Monday, May 13, 2024

낸 골딘 - 위키백과, Nan Goldin ナン・ゴールディン

낸 골딘 - 위키백과, 우리 모두의 백과사전

낸 골딘

위키백과, 우리 모두의 백과사전.

 다큐멘터리 영화에 대해서는 낸 골딘, 모든 아름다움과 유혈사태 문서를 참고하십시오.
낸 골딘
Nan Goldin
낸 골딘 (2009년)
기본 정보
출생1953년 9월 12일
미국 워싱턴 D.C.
성별여성
국적미국
직업사진가
활동 정보
대표 작품The Ballad of Sexual Dependency 1986
상훈Hasselblad Award, 2007

낸 골딘(영어: Nan Goldin, 1953년 9월 12일 ~ )은 미국의 다큐멘터리 사진작가이다. 그녀는 뉴욕에서 가장 영향력이 큰 갤러리 중 한 곳인 매튜스 마크 갤러리에서 전시회를 가진 경력이 있다.

생애[편집]

낸 골딘은 워싱턴 D.C.에서 태어났다. 그녀의 가족은 중상류층의 유대인 집안으로, 매사추세츠의 보스턴 교외에 있는 렉싱턴(Lexington)에서 살았다. 근처의 렉싱턴 고등학교를 나온 그녀는 보스턴의 Satya Community School을 다녔으며 1968년, 그곳의 한 선생에게서 카메라에 대한 것을 배우게 되었다. 당시 골딘은 15살이었다. 그녀의 첫 단독 전시회는 1973년 보스턴에서 열렸는데, 여기서 그녀는 그녀가 도시에서 만난 자신의 동성애자친구들과 트랜스젠더 등의 성 소수자들과 함께 지내며 찍은 사진 작품들을 선보였다. 골딘은 1977년과 1978년, 보스턴의 School of the Museum of Fine Arts와 Tufts 대학을 각각 졸업했다. 이곳에서 그녀는 Cibachrome이라는 사진현상 기술을 자주 사용했다.

졸업 직후, 골딘은 뉴욕으로 이사했다. 그녀는 그곳에서 포스트-펑크와 뉴-웨이브 아티스트들의 사진을 찍기 시작했는데, 그와 함께 Stonewall 사건 이후 1970에서 80년대의 동성애자들의 문화를 사진으로 기록하기도 했다. 그녀는 특히나 뉴욕시티의 Bowery 길거리에서 자주 보이는 심각한 약물중독 문화에 관심을 가지고 사진으로 남겼다. 그녀는 1979년에서 1986에 걸쳐 이 길거리를 사진으로 찍었으며 이 작품들은 그녀의 유명한 작품 'The Ballad of Sexual Dependency'(이 제목은 Bertolt Brecht의 곡 'Threepenny Opera[1]'에서 따왔다)에서 찾을 수 있다. 이 사진 작품들은 속사(snapshot)로 찍었으나 예술적인 감성이 풍부한 작품들로, 마약, 폭력, 호전적인 연인들과 작가 자신의 일상의 모습들을 볼 수 있다. 그녀가 찍었던 'Ballad'의 작품들 속의 주인공들은 대부분이 1990년대에 약물 중독과 에이즈(AIDS)로 죽었는데, 그 중에는 그녀와 매우 친했으며 자주 사진모델이 되어 주었던 Greer Lankton과 Cookie Mueller도 있다. 2003년, 뉴욕 타임즈에서는 그녀의 작품이 끼친 영향력을 주시하고, 낸 골딘에 대해서 "그녀는 사진으로 지난 20년간 다시 없을 새로운 장르를 만들어냈다.[2]"고 말했다. 'Ballad'에 대해 덧붙이자면, 낸 골딘은 그녀가 찍은 Bowery 길거리의 사진들로 두 개의 다른 시리즈를 만들어냈는데, "I'll Be Your Mirror"(벨벳 언더그라운드의 곡 'The Velvet Underground and Nico' 앨범)와 "All By Myself"가 있다.

골딘의 작품은 대부분 슬라이드 쇼로 전시되곤 하며 필름 페스티벌에서 상영되기도 했다. 가장 유명한 전시회는 800여장의 사진을 45분간 슬라이드 쇼로 상영했던 때로, 당시 전시회의 주제는 사랑, 성, 가정사, 그리고 관능이었다. 이 사진들은 자연광을 그대로 사용하여 찍은 사진들이었다. 그녀는 거울을 들여다 보는 여인의 모습이나 바나 화장실에 있는 소녀의 모습, 여장게이, 성행위, 그리고 집착이나 의존증 등을 그녀만의 애정을 담아 사진으로 찍어냈다. 이 작품들은 마치 개인적인 일기를 대중적으로 만든 것과 같았다.[3]

1995년 이후의 골딘의 작품들은 다양한 주제를 내포하고 있다. 그녀는 일본의 유명한 사진작가 노부요시 아라키(Nobuyoshi Araki)와 책에 관련된 프로젝트를 같이 하기도 했으며 뉴욕의 지평선을 찍거나 괴기스러운 풍경들(특히 물 속에 있는 사람들을 찍은 작품이 있다), 그녀의 애인 Siobhan, 어린 아기들, 부모와 가족의 생활 등을 사진으로 담아내기도 했다.

골딘은 뉴욕과 파리에 살고 있다. 이로 인해 프랑스의 폼피듀 센터(Pompidou Centre)가 2002년 그녀의 회고전을 열기도 했다. 그녀는 2002년 가을에 손을 다쳐 현재에도 손을 움직이는 데에 상당한 장애가 남아있다.[4]

2006년 그녀의 전시회, Chasing a Ghost는 뉴욕에서 열렸다. 여기서 골딘은 처음으로 움직이는 사진들을 이용한 설치미술을 선보였다. 이 작품에서 그녀는 마치 이야기하는 듯한 방식을 사용했으며 해설을 추가함과 함께 three-screen 슬라이드와 직접 제작한 영상, 'Sisters, Saints, & Symbils'를 발표했다. 이 작품은 그녀의 여동생의 자살을 그녀가 어떻게 극복했는지 여러 장의 사진과 이야기로 풀어나가고 있다. 그녀의 작품들은 점점 영상적인 요소들이 돋보이게 되었으며 영화제작에 대한 그녀의 관심을 보여주고 있다.[5]

그녀는 2007년 Hasselblad Award를 수상했다.

비평[편집]

어떤 비평가들은 그녀가 헤로인 복용을 지나치게 미화했다고 비난하기도 한다. 또한 그녀의 작품이 훗날 패션 매거진 The Face나 I-D에서 보여지는 '그런지' 스타일의 유행을 개척했다고 말하는 사람들도 있다. 그러나 2002년 U.K. Observer와의 인터뷰에서 골딘은 "헤로인 칙(heroin chic : 마약중독자와 같이 피부가 창백하고 짙은 다크 서클과 뼈가 보일 정도로 마른 몸매를 지닌 여성을 의미한다-역자 주)"을 모델로 옷이나 향수를 파는 행위를 "괘씸하고 사악한 행동이다" 라고 말한 바 있다.[6]

영화[편집]

1998년 제작된 영화 'High Art'속의 등장인물 Lucy Berliner(배우 Ally Sheedy)의 사진들은 골딘의 작품을 사용하고 있다.[7]

연보[편집]

  • (2003) Devils Playground. Phaidon Press. ISBN 978-0-7148-4223-3.
  • (2001) Nan Goldin. 55, Phaidon Press, London. ISBN 978-0-7148-4073-4.
  • (1999) Nan Goldin: Recent Photographs. Contemporary Arts Museum, Houston.
  • (1998) Couples and Loneliness. Korinsha Press, 도쿄.
  • (1998) Ten Years After: Naples 1986-1996. Scalo Publishers. ISBN 978-3-931141-79-0.
  • (1998) Emotions and Relations (exhibition catalogue). Taschen, Cologne.
  • (1997) Love Streams (exhibition catalogue). Yvon Lambert, 파리.
  • (1996) I'll Be Your Mirror (exhibition catalogue). Scalo Publishers. ISBN 978-3-931141-33-2.
  • (1995) The Golden Years (exhibition catalogue). Yvon Lambert, 파리.
  • (1994) Tokyo Love. Hon don do, 도쿄.
  • (1994) A double life. Scalo, Zurich.
  • (1994) Desire by Numbers. Artspace, 샌 프란시스코.
  • (1993) Vakat. Watler Konig, Cologne.
  • (1993) The Other Side. Perseus Distribution Services. ISBN 1-881616-03-7
  • (1991) Cookie Mueller (exhibition catalogue). Pace/MacGill Gallery, 뉴욕.
  • (1986) The Ballad of Sexual Dependency. Aperture. ISBN 978-0-89381-236-2.

참고자료[편집]

위키미디어 공용에 관련된
미디어 분류가 있습니다.
  1. ↑ Brecht, Bertolt. "Three Penny Opera." Act II, song 12.
  2. ↑ Tillman, Lynne. 뉴욕 타임즈. "A New Chapter of Nan Goldin's Diary." 2003년 11월 16일.
  3. ↑ Nan Goldin at Pa. Academy of Fine Arts, ARTINFO, 2005년 12월 17일. 2008년 4월 23일 정정.
  4. ↑ “아티스트 프로필: 낸 골딘”. 2008년 3월 2일에 원본 문서에서 보존된 문서. 2008년 9월 27일에 확인함.
  5. ↑ Robert Ayers (2006년 3월 27일), 낸 골딘, ARTINFO. 2008년 4월 24일 정정.
  6. ↑ Garratt, Sheryl. The Observer. "The Dark Room." 2002년 1월 6일. 골딘은 말했다. "나는 옷을 팔기 위해 헤로인을 복용하는 사람을 찍은 적은 없어요. 나는 그것에 대해 약간의 문제를 갖고 있긴 하죠. 지금 크리스찬 디오르가 벌이는 광고 캠페인을 보면, 약이 없어서 고통스러워하는 것처럼 보이는 소녀가 Addiction이라는 향수를 한번 뿌리더니 마치 약에 취해버린 듯하죠. 나는 이걸 정말 괘씸하고 사악한 행동이라고 생각해요."
  7. ↑ 리사 콜로덴코의 차가운 'High Art,' 세련된 코메디에서 수치스런 모습으로 변해버리다 metroactive.com

외부 링크[편집]

===

Nan Goldin

From Wikipedia, the free encyclopedia
Nan Goldin
Goldin in 2017
Born
Nancy Goldin

September 12, 1953 (age 70)
Washington, D.C., U.S.
Known forPhotography
Notable workThe Ballad of Sexual Dependency (1986)
AwardsEdward MacDowell Medal
2012

Hasselblad Award
2007

Ordre des Arts et des Lettres
2006

Nancy Goldin (born September 12, 1953) is an American photographer and activist. Her work often explores LGBT subcultures, moments of intimacy, the HIV/AIDS crisis, and the opioid epidemic. Her most notable work is The Ballad of Sexual Dependency (1986). The monograph documents the post-Stonewall, gay subculture and includes Goldin's family and friends. She is a founding member of the advocacy group P.A.I.N. (Prescription Addiction Intervention Now).[1] She lives and works in New York City.[2][3]

Early life[edit]

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

Goldin was born in Washington, D.C. in 1953[4] 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.[5] 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:

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.[6]

Goldin began to smoke marijuana and date an older man. She left home by age 13 or 14 and subsequently lived in various foster homes.[7] At 16 she enrolled at the Satya Community School in Lincoln, MA.[8] A Satya staff member (existential psychologist Rollo May's daughter) introduced Goldin to the camera in 1969 when she was sixteen years old.[8] Still struggling from her sister's death, Goldin used the camera and photography to cherish her relationships with those she photographed.[9] She also found the camera as a useful political tool, to inform the public about important issues silenced in America.[10] Her early influences included Andy Warhol's early films, Federico Fellini, Jack Smith, French and Italian Vogue, Guy Bourdin and Helmut Newton.[11]

Life and work[edit]

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.[12] While living in downtown Boston at age 18, Goldin "fell in with the drag queens," living with them and photographing them.[13] 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".[13]

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".[13]

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".[13] 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.[14]

Following graduation, Goldin moved to New York City.[15] 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. She was drawn especially to the hard-drug subculture of the Bowery neighborhood; these photographs, taken between 1979 and 1986, form her slideshow The Ballad of Sexual Dependency—a title taken from a song in Bertolt Brecht's Threepenny Opera.[16] Later published as a book with help from Marvin Heiferman, Mark Holborn, and Suzanne Fletcher, these snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. 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 extended family. Photography was a way for her to hold onto her friends, she hoped.[17]

The photographs show a transition through Goldin's travels and her life.[18] 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.[19] 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."[20] In addition to Ballad, she combined her Bowery pictures in two other series: I'll Be Your Mirror and All By Myself.

Goldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous 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.[21] 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"[22] as an iconic image which she uses to reclaim her identity and her life.[23]

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; uncanny landscapes (notably of people in water); her lover, Siobhan; and babies, parenthood and family life.

In 2000, her hand was injured and she currently retains less ability to turn it than in the past.[24]

Christmas at the Other Side, Boston, 1972, by Goldin.

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. 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.[25]

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.[26]

Fashion[edit]

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;[27] for shoemaker Jimmy Choo in 2011 with model Linda Vojtova;[28] and for Dior in 2013, 1000 LIVES, featuring Robert Pattinson.[29]

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".[30]

Activism[edit]

See also: Opioid epidemic and Opioid epidemic in the United States

In 2017, in a speech in Brazil, Goldin revealed she was recovering from opioid addiction,[31] specifically to OxyContin, after being prescribed the drug after wrist surgery.[32] She had sought treatment for her addiction and battled through rehab.[32] 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.[31][33] 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.[31] Goldin became aware of the Sackler family in 2017.[32]

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.[34]

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).[35]

"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."[35]

In February 2019, Goldin staged a protest at the Guggenheim Museum in New York over its acceptance of funding by the Sackler family.[36][37]

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.[38] The gallery subsequently said it would not proceed with the donation.[39]

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 £4m.[32] 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.[40] Goldin had not discussed the show with Tate.[32]

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.[32] She says she spent some of the money on buying black market OxyContin, as doctors would no longer prescribe her the drug.[32]

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.[41]

In November 2019, Goldin campaigned at the Victoria and Albert Museum, London.[42]

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.[43] However, in a 2002 interview with The Observer, Goldin herself called the use of "heroin chic" to sell clothes and perfumes "reprehensible and evil."[44] 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"[45]

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."[46]

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.[47] 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.[17]

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.[48] 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.[48]

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."[49] 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.[50]

Censorship[edit]

An exhibition of Goldin's work was censored in Brazil, two months before opening, due to its sexually explicit nature.[51] The main reason was that some of the photographs contained children in bed with their parents, who are naked and caressing each other.[51] In Brazil, there is a law that prohibits the image of minors associated with pornography.[52] 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.[53]

Influences[edit]

August Sander, Peter Hujar, Larry Clark, David Wojnarowicz, and Claude Cahun are all major influences to Goldin's work.[54]

Diane Arbus[edit]

Both Goldin and Diane Arbus celebrate those who live marginal lives.[17] 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.[47]

Michelangelo Antonioni[edit]

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."[47]

Larry Clark[edit]

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.[47]


Publications[edit]

Books by Goldin[edit]

Books with contributions by Goldin[edit]

Recognition[edit]

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.[55]

Awards[edit]

Collections[edit]

Depiction in film[edit]

Photographs shown in the 1986 film Working Girls, as taken by the lead character Molly, were those of Goldin.[78]

An early documentary was made in 1997 on Goldin after her mid-career retrospective at the Whitney Museum of American Art, titled Nan Goldin: In My Life: ART/New York No. 47, by Paul Tschinkel.[79]

The photographs by the character Lucy Berliner, played by actress Ally Sheedy in the 1998 film High Art, were based on those by Goldin.[80]

In 2022, filmmaker Laura Poitras directed a documentary film, All the Beauty and the Bloodshed, about Goldin,[81][82] which was awarded the Golden Lion at the 79th Venice International Film Festival and was nominated for the Academy Award for Best Documentary Feature.[83]

Solo exhibitions[edit]

Exhibitions curated by Goldin[edit]

Witnesses: Against Our Vanishing[edit]

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, James 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."[92]

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, and in particular Wojnarowicz's essay, was met with criticism, leading to the National Endowment of Arts rescinding its support for the publication.[93][94]

From Desire: A Queer Diary[edit]

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.[95]

Nan's Guests[edit]

Rencontres d'Arles festival, Arles, France.[84] This included the work of thirteen photographers including Antoine d'Agata, David Armstrong, JH Engström, Jim Goldberg, Leigh Ledare, Boris Mikhailov, Anders Petersen and Annelies Strba.

References[edit]

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  4. ^ Great women artists. Phaidon Press. 2019. p. 155. ISBN 978-0714878775.
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  32. ^ Jump up to:a b c d e f g Walters, Joanna (March 22, 2019). "Tate art galleries will no longer accept donations from the Sackler family". The Guardian. ISSN 0261-3077. Retrieved March 24, 2019.
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  34. ^ Moynihan, Colin (March 10, 2018). "Opioid Protest at Met Museum Targets Donors Connected to OxyContin". The New York Times. ISSN 0362-4331. Retrieved March 20, 2018.
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  36. ^ Joanna Walters (February 10, 2019). "Opioid crisis protesters target New York's Guggenheim over Sackler family link". The Guardian. Retrieved February 15, 2019.
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  38. ^ Walters, Joanna; Thorpe, Vanessa (February 17, 2019). "Nan Goldin threatens London gallery boycott over £1m gift from Sackler fund". The Guardian. Retrieved February 17, 2019.
  39. ^ Badshah, Nadeem (March 19, 2019). "National Portrait Gallery turns down £1m grant from Sackler family". The Guardian. ISSN 0261-3077. Retrieved March 19, 2019.
  40. ^ Walters, Joanna (March 24, 2019). "'This is blood money': Tate shuns Sacklers – and others urged to follow". The Guardian. ISSN 0261-3077. Retrieved March 24, 2019.
  41. ^ Chrisafis, Angelique (July 1, 2019). "Artist Nan Goldin protests against Sackler wing at the Louvre". The Guardian. ISSN 0261-3077. Retrieved July 2, 2019.
  42. ^ Thorpe, Vanessa (November 16, 2019). "Artist Nan Goldin leads die-in at V&A over use of Sackler name". The Observer. ISSN 0029-7712. Retrieved November 17, 2019 – via www.theguardian.com.
  43. ^ Spindler, Amy M. (May 20, 1997). "A Death Tarnishes Fashion's 'Heroin Look'". The New York Times. ISSN 0362-4331. Retrieved March 20, 2018.
  44. ^ 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.
  45. ^ "Nan Goldin by Stephen Westfall". BOMB Magazine. October 1991. Retrieved March 20, 2018.
  46. ^ 2014, Sean O'Hagan,"The Guardian","Nan Goldin:"I wanted to get high from a really early age."
  47. ^ Jump up to:a b c d Crump, James (2009). Variety : photographs by Nan Goldin. New York : Skira Rizzoli, 2009. ISBN 9780847832552.
  48. ^ Jump up to:a b Friedling, Melissa Pearl (June 4, 2019). Recovering Women. doi:10.4324/9780429303975. ISBN 9780429303975. S2CID 199141219.
  49. ^ Luscombe, Richard (November 6, 2023). "Protesters stage sit-in demanding ceasefire in Gaza at Statue of Liberty". The Guardian.
  50. ^ Dubreil, Jean (November 10, 2023). "Nan Goldin Boycotts New York Times Project Over Gaza Coverage". Artmajeur Magazine.
  51. ^ Jump up to:a b Roberta Pennafort (November 30, 2011). "Cancelamento de exposição no Rio deixa artista norte-americana chocada". Estadão (in Portuguese). Rio de Janeiro. Retrieved March 6, 2016.
  52. ^ "L10764" (in Portuguese). Retrieved March 6, 2016.
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  95. ^ 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.

External links[edit]


===

난 골든

출처: 무료 백과사전 '위키피디아(Wikipedia)'

난 골든 (Nan Goldin 1953년 9월 12일 -)는 미국 사진 작가 및 활동가. 1970년대의 뉴욕에서 성적 마이너리티 의 커뮤니티에 스스로 참가해 일상 생활을 촬영한 작품으로 주목을 끌었다 [1] . 미술 행정의 존재에 항의를 하는 활동가로도 알려져 있으며, 현대 아티스트로서 가장 큰 영향력을 가진 1명이라고도 불린다 [2] .

내력 [ 편집 ]

베를린에서 케이테 콜비츠상을 수상한 사이의 난 골든(2023년).

어린 시절과 방랑 생활 [ 편집 ]

낸시 골든은 1953년 9월 12일에 수도 워싱턴 DC 의 중류 가정의 집에서 태어난다. 부모는 비교적 자유로운 사상을 갖고 있었다고 하는데, 골든이 11살 때 누나의 바바라가 사망 [3] . 어머니와의 관계나 자신의 성적 지향을 괴롭힌 자살이라고 하며, 골든도 황폐한 어린 시절을 보낸 14세에 입양에 나와 있다 [3] .

이를 계기로 골든은 고등학교를 중퇴해 각지를 방랑한 뒤 드래그 퀸 등 성적 마이너리티 사람들과 친밀한 관계를 쌓아 보스턴에서 동거생활을 보내게 됐다. 18세 무렵 친구로부터 카메라를 주어 주위의 지인들의 인물을 촬영하기 시작한다 [4] .

성적 의존의 발라드 [ 편집 ]

당시 1970년대의 미국은 스튜디오에서 정밀하게 설계된 파인 아트 사진이 주류였지만, 골든은 이 조류에 전혀 등을 돌려, 스스로의 일상 생활에서도 특히 황폐한 부분에 조금 카메라를 향하는 다큐멘터리 적인 작품을 찍게 되었다 [5] .

1973년, 20세 때 동부 케임브리지에서 최초의 개인전을 열고 나서는 콘스탄트에 작품을 발표해 계속해, 특히 신변의 사람들을 장기간 쫓은《성적 의존의 발라드(The Ballad of Sexual Dependency)》( 1978) [6] 은 미술 평론가와 미술 미디어에서도 진지한 논의의 대상이 되어, 골든의 지명도를 단번에 높게 되었다 [5] [4] .

그녀의 사진은 노악적인 일기에 불과하고 예술이라고는 부를 수 없다고 하는 강한 비판도 받았지만, 한편으로, 예술과 실생활과의 관계를 완전히 새로운 수법으로 그리는 획기적인 작품으로서 큰 주목을 모이게 된다 [5] . 1980년대에는 골든의 작품이 뉴욕 근대미술관 이나 휘트니 미술관 등 주요 미술관에 구입·전시되어, 또한 유럽에서도 성명이 높아져 개인전이 자주 개최되게 되었다 [7] .

이 무렵도 스스로의 신변을 감싸 숨기지 않고 기록하려고 하는 작풍은 변함없이, 1984년에는, 교제 상대의 남자로부터 격렬한 폭력을 받아 광대골 함몰 등 중증을 입은 스스로의 모습에 카메라를 향해, Nan』이라는 제목의 사진집에 정리하고 있다 [4] .

성욕 증가 [ 편집 ]

90년대에 들어서면 골든은 세계적으로 높은 평가를 받게 되어, 1990년에 마더 존스 다큐멘터리 사진상, 1991년에 티파니 재단장 등을 수상한 것 외, 작품전이 암스테르담이나 마드리드, 파리 , 베를린을 순회했다. 이와 기간을 같게 하여 구미에서는 에이즈의 확대가 사회 문제화해, 골든의 주위에서도 친구·지인의 대부분이 에이즈로 목숨을 잃었다 [8] .

골든은 그들에게도 카메라를 향해 다수의 작품을 남긴 것 외에, 1995년에는 영국의 BBC 에서 '나는 당신의 거울이 된다(I'll Be Your Mirror)'라는 제목의 TV 프로그램을 제작. 성적 정체성과 약물 의존의 문제와 에이즈 현에 대한 이해를 호소하고, 골든은 사회 활동가로서도 주목받게 되었다 [8] .

90년대 후반부터 2000년대 초반에 걸쳐, 휘트니 미술관이나 런던의 테이트 갤러리, 파리 의 퐁피두 센터 등에서 잇따라 대회 고전이 개최. 패션 잡지나 광고 캠페인에서도 활약해, 이것과 평행해 하버드 대학에서도 사진론의 강의를 담당하고 있다 [5] .

아름다움과 살육 모두 [ 편집 ]

골든은 주요 사진상을 수상, 프랑스 정부로부터 서훈을 받는 등 '현대의 가장 중요한 사진가 중 한 명'이라는 소망을 확립하지만 [2] 2010년대가 되어 미국에서 널리 보급되었다 옥시콘틴 등의 진통제를 둘러싼 약해 사건이 일어나자, 골든이 이 약의 상용자로서 피해를 받고 있는 것이 밝혀졌다 [9] .

제약회사의 창업가 삭클러는 세계 각지의 주요 미술관에 거액의 기부를 실시해, 구미의 미술 행정에 깊이 관련되는 입장에 있었기 때문에, 골든은 새롭게 시민 단체를 설립. 자신의 전람회 개최나 작품 매각을 거부하는 등의 항의를 통해, 미술관 측에 삭클러가와의 관계 청산을 강하게 요구하는 활동을 실시했다 [10] .

결과적으로, 이러한 활동 이후 주요 미술관은 싯클러 관계 기업으로부터의 기부 받아들이기를 중지, 예를 들어 메트로폴리탄 미술관 에 오랫동안 놓여져 있던 '새클러 윙' 등의 명칭도 철회되었다 [11] . 이 사이의 활동은 골든 자신이 제작에 협력한 영화 ' 미와 살육의 모두 '(2022)에 그려져 있다.

에피소드 [ 편집 ]

  • 1994년에는 일본을 방문해 도쿄의 언더그라운드 젊은이들을 촬영. 아라키 케이고 의 사진과 교대로 늘어놓은 사진집, 「TOKYO LOVE」를 발표. 시부카와 키요히코 , 가사이 爾示등이 모델로 등장하고있다 [12] .
  • 스스로 감독·출연한 다큐멘터리 프로그램 '나는 당신의 거울이 된다(I'll Be Your Mirror)'는 일본에서는 '제2회 아트 다큐멘터리 영화제 '에서 상영됐다.

어록 [ 편집 ]

  • (언니, 친구들의 죽음의 영향에 대해) “완전히 내 인생을 바꿨다. 인생에서 사진을 찍는 동안 나는 항상 그녀와의 친밀감을 찾고있다. 친구들도 생각한다. 언니의 죽음은 더욱 추상적이었다. 줬어. 그런 이유로 나는 사진을 찍는거야. 너무 많은 사람들이, 심하게 그리워서 어쩔 수 없어"(작가 데니스 쿠퍼 에 의한 1995년의 인터뷰 "The Ballad of nan goldin") .

각주 [ 편집 ]

[ 각주 사용법 ]
  1. ↑ Guido Costa, Nan Goldin (Phaidon Press, 2010)
  2. ^ a b “ Power 100 ” (영어). artreview.com . 2024년 5월 10일에 확인함.
  3. ↑ a b Kozloff, Max. “The Family of Nan.” Art in America 75:11 (November 1987): 38-43.
  4. ^ a b c Kort, C. (2015). goldin, Nan. In C. Kort & L. Sonneborn, A to Z of Women: American Women in the Visual Arts (2nd ed.).
  5. ↑ a b c d Jonathan Weinberg, Fantastic tales : the photography of Nan Goldin (The Pennsylvania State University Press, 2005)
  6. ↑ “ 난 골든 “성적 의존의 발라드” 시리즈 1분으로 아는 “LOVE전”~아티스트&작품 소개(3) - 모리 미술관 공식 블로그 ”. www.mori.art.museum . 2024년 5월 10 일 보기.
  7. ^ goldin, Nan. (2018). In P. Lagasse & Columbia University, The Columbia Encyclopedia (8th ed.). Columbia University Press.
  8. ↑ a b Sophie Junge,  Art about AIDS : Nan Goldin's exhibition Witnesses : against our vanishing (Berlin : De Gruyter, 2016)
  9. ↑ Dargis, Manohla (2022년 11월 22일). “'All the Beauty and the Bloodshed' Review: Nan Goldin's Art and Activism” (영어). The New York Times . ISSN  0362-4331 2024년 5월 10일에 확인함 .
  10. ^ “ All the Beauty and the Bloodshed review — unmissable film on Nan Goldin vs the Sacklers ”. www.ft.com . 2024년 5월 10일에 확인함.
  11. ↑ Smith, Kyle. “'All the Beauty and the Bloodshed' Review: An Artist and Her Activism” (영어). WSJ 2024년 5월 10일에 확인함.
  12. ↑ 『TOKYO LOVE』
  13. ↑ Dennis Cooper 『Smothered in hugs』 p139.

관련 문헌 [ 편집 ]

(유럽문)

  • Armstrong, David, The Other Side. Introduction by Nan Goldin. (Scalo, 2000).
  • Junge, Sophie.  Art about AIDS : Nan Goldin's exhibition Witnesses : against our vanishing (Berlin : De Gruyter, 2016)
  • Kozloff, Max. “The Family of Nan.” Art in America 75:11 (November 1987): 38-43.
  • Smith, Roberta. “Art in Review: Nan Goldin.” New York Times, April 7, 2006.
  • Weinberg, Jonathan. Fantastic tales : the photography of Nan Goldin (The Pennsylvania State University Press, 2005)

(방문)

  • 가사하라 미치코 「젠더 사진론 증보판」사토야마사, 2022
  • 스즈무라 카즈나리 「환상의 영상 : 사진과 텍스트」 아오토샤, 1993

(작품집)

외부 링크 [ 편집 ]


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