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Nan Goldin receives Lucie Award


Nan Goldin will be presented with The Achievement in Portraiture award at the 12th annual 2014 Lucie Awards at Carnegie Hall in New York on November 2nd. The Lucie Awards are an annual non-profit event held by The Lucie Foundation honoring the greatest achievements in photography recognizing artists worldwide. Previous honorees of The Lucie Awards include Richard Misrach and Richard Avedon.

From The Lucie Awards 2014 online posting of The Announcement of the Honorees.
To learn more about Goldin’s work, please visit her artist page.


Vogue Interviews Nan Goldin

NG_Eden and After

Nan Goldin discusses her artistic history and her latest book, Eden and After, with Vogue‘s Ella Alexander.

When I take a really good picture, it’s like a high – this moment of euphoria. But the best of my work is about empathy, trying to feel what it is to be in another person’s body; to break that glass. I don’t think any of us understand the other person well enough. Or maybe that’s just me. I’d always like to know what it is to be inside other people. –Nan Goldin

From the Vogue online posting by Ella Alexander on 31 March 2014.
To learn more about Goldin’s work, please visit her artist page.

Examiner reviews Nan Goldin: Nine Self–portraits, and Peter Hujar: Love & Lust


The Examiner art critic, Greg Flood, reviews Nan Goldin: Nine Self–Portraits and Peter Hujar: Love & Lust. 

In our current, ever connected world, what we find acceptable to reveal to the outside world has changed dramatically. Much of what was considered too intimate to reveal to society in the past, photographically or otherwise, has now been put forth for any and all to see. –Greg Flood

From the Examiner online article by Greg Flood published on 1 February 2014.
For more information on the exhibits, please visit our exhibitions page.

KQED reviews Peter Hujar: Love & Lust and Nan Goldin: Nine Self–portraits


Peter Hujar, a New York based photographer, explores the individual personality’s of his portrait subjects and New York street life.

Peter Hujar knows that portraits in life are always, also, portraits in death. I am moved by the purity and delicacy of his intentions. If a free human being can afford to think nothing less than death, then these memento mori can exorcise morbidity as they evoke its sweet poetry and panic. –Susan Sontag

From the KQED Arts online posting by Glen Helfand on 29 Jan 2014.
To learn more about Hujar’s work, please visit his artist page.

An Evening with Nan Goldin and Vince Aletti: Remembering Peter Hujar

On January 8th, Fraenkel Gallery hosted a dialogue about the work of Peter Hujar, on the occasion of the exhibition Love & Lust. On hand were Vince Aletti, respected photography critic for The New Yorker, and Nan Goldin, whose 1980s work The Ballad of Sexual Dependency, produced a sea-change in the photographic medium. Both were intimate friends of Hujar’s. The evening was moderated by Jeffrey Fraenkel.

Goldin’s exhibition Nine Self-Portraits runs concurrently with Love & Lust.
Purchase the exhibition catalogue for Love & Lust here.


Nan Goldin: I Remember Your Face



Nan Goldin is featured in the film I Remember Your Face, which looks at her distinguished career as a photographer. The documentary premiered at the Zurich Film Festival this year, chronicling her professional career and personal life behind the camera.

Evil I think is a religious belief. I believe in evil because I have met evil people, who are truly evil. Especially since looking at Bosch’s paintings, I’ve started to believe there is a hell. He is one of my favorite painters in the world. –Nan Goldin

From American Suburb X TV online posting on 25 September 2013.
To learn more about Goldin’s work, please visit her artist page.


Nan Goldin on E.J. Bellocq’s Storyville Portraits


In 1997, Nan Goldin wrote in ArtForum about E.J. Bellocq’s “Storyville Portraits:”

Without Friedlander’s intervention, no one would know the work of E.J. Bellocq. A frequent visitor to the Crescent City to photograph the jazz scene, Friedlander was friends with a compulsive collector named Larry Borenstein, who owned an art gallery in the ‘50s. One night Borenstein showed Friedlander a number of the glass plates, which were among his collections and from which he had made some ordinary 8 x 10 prints that he sold around town for about $100 apiece…so in 1966 he bought the plates from Borenstein. When one thinks of the massive amount of negatives and glass plates one comes across in flea markets and thrift shops, Friedlander’s power of discrimination becomes even more admirable… –Nan Goldin

From the American Suburb X online posting from 20 July 2015.
To learn more about Bellocq’s work, visit his artist page.

From the Archives: Nan Goldin with The Guardian

Sarah Phillips of The Guardian sat down with Nan Goldin in 2011 to talk about her photographs of children:

I don’t remember much ever feeling like a child, so maybe photographing them triggers memories. They are wild and magical, as if from another planet. And they haven’t been socially conditioned yet, so they can scream and express how they feel publicly. Sometimes I envy them. When I am in a group of people, the children and I find each other’s eyes, and end up laughing at the same, unspoken thing. –Nan Goldin

From The Guardian online posting by Sarah Phillips on 24 July 2011.
To learn more about Goldin’s work, please visit her artist page.

Nan Goldin Talks to Tom Holert

Tom Holert of ArtForum talks to Nan Goldin about her memories living and working in the 80s.  She discusses her “family” constructed of her close friends and lovers and the “desperate glamour” evoked through many of her pictures of the period.

Maybe we were younger and thinner and did dress-up, but I didn’t know anyone who found The Ballad particularly glamorous until the ’90s fashion world discovered it and co-opted it as “heroin chic.” I don’t photograph anyone I don’t think is beautiful, but I wasn’t glamorizing anything…David always said I just photograph things as they are. I just accept life exactly as it is; I’m desperately trying to survive. The pictures came from deep emotional need and connection. –Nan Goldin

From the American Suburb X online posting of an ArtForum article by Tom Holert in March 2003.
To learn more about Goldin’s work, please visit her artist page.

(Nan) Goldin’s Years

Journalist Lisa Liebmann discusses her personal connection to the 2002 major retrospective of Nan Goldin’s work organized by the Centre Georges Pompidou in Paris. She explains the merits of Goldin’s highly personal photography style and subject matter:

In America, Goldin’s vast and relentlessly personal body of images has often been jokingly referred to as “The Family of Nan,” in part because so many of the pictures convey, and even awaken, feelings, at once empathic and vicarious, of collective intimacy. Not, perhaps, since Edward Steichen spread his globalist’s honey in the mid-’50s has an accumulation of photographs connected with so many viewers on so deep an emotional level. –Lisa Liebmann

From the American Suburb X online posting of an Art Forum article by Lisa Liebmann from October 2002.
To learn more about Goldin’s work and publications, please visit her artist page.

1998 Nan Goldin Interview

Nan Goldin discusses her entrance into photography world and the response to her work, The Ballad of Sexual Dependency. In this interview, she chronicles her past in terms of influences—friends, drug addiction, and recovery—and their impact on her craft through the years.

It was a period of a lot of fear and crisis of identity. Nothing was familiar. I had lived fifteen years in utter darkness. I had never gone out during the day. So all of a sudden I was living in this light… So the work became all about light, both metaphorically and literally about coming out of darkness… –Nan Goldin

From the Art Patrol TV YouTube channel online posting on 18 November 2008.

To learn more about Goldin’s work, please visit her artist page.

From the Archives: Nan Goldin, In My Life, 1997

This 28-minute film from ART/New York highlights photographer Nan Goldin’s retrospective show “I’ll Be Your Mirror,” which was held at The Whitney Museum of American Art in 1996. Goldin has built a body of work based on her emotionally raw photographs of friends, lovers and herself. In this film, she discusses the unique influences on her aesthetic and photographic philosophy.

My photographs come out of emotional need rather than aesthetic choice and I needed to make a record because I came from a family and a culture that was based on “don’t let the neighbors know.” That was the gospel.  And I wanted to let the neighbors know what was going on in my house, and I wanted to find out what was going on in their house…I think I knew in order to survive I had to make a record that couldn’t be revised.

“Nan Goldin: I’ll Be Your Mirror” was on display at the Whitney Museum from Oct. 3, 1996–Jan. 5, 1997.

For more information on Nan Goldin, please visit her artist page.

Nan Goldin’s Acceptance Speech for the 2012 Edward MacDowell Medal

The Edward MacDowell Medal is annually given to an artist who has made an outstanding contribution to his or her field. Previous recipients have included Edward Hopper, Kiki Smith, Mary McCarthy and numerous others. Nan Goldin was the 2012 award winner.

…My work continues. It’s never a project. People ask ‘What are you gonna do next?’ I have no idea what will happen when I wake up tomorrow. I don’t have a five-year plan; I have about a five-minute plan — sometimes a five-day plan, if I’m lucky. But the work continues to come out of my heart and out of my eyes and exactly what I’m living at that moment. … I was extremely shy, and I was given a camera. And that’s how I learned to speak.

The full text of Nan Goldin’s speech is on the MacDowell website.
To learn more about Goldin, please visit her artist page.

The New York Times Magazine in Amsterdam

Starting Thursday, March 22, “The New York Times Magazine Photographs” exhibition at Foam museum in Amsterdam will be showing photographs that have appeared in the magazine over the past 30 years. The exhibition is co-curated by Kathy Ryan, our photo director, and Lesley Martin of Aperture Books, and will feature works from contributing photographers like Lee Friedlander, Nan Goldin, Jeff Koons, Inez van Lamsweerde and Vinoodh Matadin. Below, a selection of memorable photographs that will be on display.

To learn more about the exhibition and venues, visit Foam Museum.
Learn more about Lee Friedlander and Nan Goldin on their artist’s pages.