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Nan Goldin: I'll Be Your Mirror

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When we think of Goldin’s love and understanding of queer subculture, she presents the articulation of drag as a form of authentic self-expression. Jimmy Paulette is not quite dressed yet, but he is in a state of becoming. He is not vulnerable. He is relaxed and confident. In “Visual Diary”, Nan further explored the inequality and instability of the relationship between men and women by showing the relationship and the change of distance between her and her boyfriend Brian. As Nan’s boyfriend and model, Brian beat, insulted Nan and even almost wiped out her eyes. “Visual Diary” is like a silent film that stimulates people’s nerves and records Brian’s abuse of Nan. The picture named “Nan, who was beaten after a month” is the “work” of Brian. Including our parents, the mass media has nurtured us, made us social, gave us entertainment, comforted us, it deceived us, and bound us, telling us what to do, what should not to do. In the process of transforming us from a woman of personality to the same person, it plays the most critical role: through American printing presses, projectors and TV channels, it shapes us into traditionally good women and bad women. For the female concept, these are already the most important legacy of the public media: put all the neatness into one. ” In her snapshots of people at parties, in bars, lounging around, having sex, on the beach, and riding trains in New York, Provincetown, and Berlin, Goldin pinpointed and captured the joy and the pain of those who populated her life, many of whom were queer, drug users, or otherwise nonconforming to “traditional” norms. (Goldin herself was a sex worker during this time, she revealed recently.) The same people appear again and again—Armstrong, Greer Lankton, Cookie Mueller, Suzanne Fletcher, Sharon Niesp, and someone identified only as Brian, a longtime boyfriend of Goldin’s. The work is called “Nan, who was beaten after a month”. I was surprised when I saw this photo for the first time. Although Goldin in the photo reveals awkwardness and the bruises on her face are clearly visible, her eyes are firm, calm, but helpless. This is completely different from the self-portraits I have seen before.

At first, Nan used an imaging camera sent to her by school and she only took pictures from ordinary life. Everything changed on 1972, when she first met Ivey, Naomi and Klett in the suburbs of Boston. Nan couldn’t hold on to joy when she focused on the three transvestites through the lens, she found her curiosity and affection for the beauty of gender blur, she likes them, she wants to be friends with them and shoots for them. Goldin struggled with her addiction for three years, at one point almost dying from an overdose of fentanyl. When she emerged after regaining her sobriety in 2017, she once again found that the world around her had changed. This time the epidemic was opioid addiction, the aftereffect of the widespread overprescription of powerful pain-relieving drugs like the OxyContin that had been her downfall. In “The Ballad of Sexual Dependency”, Nan also preserved her many years of memories: the death of family and friends, the breakdown of relationship, the gathering of friends, and Naomi wearing a gorgeous dance dress with laughing. . Through these photos, Nan not only reveals the fragile and sensitive side of human nature, but also expresses the relationship between desire and loss, joy and sorrow, sex and lovelorn, which seemingly contradictory but symbiotic coexists. She first wants to prove is the universal theme of human destruction: the inevitable collapse of love relationships, the indulgence of desires, the loss of loved ones and friends, and the illusion of escape from reality.Richard Phelan is Senior Lecturer in Cultural Studies at Aix-Marseille Université. His doctoral thesis was devoted to aesthetic questions in modern American painting. His recent research concerns contemporary visual art and to zones of collaboration between visual and verbal art forms. He has published on Paul Auster, Don DeLillo, Ellsworth Kelly, Mark Rothko, Barnett Newman, Allan McCollum, Ernest Pignon-Ernest and (Elaine) Sturtevant. Although Nan Goldin has a wealthy family, she did not have a happy childhood. At the age of eleven, her sister committed suicide in the rails, which is undoubtedly a fatal blow to Nan Goldin. Nan once said in an interview: “Everyone is always careful about everything around him. It is an environment that corrects all untimely things. For example, the matter of suicide by my sister is also said to be a cause.” She vowed never to return to Brian’s side. Later Nan included this photo in “The Ballad of Sexual Dependency”, this had a big impact at the time. A female photographer calmly faces the camera and records how she has been beaten– what she wants to express is not just introspection, fragility and pain, but the harm caused by the imbalance or even opposition between the two sexes. Nan believes that this is the ultimate act of autonomous independence. In decades of photography life, Nan is not shooting her transvestites, transgenders, and gay friends, but set up a mirror to faithfully reflect the world. She insists on telling people the truth: physical limitations do not hinder the height of the spirit. s Self Portrait Writing my Diary, Boston MA (1989) foregrounds the connection between verbal and visual self-writing; how does the much-vaunted kinship between verbal diary and visual diary work in the case of Goldin and to what extent is the analogy between verbal and visual autobiography pertinent in her case? To answer those questions, I will examine what the term self-portraiture means with respect to Goldin’s work, and then analyze the way the construction of her work is akin to verbal autobiography. To conclude, I will bring out Goldin’s aim in creating works like The Ballad of Sexual Dependency which I propose to consider as an extended self-portrait. I. Mon semblable, ma sœur

work of Nan Goldin is a dialogue between the self and the other and, in her own words, a “struggle between intimacy and autonomy” (MoCA), an account of how the I can approach the you without losing itself (or, in the Ballad’s terms, without withdrawal symptoms). “Nan Goldin: I’ll be Your Mirror” was the title of an exhibition and a publication in 1996 by the Whitney Museum of American Art, New York. In 2020 the Collection Lambert in Avignon, which contains a great many of Goldin’s self-portraits, held a show with a similar title that presented a large section devoted to Goldin. The latter exhibition has served in the present article which contends that when Goldin’s photographs reflect specific others, the artist is reflecting herself, and ultimately, the viewer. with Rembrandt and Courbet, we find in Goldin’s œuvre a number of portraits of the artist in the frame with her friends, notably Nan and Brian in Bed (1983) the picture of the artist and Brian , her toxic lover chosen for the cover of The Ballad. However, the basic tenet of the œuvre of Nan Goldin is, I would argue, that even when the artist herself is not represented, most works, and especially those in The Ballad, lean towards the self-portrait. Goldin is representing herself through what she has called her family. In other words, Gina, Gilles, Suzanne, Brian, Dieter, Cookie, Ryan, and Mark, these specific others with whom she identifies are her “tribe” (Armstrong and Keller 454) and are part of herself. The result is that whether a photograph is of Nan or of one or some of her friends, the viewer’s experience is like that of the reader of a verbal autobiography when presented with the significant figures in the author’s life story. The viewer and reader are “privy to the author’s sense of self” and of what constitutes her identity, a sense of oneself performed and often theatricalized by the mirror (Armstrong and Keller 449).

Présentation

Que fait l'image ? De l'intericonicité aux États-Unis » / 2. « Character migration in Anglophone Literature » why, we might wonder, does Goldin prefer her visual diary, why is this public while her written one is private? The reason is surely that the photograph is indexical; it says “this was here” and “this cannot be denied.” Of course, we are talking about photography of the pre-digital age and of a pre-Photoshop time when Barthes could write in La chambre claire that “for certain The Photograph says what has been” ( Camera Lucida 85). It is for this “unmediated” truth that Goldin feels photographs not only record what happened, but also trigger memory in a way that, for her, writing does not (Goldin 6). She is talking here about the way the photograph interacts with memory for the photographer and the sitter, but she may also be suggesting that it provokes a stronger emotion too for a viewer who is not directly involved in the scene of the snapshot. manner in which the presentation of works in museums is constructed rhythmically can be seen in the room devoted to Goldin in 2020 in Avignon (third and fourth slides) or in the hanging at the Museum of Contemporary Art Los Angeles in 2014 (MoCA). Goldin’s founding work The Ballad is indeed a show, a work whose parameters are those of time as much as that of the space of the visual object. Moreover, when presenting a sequence of photographs in slide shows, the artist further transforms the still images into temporal works through the use of music. The songs not only tell stories akin to those in the pictures (the Brechtian story of alcohol, the Kitt story of solitude, or the Lou Reed and Nico story of partying and of fatal attraction), they also make the viewer sensuously aware of experiencing the images in time. What most structures the work therefore is its syntax, the assembly of one image with another. Tellingly, Goldin insists that The Ballad is not just a show or a wall display, but also a book, a sequential form she feels suited to photography—“It’s the only (visual) art that really works in books,” she says (MoCA).

Delvaux, Martine et Jamie Herd. “Comment faire apparaître Écho ? Sœurs, saintes et sibylles de Nan Goldin et Autoportrait en vert de Marie Ndiaye.” Protée, volume 35, number 1, printemps 2007, 29–39. https://doi.org/10.7202/015886ar Web. 3 May. 2023. In the photo, her transvestite friends, determined, calm, and unduly to show their beautiful posture, this is the Nan’s early photography, which reflects the characteristics of the traditional documentary photography at that time: the photographer and the model are two individuals. They are only indifferent in their own space, with relationship but does not intimate. Moreover, the photographer records the life and state of the model, but can’t describe the essence behind the photo. Sartorius, Joachim. “Deep Pictures of Us All”. I’ll Be Your Mirror. New York : Whitney Museum of Art, 1996. In 2022, Goldin was awarded the Käthe Kollwitz Prize for her contributions to contemporary photography. A retrospective exhibition, “This Will Not End Well,” is touring European museums for the next couple of years, with an accompanying book coming in 2023. All the Beauty and the Bloodshed, the new documentary directed by Laura Poitras, covers Goldin’s life and work, with a focus on her P.A.I.N. activism. It won the Golden Lion at the 2022 Venice International Film Festival. In the 1990s, as The Ballad slideshow toured museums worldwide, Goldin gathered her photos of Mueller and created a portfolio and exhibition dedicated to her. She started photographing empty rooms, landscapes, and skylines. She collected a decade’s worth of her photographs of drag queens for a book and exhibition titled The Other Side. She and Armstrong created a two-person show and accompanying book called A Double Life. In 1994 she collaborated with Nobuyoshi Araki on Tokyo Love, a project photographing young people in Tokyo’s underground cultures. In 1996, her mid-career retrospective, I’ll Be Your Mirror, opened at the Whitney before touring Europe.Relating / L'Écosse en relation / 2. Religion & civil society in Britain and the English-speaking world – What’s the English for “ laïcité”?

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