By seeing the beauty in America’s tragic wastelands, she paved the way for photographers like Corinne Day, Wolfgang Tillmans and Juergen Teller. As her ever-evolving exhibition The Ballad of Sexual Dependency runs at New York’s Museum of Modern Art until February, we give you a definitive 26-point guide to the photographer herself.įrom Sisters, Saints & Sybyls to The Ballad of Sexual Dependency, the influence of Goldin’s sister Barbara, who committed suicide at 18-years-old, is a significant vein in the photographer's work. Having moved to New York in the 1970s, it was in 1979 that Goldin’s show of transgressive photos featuring her friends making love in messy apartments, her naked lovers and the Bowery’s drag queens (a subject that she would later make her own) was widely noticed and considered as groundbreaking within the field of fine art photography. While photography offered her a pathway – on which she progressed before graduating from the Museum of Fine Arts, Boston Tufts University with a degree in fine arts in 1977 – Goldin was using heroin by her late teens. It was in school that she tried her hand at photography, before putting on her first show in Boston in 1973. Having run away from home in her early teens, before being fostered by several families, Goldin did everything in her power to run away from the respectable world, her parents and the Jewish household she was brought up in. Her visual language and “social portraiture” approach not only rejects the conventional limits of the medium of photography, it creates something unique: a mirror of herself, as well as the world. Internationally renowned for her documentation of love, fluid sexuality, glamour, beauty, death, intoxication and pain, Goldin’s photographs feature her life and those in it. Few photographers can boast a body of work as deep and uncompromisingly honest as that of Nan Goldin.
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