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Beginnings of Nan Goldin
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Nan GolDin became interested in photography at the age of 15 while
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attending Satia Community School in Lincoln.
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Her first published works were black and white images of transvestites and transsexuals.
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In 1974 he began studying art at the School of the Museum of Fine Arts in Boston and in 1978 he moved to
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New York where he encountered the outbreak of Punk, violence and drug use.
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That is where she begins to create her best known work: Her slide show "The Ballad of sexual dependency"
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Hundreds of color slides of her and her friends living their lives in the
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suburbs of New York accompanied by music to narratively guide the sequence. While
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gallery owners and museums despised her work, Nan made it grow with each presentation.
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Later, in 1986, he finally got it to take the form of a book. Hello. How are you? I'm Martín Casas
Introduction to topics
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and I'm here to start a new episode of: Image Investigation.
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Today we are going to continue with this journey referring to the influence of women in the history
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of photography and, in this case, I would like to focus only on the work of Nan Goldin.
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Especially in his most famous work: "The ballad of sexual dependency". A work that, I think,
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has a lot of very interesting aspects to study and learn. You know, this is a space in
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which he took an artist to study her, as in this case Nan Goldin, and to reflect and take
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from the work what interests us and you for your own production. And I don't dwell too much
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on personal life anecdotes, there are also plenty to find there on the internet but,
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with Nan Goldin, it becomes impossible because Nan Goldin's work is a document of her intimate life.
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There are at least three aspects that I want to address in this video today. So let's go with the first one.
1 - Being the work - Privacy document
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At first glance we could tell that Nan's photos are about drugs, sex and rock and roll.
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This is the surface but, if we stop to look patiently, we will see scenes of all kinds,
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including today she herself sees her work as a family album with memories of her friends,
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moments of joy or great pain. In 1964, when Nan was 9 years old, her older sister committed suicide .
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Her parents always avoided talking about it and, soon after, Nan had
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to be adopted by other families to avoid living in a toxic environment that could affect her
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emotionally. She says that her desire to tell her life openly, through photography,
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was a consequence of her parents' secrecy and evasion regarding her sister's suicide.
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He did not want to repeat that same attitude. But this would be the "Why" of the work. It could be
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your motivation but, let's talk about the "How". Terrible things can happen to us in life and turn them
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into the engine of our works, but we must know how to give them a form, and this is what I think
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Nan Goldin did, in my opinion, in a very effective way. For having the right sensibility
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to create work, at the same time that she is part of it and also for not ceasing to be a friend.
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It seems somewhat complicated to achieve. And how did he do it? In her interviews, she says that she was
How did she manage to make and publish such intimate work of her friends?
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very respectful, that she consulted, showed her negatives, and what was not approved is not published. It was not published.
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At the same time, she makes the decision to include herself in the play. In fact, the photo on the cover of the book is her
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with her partner at that time. There is even a very interesting story that can be seen
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in the documentary. A friend in the first presentations asks her to please at some
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point remove one of her photos in which they are having sex. And Nan Goldin decides, based on
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that, to start taking photos of herself having sex and thus putting herself
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in the place of the subject of her work. This serves him narratively because it gives meaning to the work.
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But it is also a work strategy to ensure that it flows, that it can be developed.
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And somehow ensure that it can be published.
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I interrupt you for a minute.
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Look, if you are really interested in studying in depth
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to work on something specific, permanent expressive photography workshop, every Thursday we sit down to
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study, debate and reflect on different authors and authors And if you have something out there that
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you want to work we take it and we film it we turn it around and see how we can
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help you so that you can express yourself with your camera ready now we continue with a Golden thank you
2 - Priorities - Plot and emotion
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If we have to talk about color slide technique and Flash the flash because the light did not enter There
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were basically no windows. I have also given it that raw look that revealed everything that was happening.
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It is clear that he was not interested in getting neat images. I was totally focused on
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capturing the scene as it was presented. The intense colors oriented her to compose, but
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she did not worry about the elements in the image. It is a sensitive work. It is a documentary record
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from the inside out. Generally, when we see a documentary, the traditional format
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is someone who is interested in a topic, a story, or some culture. He investigates, studies, and introduces himself
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to show his vision on this, right? That it can be an indulgent or inquisitive look,
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or in that case something in the middle that can try to imply a certain objectivity very much in
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quotes. I think that Goldin, in that sense, as a documentary photographer, because she considers herself that way,
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makes a document from within... First with a balance that I think is evident between being
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too good to herself or, quite the opposite. , punish yourself excessively. I don't think
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it does either. And at the same time, it makes a complaint from within, that is, it makes a complaint
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about how this part of society suffers from certain complications from its side. She is part of and is
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with these people. So it takes on a certain value and it is not normal to see this way of documenting. With the cinema, a quality of the work of art that for the Greeks would have been
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the last or the least essential in it, its ability to be improved, has
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become decisive . Walter Benjamin in his essay
3 - The constant work - Rehearsal with the public. Walter Benjamin.
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"The work of art in the era of technical reproduction", marks the clear difference that
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exists between the arts and cinema as art based on its ability to reproduce. But, later on
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, Benjamin is going to say what we saw in the sentence just before that, the essential quality of cinema is its
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ability to be improved. That we can take this set of isolated images and create as many
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sequences as we can think of, to infinity. Nan Goldin made her slideshow in these places like discos,
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pubs, that is, the places where she moved in this nightlife. A bit because it was the
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main idea, but also because he found a place for his work there because he was not
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getting it to be considered a work of art in the world of museums, galleries, etc.
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so he continued insisting in this way, however, later, recognition came and he published
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an edition with the book in 1986, but he did not stop there, the presentations, the slideshows continued.
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In fact, to this day, they exist. And then, in each case, she modifies the work herself.
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In fact, he says that in some presentations it lasts an hour, in others it can last 20 minutes depending on the case and,
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in each case, it changes. Remove, add, change the songs. This really reminded me
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of Benjamin but I also like to talk a little bit about the idea of rehearsal with an audience. I like it.
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I like this idea that, at a certain point in our work, we can think that it already has
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its distinctive feature, that it already has a solid base aesthetically or in meaning, and allows us to
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think that it can dialogue with an audience. You have to think that Nan Goldin's audience
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was also part of the work or at least was an audience close to the plot, to the meaning
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of this narrative and, putting that work at a certain level of sketch or constant assembly, to Dialogue with
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this public can make it transform and therefore grow in contact with otherness.
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I really find it a very interesting resource. With a lot of constant growth. In short, the work of
Final conclusion.
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Nan Goldin is undoubtedly a very daring work, very pioneering and, although it has a certain complexity, it
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is still a very sensitive work. I very much agree with her that, in an interview, she tells how
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she sees her work today and she believes that it is a work that essentially speaks of love and friendship.
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And not so much about drugs or a collection of marginals as sometimes they want to mention it.
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I believe that beyond that, it is true, it is still a very good complaint, something that uncovered
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and made visible taboo issues such as gender violence, homophobia and AIDS. Themes that,
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at that time... (it's not like now) at that time were really very difficult to see as she showed them.
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Well, there are plenty of other topics to talk about in this play. At least
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in this video I chose these three aspects to add something, to contribute. But there are other
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spaces to deepen surely that are not this and that I offer them. And that when they want
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they can pass. For example, my Discord channel. Be sure to join this community, I am
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uploading information every week and, for example, we can talk about what you
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thought of this video or any other subject related to photography. Thanks for getting to this point
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in the video, I'm really interested if you leave a comment. I really like the comments that are coming
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through each of these videos, they are very constructive,
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they are giving me ideas for new videos and I hope we continue in this vein. I really
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like that you make these comments. Well, you know, this time we are going with this
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weekly frequency. So see you next week. Thank you very much, until the next edition.
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