access-date=2022-04-28 |website=Pioneer Works |language=en}}</ref> She lives and works in New York City.<ref>{{Cite web |title=Nan Goldin |url=https://www.mariangoodman.com/artists/44-nan-goldin/ |access-date=16 December 2022 |website=mariangoodman.com}}</ref><ref>{{Cite news |last=Romack |first=Coco |date=April 12, 2021 |title=Friends Who Teach Each Other |url=https://www.nytimes.com/2021/04/12/t-magazine/nan-goldin-thora-siemsen.html |access-date=16 December 2022 |work=The New York Times |archive-date=December 16, 2022 |archive-url=https://web.archive.org/web/20221216195636/https://www.nytimes.com/2021/04/12/t-magazine/nan-goldin-thora-siemsen.html |url-status=live }}</ref>
+The 2022 documentary film [[All the Beauty and the Bloodshed]] chronicles her work as an artist and activist, and won many accolades such as a [[Peabody Award]], <ref>https://peabodyawards.com/award-profile/all-the-beauty-and-the-bloodshed/</ref> and the [[Golden Lion]] at the Venice Film Festival. <ref>https://www.nytimes.com/2022/09/10/movies/all-the-beauty-and-the-bloodshed-venice.html</ref>
 ==Early life==
 [[File:The Hug (Nan Goldin).jpg|thumb|''The Hug, NYC'', 1980, Cibachrome print by Goldin]]
-Goldin was born in Washington, D.C., in 1953<ref name="Phaidon Editors">{{Cite book |title=Great women artists |date=2019 |publisher=Phaidon Press |isbn=978-0714878775 |page=155}}</ref> to middle-class [[Jewish]] parents, and grew up in the [[Boston]] suburb of [[Swampscott, Massachusetts|Swampscott]], moving to [[Lexington, Massachusetts|Lexington]] in her teens. Goldin's father worked in broadcasting and served as the chief economist for the [[Federal Communications Commission]].<ref>{{Cite news |last=Solomon |first=Deborah |author-link=Deborah Solomon |date=October 9, 1996 |title=Nan Goldin: Scenes From the Edge |url=https://www.wsj.com/articles/SB844810967532358500 |archive-url=https://web.archive.org/web/20170222193915/https://www.wsj.com/articles/SB844810967532358500 |archive-date=February 22, 2017 |work=[[The Wall Street Journal]]}}</ref> 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:<blockquote>This was in 1965, when teenage suicide was a taboo subject. I was very close to my sister and aware of some of the forces that led her to choose suicide. I saw the role that her sexuality and its repression played in her destruction. Because of the times, the early sixties, women who were angry and sexual were frightening, outside the range of acceptable behavior, beyond control. By the time she was eighteen, she saw that her only way to get out was to lie down on the tracks of the commuter train outside of Washington, D.C. It was an act of immense will.<ref>{{Cite web |last=Goldin |first=Nan |title=The Ballad of Sexual Dependency (Introduction) |url=https://aperture.org/shop/nan-goldin-ballad/ |url-status=dead |archive-url=https://web.archive.org/web/20180305142526/https://aperture.org/shop/nan-goldin-ballad/ |archive-date=March 5, 2018 |access-date=4 March 2018 |website=Aperture.org}}</ref></blockquote>
+Goldin was born in Washington, D.C., in 1953<ref name="Phaidon Editors">{{Cite book |title=Great women artists |date=2019 |publisher=Phaidon Press |isbn=978-0714878775 |page=155}}</ref> to middle-class [[Jewish]] parents, and grew up in the [[Boston]] suburb of [[Swampscott, Massachusetts|Swampscott]], moving to [[Lexington, Massachusetts|Lexington]] in her teens. Goldin's father worked in broadcasting and served as the chief economist for the [[Federal Communications Commission]].<ref>{{Cite news |last=Solomon |first=Deborah |author-link=Deborah Solomon |date=October 9, 1996 |title=Nan Goldin: Scenes From the Edge |url=https://www.wsj.com/articles/SB844810967532358500 |archive-url=https://web.archive.org/web/20170222193915/https://www.wsj.com/articles/SB844810967532358500 |archive-date=February 22, 2017 |work=[[The Wall Street Journal]]}}</ref> Goldin had early exposure to tense family relationships, as her parents often argued about Goldin's older sister Barbara who ultimately committed suicide when Goldin was 11: ''"This was in 1965, when teenage suicide was a taboo subject. I was very close to my sister and aware of some of the forces that led her to choose suicide. I saw the role that her sexuality and its repression played in her destruction. Because of the times, the early sixties, women who were angry and sexual were frightening, outside the range of acceptable behavior, beyond control. By the time she was eighteen, she saw that her only way to get out was to lie down on the tracks of the commuter train outside of Washington, D.C. It was an act of immense will."''<ref>{{Cite web |last=Goldin |first=Nan |title=The Ballad of Sexual Dependency (Introduction) |url=https://aperture.org/shop/nan-goldin-ballad/ |url-status=dead |archive-url=https://web.archive.org/web/20180305142526/https://aperture.org/shop/nan-goldin-ballad/ |archive-date=March 5, 2018 |access-date=4 March 2018 |website=Aperture.org}}</ref>
-Goldin began to smoke [[Cannabis (drug)|marijuana]] and date an older man. She left home by age 13 and subsequently lived in various foster homes.<ref name="Britannica">{{Cite encyclopedia |title=Nan Goldin, American photographer |encyclopedia=Encyclopedia Britannica |url=https://www.britannica.com/biography/Nan-Goldin |access-date=September 29, 2024 |date=September 8, 2024}}</ref> At 16 she enrolled at the Satya Community School in [[Lincoln, Massachusetts|Lincoln, MA]].<ref name="auto">{{Cite magazine |last=Als |first=Hilton |date=June 27, 2016 |title=Nan Goldin's Life in Progress |url=https://www.newyorker.com/magazine/2016/07/04/nan-goldins-the-ballad-of-sexual-dependency |access-date=4 March 2018 |magazine=The New Yorker |issn=0028-792X}}</ref> A Satya staff member (existential psychologist [[Rollo May]]'s daughter) introduced Goldin to photography in 1969 when she was sixteen years old.<ref name="auto" /> Still struggling from her sister's death, Goldin used the camera to cherish her relationships with those she photographed.<ref>{{Cite book |last=Goldin |first=Nan |title=The Ballad of Sexual Dependency |date=1986 |publisher=Aperture Foundation |isbn=0893812366 |editor-last=Goldin |editor-first=Nan |location=New York |editor-last2=Heiferman |editor-first2=Marvin |editor-last3=Holborn |editor-first3=Mark |editor-last4=Fletcher |editor-first4=Suzanne}}</ref> Her early influences included [[Andy Warhol]]'s early films, [[Federico Fellini]], [[Jack Smith (film director)|Jack Smith]], [[Vogue Paris|French]] and [[Vogue Italia|Italian ''Vogue'']], especially the photographs by [[Guy Bourdin]] and [[Helmut Newton]].<ref>{{Cite web |last=Westfall |first=Stephen |year=1991 |title=Nan Goldin |url=http://bombmagazine.org/article/1476/nan-goldin |url-status=dead |archive-url=https://web.archive.org/web/20151029032638/http://bombmagazine.org/article/1476/nan-goldin |archive-date=October 29, 2015 |access-date=October 23, 2015 |website=Bomb Magazine |type=Interview}}</ref><!--at least Warhol and Smith must have been later influences in NY. Even in Boston it must have been nearly impossible to know about and actually see their films (since they were not copied and distributed). -->
+Goldin began to smoke [[Cannabis (drug)|marijuana]] and date an older man. She left home by age 13 and subsequently lived in various foster homes.<ref name="Britannica">{{Cite encyclopedia |title=Nan Goldin, American photographer |encyclopedia=Encyclopedia Britannica |url=https://www.britannica.com/biography/Nan-Goldin |access-date=September 29, 2024 |date=September 8, 2024}}</ref> At 16 she enrolled at the Satya Community School in [[Lincoln, Massachusetts|Lincoln, MA]], that followed the educational concept of [[Summerhill School|Summerhill]].<ref name="O'Hagan14">{{Cite news|url=https://www.theguardian.com/artanddesign/2014/mar/23/nan-goldin-photographer-wanted-get-high-early-age|title=Nan Goldin: 'I wanted to get high from a really early age'|last=O'Hagan|first=Sean|date=March 22, 2014|newspaper=The Guardian|access-date=16 February 2017|issn=0261-3077|archive-date=January 23, 2018|archive-url=https://web.archive.org/web/20180123153109/https://www.theguardian.com/artanddesign/2014/mar/23/nan-goldin-photographer-wanted-get-high-early-age|url-status=live}}</ref> After [[Polaroid Corporation|Polaroid]] donated some cameras to the school, a staff member (existential psychologist [[Rollo May]]'s daughter) introduced Goldin to photography in 1969 when she was sixteen years old.<ref name="auto">{{Cite magazine |last=Als |first=Hilton |date=June 27, 2016 |title=Nan Goldin's Life in Progress |url=https://www.newyorker.com/magazine/2016/07/04/nan-goldins-the-ballad-of-sexual-dependency |access-date=4 March 2018 |magazine=The New Yorker |issn=0028-792X}} (paywall after three free articles)</ref> Still struggling from her sister's death, Goldin used the camera to cherish her relationships with those she photographed.<ref>{{Cite book |last=Goldin |first=Nan |title=The Ballad of Sexual Dependency |date=1986 |publisher=Aperture Foundation |isbn=0893812366 |editor-last=Goldin |editor-first=Nan |location=New York |editor-last2=Heiferman |editor-first2=Marvin |editor-last3=Holborn |editor-first3=Mark |editor-last4=Fletcher |editor-first4=Suzanne}}</ref> At first she tried to emulate early as well as contemporary [[fashion photography]] by the likes of [[Guy Bourdin]] and [[Helmut Newton]] in [[Vogue Paris|French]] and [[Vogue Italia|Italian ''Vogue'']] magazine issues she stole and then she and her peers would be occupied with for hours. [[Henry Horenstein]], whose evening class at [[New England School of Photography]] Goldin attended, appreciated her pictures and showed her [[Larry Clark]]'s book ''[[Tulsa (book)|Tulsa]]'' that had just come out in 1971 and documented Clark's life within a group of "speedfreaks". It opened her eyes and shifted her focus from fashion to art photography. Through Horenstein Goldin also got to know the work of [[August Sander]] and [[Lisette Model]] (Goldin attended a class by her in 1974). She finally enrolled at the School of the [[Museum of Fine Arts in Boston]] with her friend from Satya, [[David Armstrong (photographer)|David Armstrong]]. There she met [[Philip-Lorca diCorcia]] and [[Mark Morrisroe]], and began to photograph in color.<ref>Sussman, Elisabeth. "Nan Goldin: [de:Zeitbilder]", p. 30, in: {{Cite book |title=Nan Goldin – I'll Be Your Mirror |date=1996 |publisher=Whitney Museum of American Art and Scalo |location=New York and Zurich |isbn=978-3-931141-33-2 |editor-last=Sussman |editor-first=Elisabeth |editor-last2=Armstrong |editor-first2=David}}</ref>
+<!--Her early influences included [[Andy Warhol]]'s early films, [[Federico Fellini]], [[Jack Smith (film director)|Jack Smith]].<ref>{{Cite web |last=Westfall |first=Stephen |year=1991 |title=Nan Goldin |url=http://bombmagazine.org/article/1476/nan-goldin |url-status=dead |archive-url=https://web.archive.org/web/20151029032638/http://bombmagazine.org/article/1476/nan-goldin |archive-date=October 29, 2015 |access-date=October 23, 2015 |website=Bomb Magazine |type=Interview}}</ref> at least Warhol and Smith must have been later influences in NY. Even in Boston it must have been nearly impossible to know about and actually see their films (since they were not copied and distributed). -->
 == Life and work ==
@@ Line 45: / Line 50: @@
 Following graduation, Goldin moved to New York City.<ref name="gagosian.com">{{cite web|url=http://www.gagosian.com/exhibitions/nan-goldin--march-21-2014|title=Nan Goldin: Scopophilia, March 21 – May 24, 2014|url-status=dead|archive-url=https://web.archive.org/web/20140323233718/http://www.gagosian.com/exhibitions/nan-goldin--march-21-2014|archive-date=March 23, 2014|website=[[Gagosian Gallery]]}}</ref> She began documenting the [[post-punk]] new-wave music scene, along with the city's vibrant, post-[[Stonewall riots|Stonewall]] gay subculture of the late 1970s and early 1980s. A first exposure to a wider audience was her participation in the 1981 exhibition ''New York/New Wave'' at [[MoMA PS1|PS1]].<ref>{{cite web |title=New York/New Wave (Feb 15–Apr 5, 1981, MoMA PS1) |type=Archive |url=https://www.moma.org/calendar/exhibitions/4213 |website=The Museum of Modern Art }}</ref>
+===''The Ballad of Sexual Dependency''===
-The hard-drug subculture of the [[Bowery]] neighborhood she was drawn especially were the subject of her photographs taken between 1979 and 1986, that constitute her ever evolving [[slideshow]] ''[[The Ballad of Sexual Dependency]];'' the title taken from a song in [[Bertolt Brecht]]'s ''[[Threepenny Opera]]''<ref>Brecht, Bertolt. "Three Penny Opera." Act II, song 12.</ref> originally was an undefined plural: ''Ballads of Sexual Dependency.'' After the slideshow was screened at the [[Whitney Biennial]] in 1985 it was published as a book a year later by [[Aperture Foundation|Aperture]] with help from [[Marvin Heiferman]], Mark Holborn, and [[Suzanne Fletcher (actor)|Suzanne Fletcher]]. These [[snapshot aesthetic]] images, often taken indoors with a [[Flash (photography)|flashlight]], depict autobiographical moments, mostly of friends, women and men for themselves and couples, often nude, some causual, some explicit, but also a small spread with kids and groups of people partying; they show love, joy and confidence, but also vulnerability, tears and the result of violence, especially an incident at the end of her intense relationship with Brian, who is often featured in the book as well as on its cover. In her foreword to the book she describes it as a "diary [she] lets people read" of people she referred to as her "tribe". Part of ''Ballad'' was driven by the need to remember her chosen family. Photography was a way for her to hold onto her friends, she hoped.<ref name=":0">{{Cite book|title=Fantastic Tales|last=Goldin|first=Nan|publisher=Palmer Museum of Art in association with The Pennsylvania State University Press |location=University Park, Penn. |year=2005|isbn=9780911209631}}</ref>
+In the young, sex-affirmative, hard-drug subculture of the [[Bowery]] neighborhood she found her "tribe," which became the subject of her photographs taken between 1979 and 1986. These pictures constitute her [[slideshow]] ''[[The Ballad of Sexual Dependency]],'' which she initially showed to her peers in clubs and other venues they frequented. Their immediate reaction to the pictures shaped its constantly evolving form. Later versions of the cycle had around 700 images screened in about 45 minutes (ca. 3 seconds per slide). After the slideshow was screened at the [[Whitney Biennial]] in 1985, it was published as a book a year later by [[Aperture Foundation|Aperture]] with help from [[Marvin Heiferman]], Mark Holborn, and her friend [[Suzanne Fletcher (actor)|Suzanne Fletcher]].<ref>{{cite book|last1=Goldin|first1=Nan|last2=Heiferman|first2=Marvin|last3=Holborn|first3=Mark|last4=Fletcher|first4=Suzanne|title=The Ballad of Sexual Dependency|date=2012|edition=2|orig-year=1986|publisher=Aperture Foundation|location=New York City|isbn=978-1-59711-208-6}}</ref>
+Taken from a song in [[Bertolt Brecht]]'s ''[[The Threepenny Opera|Threepenny Opera]]''<ref>Brecht, Bertolt. ''Three Penny Opera,'' Act II, song 12.</ref> the title printed on [[Flyer (pamphlet)|flyers]] and [[poster]]s for the events was originally an undefined plural, ''Ballads of Sexual Dependency,'' referring to the slideshow's [[DJ|deejayed]] soundtrack with songs by [[The Velvet Underground]], [[Screamin' Jay Hawkins]], [[Petula Clark]], [[Nina Simone]], chansons by [[Charles Aznavour]] and [[Edith Piaf]], arias sung by [[Maria Callas]] a. o. The book's 125 pictures were sequenced in a similar way with song titles.
+The [[snapshot aesthetic]] images were dominantly taken indoors and by night: "That series is stark. It's all [[Flash (photography)|flash-lit]]. I honestly didn't know about natural light then and how it affected the colour of the skin because I never went out in daylight."<ref name="O'Hagan14"/> They depict autobiographical moments, mostly of friends, women and men for themselves and couples, often nude, some causual, some explicit, but also a small spread with kids and groups of people partying; they show love, joy and confidence, but also vulnerability, tears and the result of violence, especially an incident at the end of her intense relationship with Brian, who is subject of many images as well as on the book cover. Her self-portrait, "Nan One Month After Being Battered, 1984", was called the center-piece of the ''Ballad.''<ref>''Ballad,'' p. 83. Ref...</ref> In her foreword to the book she describes it as a "diary [she] lets people read" of people she referred to as her "tribe". Part of ''Ballad'' was driven by the need to remember her chosen family. Photography was a way for her to hold onto her friends, she hoped.<ref name=":0">{{Cite book|title=Fantastic Tales|last=Goldin|first=Nan|publisher=Palmer Museum of Art in association with The Pennsylvania State University Press |location=University Park, Penn. |year=2005|isbn=9780911209631}}</ref>
-The photographs show a transition through Goldin's travels and her life.<ref>{{cite book|last1=Goldin|first1=Nan|last2=Heiferman|first2=Marvin|last3=Holborn|first3=Mark|last4=Fletcher|first4=Suzanne|title=The Ballad of Sexual Dependency|date=2012|publisher=Aperture Foundation|location=New York City|isbn=978-1-59711-208-6}}</ref> 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]].<ref>Curley, Mallory. ''A Cookie Mueller Encyclopedia'', Randy Press, 2010.</ref> 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."<ref>Tillman, Lynne. "A New Chapter of Nan Goldin's Diary." ''The New York Times,'' November 16, 2003.</ref> In addition to ''Ballad,'' she combined her Bowery pictures in two other series: ''[[I'll Be Your Mirror]]'' and ''All By Myself.''
+===After the ''Ballad''===
-Goldin's work is most often presented in the form of a [[slideshow]], and has been shown at film festivals; her most famous<sup>Ref?</sup> being a 45-minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency.<ref>{{citation | title= Nan Goldin at Pa. Academy of Fine Arts | publisher= Blouinartinfo | date= September 11, 2007 | url= http://www.blouinartinfo.com/news/story/9149/nan-goldin-at-pa-academy-of-fine-arts | access-date= 23 April 2008 | archive-date= June 12, 2018 | archive-url= https://web.archive.org/web/20180612145853/http://www.blouinartinfo.com/news/story/9149/nan-goldin-at-pa-academy-of-fine-arts | url-status= dead }}</ref> In the book ''Auto-Focus,'' her photographs are described as a way to "learn the stories and intimate details of those closest to her". The book speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling and references one of Goldin's photographs "Nan One Month After Being Battered, 1984"<ref>{{cite web|last1=Tate|access-date=2022-05-23|title='Nan one month after being battered', Nan Goldin, 1984|url=https://www.tate.org.uk/art/artworks/goldin-nan-one-month-after-being-battered-p78045|website=Tate|archive-date=March 28, 2022|archive-url=https://web.archive.org/web/20220328183247/https://www.tate.org.uk/art/artworks/goldin-nan-one-month-after-being-battered-p78045|url-status=live}}</ref> as an iconic image which she uses to reclaim her identity and her life.<ref>{{cite book|last=Bright|first=Susan|title=Auto focus : the self-portrait in contemporary photography|year=2010|publisher=Monacelli Press|location=[New York]|isbn=978-1-58093-300-1|edition=1st American}}</ref>
+The photographs show a transition through Goldin's travels and her life. 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]].<ref>Curley, Mallory. ''A Cookie Mueller Encyclopedia'', Randy Press, 2010.</ref> 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."<ref>Tillman, Lynne. "A New Chapter of Nan Goldin's Diary." ''The New York Times,'' November 16, 2003.</ref> In addition to ''Ballad,'' she combined her Bowery pictures in two other series: ''[[I'll Be Your Mirror]]'' and ''All by Myself.''
+Beside the ''Ballad,'' Goldin's work series are most often presented in the form of a slideshows, and have been shown at galleries, museums, photo and film festivals. The main themes of her early pictures are love, gender, domesticity, and sexuality. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency.<ref>{{citation | title= Nan Goldin at Pa. Academy of Fine Arts | publisher= Blouinartinfo | date= September 11, 2007 | url= http://www.blouinartinfo.com/news/story/9149/nan-goldin-at-pa-academy-of-fine-arts | access-date= 23 April 2008 | archive-date= June 12, 2018 | archive-url= https://web.archive.org/web/20180612145853/http://www.blouinartinfo.com/news/story/9149/nan-goldin-at-pa-academy-of-fine-arts | url-status= dead }}</ref> In the book ''Auto-Focus,'' her photographs are described as a way to "learn the stories and intimate details of those closest to her". The book speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling and references one of Goldin's photographs "Nan One Month After Being Battered, 1984"<ref>{{cite web|last1=Tate|access-date=2022-05-23|title='Nan one month after being battered', Nan Goldin, 1984|url=https://www.tate.org.uk/art/artworks/goldin-nan-one-month-after-being-battered-p78045|website=Tate|archive-date=March 28, 2022|archive-url=https://web.archive.org/web/20220328183247/https://www.tate.org.uk/art/artworks/goldin-nan-one-month-after-being-battered-p78045|url-status=live}}</ref> as an iconic image which she uses to reclaim her identity and her life.<ref>{{cite book|last=Bright|first=Susan|title=Auto Focus: The Self-Portrait in Contemporary Photography |year=2010|publisher=Monacelli Press|location=[New York]|isbn=978-1-58093-300-1|page=000}}</ref>
-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 and uncanny landscapes; people (notably in water) and her lover, Siobhan; and babies, parenthood and family life.
+Goldin's work since 1995 has included a wide array of subject matter: a collaborative book project with Japanese photographer [[Nobuyoshi Araki]]; New York City skylines and uncanny landscapes; people (notably in water) and her lover, Siobhan; and babies, parenthood and family life.
-In 2000, her hand was injured and she currently retains less ability to handle a camera.<ref name="O'Hagan14">{{Cite news|url=https://www.theguardian.com/artanddesign/2014/mar/23/nan-goldin-photographer-wanted-get-high-early-age|title=Nan Goldin: 'I wanted to get high from a really early age'|last=O'Hagan|first=Sean|date=March 22, 2014|newspaper=The Guardian|access-date=16 February 2017|issn=0261-3077|archive-date=January 23, 2018|archive-url=https://web.archive.org/web/20180123153109/https://www.theguardian.com/artanddesign/2014/mar/23/nan-goldin-photographer-wanted-get-high-early-age|url-status=live}}</ref>
+In 2000, her hand was injured and she currently retains less ability to handle a camera.<ref name="O'Hagan14"/>
 [[File:Christmas at the other side.jpg|thumb|''Christmas at The Other Side, Boston'', 1972, by Goldin|upright=1.5]]
-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 premiered in Paris the year before. The work involved her sister Barbara's suicide and how she coped through production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films.<ref name="NGI">{{citation | title=Nan Goldin | author=Robert Ayers | publisher=Blouinartinfo | date=March 27, 2006 | url=http://www.blouinartinfo.com/artists/72685-nan-goldin | access-date=23 April 2008 | archive-date=February 8, 2019 | archive-url=https://web.archive.org/web/20190208141440/https://www.blouinartinfo.com/artists/72685-nan-goldin | url-status=dead }}</ref>
+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 premiered in Paris the year before. The work involved her sister Barbara's suicide and how she coped through production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films.<ref name="NGI">{{citation | title=Nan Goldin | author=Robert Ayers | publisher=Blouinartinfo | date=March 27, 2006 | url=http://www.blouinartinfo.com/artists/72685-nan-goldin | access-date=23 April 2008 | archive-date=February 8, 2019 | archive-url=https://web.archive.org/web/20190208141440/https://www.blouinartinfo.com/artists/72685-nan-goldin | url-status=dead }} Archive-url only shows html code of page (2024-10-03).</ref>
 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.<ref>{{Cite web|url=https://www.guggenheim.org/artwork/artist/nan-goldin|title=Guggenheim Collection Online, Nan Goldin|website=guggenheim.org|access-date=7 March 2018|archive-date=March 8, 2018|archive-url=https://web.archive.org/web/20180308231557/https://www.guggenheim.org/artwork/artist/nan-goldin|url-status=live}}</ref>
@@ Line 65: / Line 75: @@
 In March 2018, clothing brand [[Supreme (clothing)|Supreme]] 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".<ref>{{cite web|url=https://www.vogue.co.uk/gallery/supreme-nan-goldin-collaboration|title=Supreme Announces Nan Goldin Collaboration|publisher=[[British Vogue]]|last=Singer|first=Olivia|date=March 26, 2018|access-date=February 17, 2019}}</ref>
+== Critique ==
-== Critique == <!--please, find a better header (removed this from 'Activism')-->
 Some critics have accused Goldin of making heroin use appear glamorous and of pioneering a [[grunge]] style that later became popularized by youth fashion magazines such as ''[[The Face (magazine)|The Face]]'' and ''[[I-D]]''.<ref>{{Cite news|url=https://www.nytimes.com/1997/05/20/style/a-death-tarnishes-fashion-s-heroin-look.html|title=A Death Tarnishes Fashion's 'Heroin Look'|last=Spindler|first=Amy M.|date=May 20, 1997|work=The New York Times|access-date=20 March 2018|issn=0362-4331|archive-date=January 27, 2024|archive-url=https://web.archive.org/web/20240127172708/https://www.nytimes.com/1997/05/20/style/a-death-tarnishes-fashion-s-heroin-look.html|url-status=live}}</ref> However, in a 2002 interview with ''[[The Observer]]'', Goldin herself called the use of "[[heroin chic]]" to sell clothes and perfumes "reprehensible and evil."<ref>{{citation | title=The dark room |author= Sheryl Garratt|newspaper= The Guardian|date=January 6, 2002|access-date=8 March 2010|url=https://www.theguardian.com/theobserver/2002/jan/06/features.magazine27|quote= "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."}}</ref> 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"<ref>{{Cite web|url=https://bombmagazine.org/articles/nan-goldin/|title=Nan Goldin |first=Stephen |last=Westfall |work=Bomb Magazine|date=October 1991 |access-date=20 March 2018}}</ref>
-Goldin's interest in drugs stemmed from a sort of rebellion against parental guidance that parallels her decision to run away from home at a young age, "I wanted to get high from a really early age. I wanted to be a junkie. That's what intrigues me. Part was the Velvet Underground and the Beats and all that stuff. But, really, I wanted to be as different from my mother as I could and define myself as far as possible from the suburban life I was brought up in."<ref name="O'Hagan"/>
+Goldin's interest in drugs stemmed from a sort of rebellion against parental guidance that parallels her decision to run away from home at a young age, "I wanted to get high from a really early age. I wanted to be a junkie. That's what intrigues me. Part was the Velvet Underground and the Beats and all that stuff. But, really, I wanted to be as different from my mother as I could and define myself as far as possible from the suburban life I was brought up in."<ref name="O'Hagan14"/>
 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.<ref name=":1">{{Cite book|title=Variety. Photographs by Nan Goldin|last=Crump|first=James|publisher=Skira Rizzoli |location=New York |year=2009|isbn=9780847832552 }}</ref> In ''Fantastic Tales'' [[Liz Kotz]] 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 problematic enmeshment with the histories of social surveillance and coercion, says Kotz. [Her] insider status does nothing to alter the way her pictures convert her audience into voyeurs.<ref name=":0" />
@@ Line 106: / Line 116: @@
 In October 2023, soon after the [[2023 Hamas-led attack on Israel]], Goldin signed a letter on ''[[Artforum]]'' that was criticized for being antisemitic, as it did not mention the Palestinian organization Hamas or the Israelis who were killed.<ref>{{cite web |url=https://www.artforum.com/columns/open-letter-art-community-cultural-organizations-518019/ |title=An Open Letter from the Art Community to Cultural Organizations |date=October 19, 2023 |website=Artforum |access-date=2024-09-03 |archive-date=October 20, 2023 |archive-url=https://web.archive.org/web/20231020012220/https://www.artforum.com/columns/open-letter-art-community-cultural-organizations-518019/ |url-status=bot: unknown }}</ref> The letter received more than 8,000 signatures.<ref>{{cite web |last=Community |first=Art |title=Both Should Come Together |website=ערב רב Erev Rav |date=2023-10-22 |url=https://www.erev-rav.com/archives/english/both-should-come-together |access-date=2024-09-03 |archive-date=September 3, 2024 |archive-url=https://web.archive.org/web/20240903202749/https://www.erev-rav.com/archives/english/both-should-come-together |url-status=live }}</ref><ref>{{cite web |last=Small |first=Zachary |title=Artists Call for Boycott After Artforum Fires Its Top Editor |website=The New York Times |date=2023-10-27 |url=https://www.nytimes.com/2023/10/27/arts/design/artforum-boycott-goldin-eisenman.html |access-date=2024-09-03 |archive-date=October 28, 2023 |archive-url=https://web.archive.org/web/20231028001617/https://www.nytimes.com/2023/10/27/arts/design/artforum-boycott-goldin-eisenman.html |url-status=live }}</ref>
-In November 2023, during the [[Israeli invasion of the Gaza Strip (2023–present)|Israeli invasion of the Gaza Strip]], hundreds of members and supporters of [[Jewish Voice for Peace]]–New York City (JVP-NYC) took part in a sit-in protest in front of New York's [[Statue of Liberty]] 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."<ref>{{cite news |last1=Luscombe |first1=Richard |title=Protesters stage sit-in demanding ceasefire in Gaza at Statue of Liberty |url=https://www.theguardian.com/us-news/2023/nov/06/statue-of-liberty-protest-gaza-ceasefire |work=The Guardian |date=November 6, 2023 |access-date=November 7, 2023 |archive-date=November 6, 2023 |archive-url=https://web.archive.org/web/20231106234156/https://www.theguardian.com/us-news/2023/nov/06/statue-of-liberty-protest-gaza-ceasefire |url-status=live }}</ref> Goldin also canceled a photo shoot with the ''[[New York Times Magazine]]'' 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.<ref>{{cite news |last1=Dubreil |first1=Jean |title=Nan Goldin Boycotts New York Times Project Over Gaza Coverage |url=https://www.artmajeur.com/en/magazine/2-art-news/nan-goldin-boycotts-new-york-times-project-over-gaza-coverage/334516 |work=Artmajeur Magazine |date=November 10, 2023}}</ref>
+In November 2023, during the [[Israeli invasion of the Gaza Strip (2023–present)|Israeli invasion of the Gaza Strip]], hundreds of members and supporters of [[Jewish Voice for Peace]]–New York City (JVP-NYC) took part in a sit-in protest in front of New York's [[Statue of Liberty]] 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."<ref>{{cite news |last1=Luscombe |first1=Richard |title=Protesters stage sit-in demanding ceasefire in Gaza at Statue of Liberty |url=https://www.theguardian.com/us-news/2023/nov/06/statue-of-liberty-protest-gaza-ceasefire |work=The Guardian |date=November 6, 2023 |access-date=November 7, 2023 |archive-date=November 6, 2023 |archive-url=https://web.archive.org/web/20231106234156/https://www.theguardian.com/us-news/2023/nov/06/statue-of-liberty-protest-gaza-ceasefire |url-status=live }}</ref> Goldin also canceled a photo shoot with the ''[[New York Times Magazine]]'' 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.<ref>{{cite news |last1=Dubreil |first1=Jean |title=Nan Goldin Boycotts New York Times Project Over Gaza Coverage |url=https://www.artmajeur.com/en/magazine/2-art-news/nan-goldin-boycotts-new-york-times-project-over-gaza-coverage/334516 |work=Artmajeur Magazine |date=November 10, 2023}}</ref> Goldin was arrested on October 14, 2024 durring a Jewish Voice for Peace protest in New york City.<ref>{{Cite web |last= |first= |date=2024-10-16 |title=NAN GOLDIN, LAURA POITRAS ARRESTED AT NYC PRO-PALESTINE PROTEST |url=https://www.artforum.com/news/nan-goldin-laura-poitras-arrested-nyc-pro-palestine-protest-1234720413/ |access-date=2024-10-21 |website=Artforum |language=en-US}}</ref>
 == Recognition ==
@@ Line 121: / Line 131: @@
 * 2018: [[Royal Photographic Society]] Centenary Medal and Honorary Fellowship, London, UK<ref>{{cite web|access-date=10 December 2018|title=The Royal Photographic Society Awards 2018|url=http://www.rps.org/news/2018/november/the-royal-photographic-society-awards-2018|website=rps.org|archive-url=https://web.archive.org/web/20181204113432/http://www.rps.org/news/2018/november/the-royal-photographic-society-awards-2018|archive-date=December 4, 2018|url-status=dead}}</ref>
 * 2022: Käthe-Kollwitz-Preis, [[Academy of Arts, Berlin]], Germany
+* 2023: [[Peabody Award]] for [[All the Beauty and the Bloodshed]]
 ===Censorship case in Brasil===
@@ Line 158: / Line 169: @@
 * 1993: ''Die andere Seite (The Other Side),'' [[DAAD Artists-in-Berlin Program|DAAD Artists-in-Residence program]], Berlin (book)
 * 1995: ''The Golden Years,'' [[Yvon Lambert Gallery]], Paris (catalogue)
-* 1996: ''I'll Be Your Mirror,'' retrospective, [[Whitney Museum of American Art]], and traveled to [[Kunstmuseum Wolfsburg]], Germany; [[Stedelijk Museum]], Amsterdam; [[Fotomuseum Winterthur]], Switzerland; [[Kunsthalle Wien]]; and [[National Museum (Prague)|National Museum]], Prague (book)
+* 1996: ''I'll Be Your Mirror,'' retrospective, [[Whitney Museum of American Art]] (book), and traveled to
+** [[Kunstmuseum Wolfsburg]], Germany
+** [[Stedelijk Museum]], Amsterdam
+** [[Fotomuseum Winterthur]], Switzerland
+** [[Kunsthalle Wien]]
+** [[National Museum (Prague)|National Museum]], Prague
 * 1997: Rencontres d'Arles, 10 year anniversary of screening ''The Ballad of Sexual Dependency'' (Théâtre Antique)
 * 1997: ''Love Streams,'' Yvon Lambert Gallery, Paris (catalogue)
-* 2001: ''Le Feu Follet/The Devil's Playground,'' [[Centre Georges Pompidou]], Paris, and traveled to [[Whitechapel Gallery]], London; [[Museo Nacional Centro de Arte Reina Sofía]], Madrid; [[Serralves Foundation|Fundação de Serralves]], Porto, Portugal; [[Castello di Rivoli]], Turin; and [[Ujazdów Castle]], Warsaw.<ref name="gagosian.com"/> (book)
+* 2001: ''Le Feu Follet/The Devil's Playground,'' [[Centre Georges Pompidou]], Paris (book), and traveled to
+** [[Whitechapel Gallery]], London
+** [[Museo Nacional Centro de Arte Reina Sofía]], Madrid
+** [[Serralves Foundation|Fundação de Serralves]], Porto, Portugal
+** [[Castello di Rivoli]], Turin
+** [[Ujazdów Castle]], Warsaw.<ref name="gagosian.com"/>
 * 2005: ''Soeurs, Saintes et Sibylles,'' commissioned for the Chapelle St. Louis de la Salpêtrière at Festival d'automne, Paris; first installation with three screens and film (catalogue)
-** 2006: ''Chasing a Ghost,'' [[Matthew Marks Gallery]], New York
+* 2006: ''Chasing a Ghost,'' [[Matthew Marks Gallery]], New York
-* 2007: [[Hasselblad Award]], [[Hasselblad Center]], Gothenburg (book)
+* 2007: ''[[Hasselblad Award]],'' [[Hasselblad Center]], Gothenburg (book)
 * 2009: Rencontres d'Arles, Guest of honour, screening of ''The Ballad of Sexual Dependency''<ref name="guardian-ohagan-2009">{{cite web|first1=Sean|last1=O'Hagan|author-link=Sean O'Hagan (journalist)|access-date=14 June 2018|title=Photography review: Les Rencontres d'Arles 2009, Arles, France|url=https://www.theguardian.com/artanddesign/2009/jul/12/les-rencontres-darles-photography-review|date=July 11, 2009|website=The Guardian|archive-date=October 2, 2024|archive-url=https://web.archive.org/web/20241002005256/https://www.theguardian.com/artanddesign/2009/jul/12/les-rencontres-darles-photography-review|url-status=live}}</ref>
 * 2010: ''Scopophilia,'' Louvre, Paris<ref>{{cite web |author=Randy Kennedy |title=The Look of Love |url=https://www.nytimes.com/2011/10/27/arts/design/nan-goldin-at-the-matthew-marks-gallery.html |website=The New York Times |date=October 26, 2011 |access-date=September 28, 2024 |archive-date=October 2, 2024 |archive-url=https://web.archive.org/web/20241002005246/https://www.nytimes.com/2011/10/27/arts/design/nan-goldin-at-the-matthew-marks-gallery.html |url-status=live }}</ref>
@@ Line 173: / Line 194: @@
 * 2019/20: ''Sirens,'' [[Marian Goodman Gallery]], London<ref>{{cite web|last1=Dazed|access-date=2019-12-28|title=Life lessons we can take from Nan Goldin's seminal photography|url=https://www.dazeddigital.com/art-photography/article/46793/1/life-lessons-we-can-take-from-nan-goldins-seminal-photography|date=14 November 2019|website=Dazed|archive-date=December 28, 2019|archive-url=https://web.archive.org/web/20191228083525/https://www.dazeddigital.com/art-photography/article/46793/1/life-lessons-we-can-take-from-nan-goldins-seminal-photography|url-status=live}}</ref><ref>{{cite web|access-date=2019-12-28|title=Nan Goldin's Sirens exhibition is a woozy, devastating tale of addiction ★★★★★|url=https://inews.co.uk/culture/arts/nan-goldin-at-marian-goodman-gallery-is-a-woozy-devastating-tale-of-addiction-1303259|website=Inews.co.uk|archive-date=December 28, 2019|archive-url=https://web.archive.org/web/20191228083525/https://inews.co.uk/culture/arts/nan-goldin-at-marian-goodman-gallery-is-a-woozy-devastating-tale-of-addiction-1303259|url-status=live}}</ref><ref>{{cite news|first1=Adrian|last1=Searle|access-date=2019-12-28|title=Nan Goldin review – Gut-wrenching, brilliant and beautiful. I cannot turn away|url=https://www.theguardian.com/artanddesign/2019/nov/14/nan-goldin-review-marian-goodman-gallery-london-gut-wrenching-brilliant-beautiiful|newspaper=The Guardian|date=14 November 2019|issn=0261-3077|via=www.theguardian.com|archive-date=October 2, 2024|archive-url=https://web.archive.org/web/20241002005252/https://www.theguardian.com/artanddesign/2019/nov/14/nan-goldin-review-marian-goodman-gallery-london-gut-wrenching-brilliant-beautiiful|url-status=live}}</ref>
 * 2022: ''Käthe-Kollwitz-Preis 2022: Nan Goldin,'' [[Akademie der Künste]], Berlin (book)
-* 2023/24: ''This Will Not End Well,'' [[Moderna Museet]], Stockholm, travelled to [[Stedelijk Museum Amsterdam]],<ref>{{cite web | url=https://www.stedelijk.nl/nl/tentoonstellingen/nan-goldin-will-not-end-well | title=Nan Goldin – This Will Not End Well | website=Stedelijk.nl | access-date=November 17, 2023 | archive-date=October 2, 2024 | archive-url=https://web.archive.org/web/20241002005308/https://www.stedelijk.nl/nl/tentoonstellingen/nan-goldin-will-not-end-well | url-status=live }}</ref> [[Neue Nationalgalerie]], Berlin.<ref>{{cite web |url=https://www.smb.museum/en/museums-institutions/neue-nationalgalerie/exhibitions/detail/nan-goldin/ |title=Nan Goldin – This Will Not End Well |website=Staatliche Museen zu Berlin (SMB) |access-date=2024-09-22 |archive-date=September 23, 2024 |archive-url=https://web.archive.org/web/20240923175325/https://www.smb.museum/en/museums-institutions/neue-nationalgalerie/exhibitions/detail/nan-goldin/ |url-status=live }}</ref> Focussed on slideshows and films (book).
+* 2023/24: ''This Will Not End Well,'' [[Moderna Museet]], Stockholm, Focussed on slideshows and films (book). Travelled to
+** [[Stedelijk Museum Amsterdam]]<ref>{{cite web | url=https://www.stedelijk.nl/nl/tentoonstellingen/nan-goldin-will-not-end-well | title=Nan Goldin – This Will Not End Well | website=Stedelijk.nl | access-date=November 17, 2023 | archive-date=October 2, 2024 | archive-url=https://web.archive.org/web/20241002005308/https://www.stedelijk.nl/nl/tentoonstellingen/nan-goldin-will-not-end-well | url-status=live }}</ref>
+** [[Neue Nationalgalerie]], Berlin.<ref>{{cite web |url=https://www.smb.museum/en/museums-institutions/neue-nationalgalerie/exhibitions/detail/nan-goldin/ |title=Nan Goldin – This Will Not End Well |website=Staatliche Museen zu Berlin (SMB) |access-date=2024-09-22 |archive-date=September 23, 2024 |archive-url=https://web.archive.org/web/20240923175325/https://www.smb.museum/en/museums-institutions/neue-nationalgalerie/exhibitions/detail/nan-goldin/ |url-status=live }}</ref>
 For some '''group exhibitions''' see catalogues listed in [[#Books on Goldin|Books on Goldin]].
@@ Line 184: / Line 206: @@
 === ''From Desire: A Queer Diary'' ===
-Goldin's second curated show, ''From Desire: A Queer Diary'' (March 29 – April 19, 1991), was held at the Richard F. Brush Art Gallery at [[St. Lawrence University]], Canton, NY. Artists who were exhibited included David Armstrong, Eve Ashcraft, Kathryn Clark, Joyce Culver, Zoe Leonard, Simon Leung, Robert Mapplethorpe, Robert Windrum, and David Wojnarowicz.<ref>{{Cite book|title=From desire: ... a queer diary|last1=Goldin|first1=Nan|last2=Wojnarowicz|first2=David|last3=Richard F. Brush Art Gallery|last4=Visual AIDS (Organization)|last5=St. Lawrence University Festival of the Arts|date=1991|publisher=Richard F. Brush Art Gallery|location=Canton, N.Y.|language=en|oclc = 228438880}}</ref>
+Goldin's second curated show, ''From Desire: A Queer Diary'' (March 29 – April 19, 1991), was held at the Richard F. Brush Art Gallery at [[St. Lawrence University]], Canton, NY. Artists who were exhibited included David Armstrong, Eve Ashcraft, Kathryn Clark, Joyce Culver, [[Zoe Leonard]], Simon Leung, [[Robert Mapplethorpe]], Robert Windrum, and David Wojnarowicz.<ref>{{Cite book|title=From desire: ... a queer diary|last1=Goldin|first1=Nan|last2=Wojnarowicz|first2=David|last3=Richard F. Brush Art Gallery|last4=Visual AIDS (Organization)|last5=St. Lawrence University Festival of the Arts|date=1991|publisher=Richard F. Brush Art Gallery|location=Canton, N.Y.|language=en|oclc = 228438880}}</ref>
 ===''Nan's Guests''===
@@ Line 196: / Line 218: @@
 ** Expanded 2nd edition with revised introduction by Goldin. Göttingen: [[Steidl]], 2019 (2nd pr. 2023). ISBN 978-3-95829-613-8.
 * ''Vakat,'' with poems by Joachim Sartorius. Cologne: Walter Konig, 1993.
-* ''Desire by Numbers''. San Francisco: Artspace, 1994.
+* ''Desire by Numbers,'' with fiction by [[Klaus Kertess]]. San Francisco: Artspace, 1994.
 * ''A Double Life,'' with [[David Armstrong (photographer)|David Armstrong]]. Zurich: Scalo, 1994.
 * ''Tokyo Love,'' with [[Nobuyoshi Araki]]. Tokyo: Hon don do, 1994.
-* ''I'll Be Your Mirror'' (exhibition catalogue). Zurich: Scalo, 1996. {{ISBN|978-3-931141-33-2}}.
+* ''I'll Be Your Mirror'' (exhibition catalogue), edited by Elisabeth Sussman and David Armstrong. Zurich: Scalo, 1996. {{ISBN|978-3-931141-33-2}}.
 * ''Ten Years After: Naples 1986–1996,'' with Guido Costa (text), edited with Gigi Giannuzzi and Guido Costa. Zurich: Scalo, 1998. {{ISBN|978-3-931141-79-0}}.
 * ''Couples and Loneliness,'' edited with Taka Kawachi. Kyoto: Korinsha, 1998. ISBN 4-77130342-8 (English/Japanese).
 * ''Nan Goldin: Recent Photographs'' (exhibition catalogue). Houston: [[Contemporary Arts Museum]], 1999.
 * ''The Devil's Playground''. London: Phaidon, 2003. {{ISBN|978-0-7148-4223-3}}.
-* ''Soeurs, Saintes et Sibylles''. Editions du Regard, 2005. {{ISBN|978-2-84105-179-3}}.
+* ''Soeurs, Saintes et Sibylles''. Editions du Regard, 2005. {{ISBN|978-2-84105-179-3}} (French).
 * ''The Beautiful Smile'' ([[Hasselblad Award]]), edited by Jack Ritchey, [[Gerhard Steidl]] and Walter Keller. [[Hasselblad Center]], Gothenburg, and Göttingen: Steidl, 2007. {{ISBN|3-86521-539-4}}.
 ** 2nd edition. Göttingen: Steidl, 2017. {{ISBN|978-3-95829-174-4}}.
@@ Line 210: / Line 232: @@
 * ''Eden and After,'' with Guido Costa. London: Phaidon, 2014. {{ISBN|978-07148-6577-5}}.<ref>[https://m.youtube.com/watch?v=r_rVyt-ojpY Nan Goldin – 'My Work Comes from Empathy and Love'] on ''Tate Shots'' produced by the [[Tate]], uploaded May 1, 2014, on YouTube.</ref>
 * ''Diving for Pearls'' (exhibition catalogue). Göttingen: Steidl, 2016. {{ISBN|978-3-95829-094-5}}.
+* ''Visible/Invisible'' (exhibition catalogue, [[Château de Versailles]]), Ed. Dilecta, 2019, ISBN 264408372796.
 * ''Käthe-Kollwitz-Preis 2022: Nan Goldin'' (exhibition catalogue). Berlin: [[Akademie der Künste]], 2023, ISBN 978-3-8833-1253-8.
 * ''This Will Not End Well'' (exhibition catalogue). Stockholm: [[Moderna Museet]], and Göttingen: Steidl, 2023. ISBN 978-3-96999-058-2.
@@ Line 234: / Line 257: @@
 * Katherine A. Bussard. ''So the Story Goes: Photographs by [[Tina Barney]], Philip-Lorca DiCorcia, Nan Goldin, [[Sally Mann]], and [[Larry Sultan]].'' New Haven, Ct: [[Yale University Press]], 2006. {{ISBN|978-0300114119}}.
 * [[Susan Bright]]. ''Auto Focus: The Self-Portrait in Contemporary Photography.'' London: [[Thames & Hudson]], 2010. {{ISBN|978-0500543894}}.
+* Daniel Jelitzka, Gerald A. Matt (eds.). ''Die Kamera ist grausam / The camera is cruel: [[Lisette Model]], [[Diane Arbus]], Nan Goldin.'' Vienna: Verlag für moderne Kunst, 2018 (German/English).
 * Catherine Zuromskis. ''Snapshot Photography.'' Cambridge, Mass.: MIT Press, 2021. ISBN 9780262544115.
 ==Depiction in film==
 ===Feature films===
-With experimental filmmaker [[Bette Gordon]] Goldin worked several times. In ''Empty Suitcases'' from 1980 she acted alongside Irish artist and friend [[Vivienn Dick]]. In the 1983 film ''[[Variety (1983 film)|Variety]]'' Goldin plays a character called Nan<!--a photographer?-->. She also accompanied the production of the film with her camera; the photographs were published in 2009 (''see bibliography''). For Gordon's 1998 ''Luminous Motion,'' she worked again as [[Unit still photographer|still photographer]].<ref>This and all following data from the [https://m.imdb.com/name/nm0325667/?language=en cast and crew listing] {{Webarchive|url=https://web.archive.org/web/20241002005305/https://m.imdb.com/name/nm0325667/?language=en |date=October 2, 2024 }} from the Nan Goldin page on IMDb. Retrieved September 29, 2024.</ref>
+With experimental filmmaker [[Bette Gordon]] Goldin worked several times. In ''Empty Suitcases'' from 1980 she acted alongside Irish artist and friend [[Vivienne Dick]]. In the 1983 film ''[[Variety (1983 film)|Variety]]'' Goldin plays a character called Nan<!--a photographer?-->. She also accompanied the production of the film with her camera; the photographs were published in 2009 (''see bibliography''). For Gordon's 1998 ''Luminous Motion,'' she worked again as [[Unit still photographer|still photographer]].<ref>This and all following data from the [https://m.imdb.com/name/nm0325667/?language=en cast and crew listing] {{Webarchive|url=https://web.archive.org/web/20241002005305/https://m.imdb.com/name/nm0325667/?language=en |date=October 2, 2024 }} from the Nan Goldin page on IMDb. Retrieved September 29, 2024.</ref>
 Goldin also provided still photography for two films by [[Sara Driver]]: ''[[You Are Not I (film)|You Are Not I]]'' (1981, co-written by [[Jim Jarmusch]] and its director), starring Goldin's lover and friend Suzanne Fletcher, and herself playing one of the accident victims. In 1993 followed ''[[When Pigs Fly (film)|When Pigs Fly]]'' with [[Alfred Molina]].
@@ Line 248: / Line 272: @@
 The photographs by the character Lucy Berliner, played by actress [[Ally Sheedy]] in [[Lisa Cholodenko]]'s 1998 film ''[[High Art]]'', were based on those by Goldin.<ref>{{cite web |first1=Richard |last1=von Busack |access-date=2024-09-29 |title=Cold Dish of Careerism – Lisa Cholodenko's icy 'High Art' turns from chic comedy to humiliation |url=http://www.metroactive.com/papers/metro/06.18.98/highart-9824.html |website=Metroactive.com |date=June 18–24, 1998 |archive-date=February 20, 2020 |archive-url=https://web.archive.org/web/20200220180610/http://www.metroactive.com/papers/metro/06.18.98/highart-9824.html |url-status=live }}</ref>
-In the TV series ''[[The Deuce (TV series)|The Deuce]]'' by [[George Pelecanos]] and [[David Simon]] she has a cameo sitting at a bar.
+In the second season of the 2017 [[HBO]] series ''[[The Deuce (TV series)|The Deuce]]'' by [[George Pelecanos]] and [[David Simon]] she has a cameo sitting at a bar.
 ===Documentary films===
@@ Line 257: / Line 281: @@
 The intimate hour-long portrait ''Nan Goldin: I Remember Your Face'' directed by Sabine Lidl came out in 2011.<ref>{{cite web |author=Jeannette Catsoulis |title=A Photographer Recalls Her Life Within a Demimonde |type=Movie Review |url=https://www.nytimes.com/2014/06/13/movies/in-nan-goldin-sabine-lidl-profiles-a-portraitist.html |website=The New York Times |date=June 12, 2014 |access-date=September 28, 2024 |archive-date=June 16, 2022 |archive-url=https://web.archive.org/web/20220616223813/https://www.nytimes.com/2014/06/13/movies/in-nan-goldin-sabine-lidl-profiles-a-portraitist.html |url-status=live }}</ref><ref>[https://m.youtube.com/watch?v=pOVWTQnk_do Trailer] of the film on [[YouTube]]. Retrieved September 28, 2024. </ref>
-In 2022, filmmaker [[Laura Poitras]]' documentary ''[[All the Beauty and the Bloodshed]]'' on Goldin premiered at the [[79th Venice International Film Festival]],<ref>{{cite news|first1=Manohla|last1=Dargis|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Review: Nan Goldin's Art and Activism|type=Critic's Pick|url=https://www.nytimes.com/2022/11/22/movies/all-the-beauty-and-the-bloodshed-review-nan-goldin.html|newspaper=The New York Times|date=22 November 2022|issn=0362-4331|archive-date=February 26, 2023|archive-url=https://web.archive.org/web/20230226050202/https://www.nytimes.com/2022/11/22/movies/all-the-beauty-and-the-bloodshed-review-nan-goldin.html|url-status=live}}</ref><ref>{{cite web|first1=Owen|last1=Gleiberman|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Review: Laura Poitras's Film About How Nan Goldin Turned Her Art of Transgression Against the Sackler Family|url=https://variety.com/2022/film/reviews/all-the-beauty-and-the-bloodshed-review-nan-goldin-laura-poitras-1235358856/|date=3 September 2022|archive-date=February 28, 2023|archive-url=https://web.archive.org/web/20230228184027/https://variety.com/2022/film/reviews/all-the-beauty-and-the-bloodshed-review-nan-goldin-laura-poitras-1235358856/|url-status=live}}</ref> The feature-length film interweaves Goldin's biography told by herself, with her engagement with P.A.I.N. against the Sackler family, evolving in part during the [[Covid-19 pandemic]]. The film was awarded the [[Golden Lion]] in Venice and was nominated for the [[Academy Award for Best Documentary Feature]].<ref>{{cite web|first1=Alison|last1=Foreman|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Wins Venice Film Festival Golden Lion: See All the Winners|url=https://www.indiewire.com/2022/09/venice-film-festival-winners-2022-1234760259/|date=10 September 2022|archive-date=September 10, 2022|archive-url=https://web.archive.org/web/20220910202856/https://www.indiewire.com/2022/09/venice-film-festival-winners-2022-1234760259/|url-status=live}}</ref>
+In 2022, filmmaker [[Laura Poitras]]' [[Peabody Award]]-winning <ref>https://peabodyawards.com/award-profile/all-the-beauty-and-the-bloodshed/</ref> documentary ''[[All the Beauty and the Bloodshed]]'' on Goldin premiered at the [[79th Venice International Film Festival]],<ref>{{cite news|first1=Manohla|last1=Dargis|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Review: Nan Goldin's Art and Activism|type=Critic's Pick|url=https://www.nytimes.com/2022/11/22/movies/all-the-beauty-and-the-bloodshed-review-nan-goldin.html|newspaper=The New York Times|date=22 November 2022|issn=0362-4331|archive-date=February 26, 2023|archive-url=https://web.archive.org/web/20230226050202/https://www.nytimes.com/2022/11/22/movies/all-the-beauty-and-the-bloodshed-review-nan-goldin.html|url-status=live}}</ref><ref>{{cite web|first1=Owen|last1=Gleiberman|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Review: Laura Poitras's Film About How Nan Goldin Turned Her Art of Transgression Against the Sackler Family|url=https://variety.com/2022/film/reviews/all-the-beauty-and-the-bloodshed-review-nan-goldin-laura-poitras-1235358856/|date=3 September 2022|archive-date=February 28, 2023|archive-url=https://web.archive.org/web/20230228184027/https://variety.com/2022/film/reviews/all-the-beauty-and-the-bloodshed-review-nan-goldin-laura-poitras-1235358856/|url-status=live}}</ref> The feature-length film interweaves Goldin's biography told by herself, with her engagement with P.A.I.N. against the Sackler family, evolving in part during the [[Covid-19 pandemic]]. The film was awarded the [[Golden Lion]] in Venice and was nominated for the [[Academy Award for Best Documentary Feature]].<ref>{{cite web|first1=Alison|last1=Foreman|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Wins Venice Film Festival Golden Lion: See All the Winners|url=https://www.indiewire.com/2022/09/venice-film-festival-winners-2022-1234760259/|date=10 September 2022|archive-date=September 10, 2022|archive-url=https://web.archive.org/web/20220910202856/https://www.indiewire.com/2022/09/venice-film-festival-winners-2022-1234760259/|url-status=live}}</ref>
 ==References==
@@ Line 264: / Line 288: @@
 ==External links==
 * {{Instagram|nangoldinstudio}}
-* [http://www.thecollectiveshift.com/show/portfolio/Nan_Goldin Nan Goldin at theCollectiveShift]
+* [http://www.thecollectiveshift.com/show/portfolio/Nan_Goldin Nan Goldin at theCollectiveShift]<!--status:dead-->
 {{Hasselblad Award|state=collapsed}}

v t e Laureates of the Hasselblad Award
1980s	Lennart Nilsson (1980) Ansel Adams (1981) Henri Cartier-Bresson (1982) Manuel Álvarez Bravo (1984) Irving Penn (1985) Ernst Haas (1986) Hiroshi Hamaya (1987) Édouard Boubat (1988) Sebastião Salgado (1989)
1990s	William Klein (1990) Richard Avedon (1991) Josef Koudelka (1992) Sune Jonsson (1993) Susan Meiselas (1994) Robert Häusser (1995) Robert Frank (1996) Christer Strömholm (1997) William Eggleston (1998) Cindy Sherman (1999)
2000s	Boris Mikhailov (2000) Hiroshi Sugimoto (2001) Jeff Wall (2002) Malick Sidibé (2003) Bernd and Hilla Becher (2004) Lee Friedlander (2005) David Goldblatt (2006) Nan Goldin (2007) Graciela Iturbide (2008) Robert Adams (2009)
2010s	Sophie Calle (2010) Walid Raad (2011) Paul Graham (2012) Joan Fontcuberta (2013) Miyako Ishiuchi (2014) Wolfgang Tillmans (2015) Stan Douglas (2016) Rineke Dijkstra (2017) Oscar Muñoz (2018) Daidō Moriyama (2019)
2020s	Alfredo Jaar (2020) Dayanita Singh (2022) Carrie Mae Weems (2023)

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