1 E-6 s

Nan Goldin ( Nancy Goldin , born in 1953 with Washington) is a American Photographe .

The work of Nan Goldin is inseparable from its life: marked by the suicide of his/her sister, it is by photographing its family that it starts her photographic work. Thereafter this one remains very close to the album of family, by her technique as by its subjects.

Nan Goldin grows in the Maryland, in a middle-class family. At fifteen years it is initiated with photography, thorough by one of its professors of Satya Community School of Boston.

In 1972, it enters to the School of the Art schools of Boston where it meets the photographer David Armstrong. This last becomes Drag queen, which allows Nan Goldin côtoyer this medium rather marginalized; it will photograph it throughout its life. At that time of its life Nan Goldin photographs primarily in black and white, then she moves with New York in 1978 and passes from the black and white to saturated colors plunged in an artificial light.

It is at that time that starts to be born work which will make it famous (and which put more than 16 years has to be elaborate), “The Balad off Sexual Dependancy” . Constituted of more than 800 slides projected in loop and accompanied by songs of universe and various inspirations such as James Brown, Maria Fixed or the Velvet Underground.

The main themes evoked in its work are the festival, the Drogue, violence, the sex and the anguish.

However, according to it, which interests it, it is the physical behavior of people. It treats human condition, the pain and the difficulty in surviving.

Nan Goldin does not have a Tabou, going even until photographing itself some time after being beaten by his/her boyfriend of the time which had missed making him lose an eye. This famous Photographie is part itself of the series entitled “All By Myself” which evokes and attests of its own dilapidation, physics and mental. It is by publicly spreading out its life and its history that it succeeds with better including/understanding itself and to accept all while being identified in the company.

Nan Goldin is confronted at that time with the appearance of the AIDS which decimates his/her close friends and its models, that it regarded as its own family and that it photographed of their full health to their coffin.

Nan Goldin considers, since its youth the camera like ideal medium to keep traces of life thus making it possible to give birth to a second memory.

She lives now (2007) between London and Paris. Its work evolved to less destroying environments and more tender than were to it its work of the Années 1980.

Nan Goldin belongs to the group that one calls the “Five of Boston” ( Five off Boston ).

Diaporamas

Nan Goldin and its photographs form a singular unit and the “spectator” feels irremediably aspired by their world. Common prototypes, collective memory, stories in which it is identified and/or questioned, the photography of Nan Goldin must be questioned.

Indeed, its work considered as a mirror tended to its generation or as a disillusioned repertory of recent events of our collective experiment raises the problem in particular relation between Vérité and Simulation, between Prose and Poésie.

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