Perhaps it is this deep-rooted cinephilia that critics sense when they describe Goldin’s photographs as “cinematic.” Goldin has dedicated her career to documenting her life, as well as the lives of her friends and chosen family. Her “subjects,” many of whom are as charismatic, stylish, and memorable as movie stars, become characters, their unfolding lives transformed into storylines which unfurl across hundreds of diaristic, richly detailed photographs. In series such as The Ballad of Sexual Dependency (1981-6), Goldin follows her characters across the years, constructing in the process a sweeping portrait of a time, place, and community, from the explosive creativity of New York’s queer art scene to the devastation of the AIDS crisis. Goldin’s key themes—sex, relationships, addiction, death—are grand and, yes, cinematic; the stuff of real life and, therefore, also the stuff of movies. 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). Few photographers can boast a body of work as deep and uncompromisingly honest as that of Nan Goldin. 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. 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. Lejeune, Philippe, Catherine Bogaert. Le journal intime : histoire et anthologie. Paris : Textuel, 2006. Le discours rapporté et l’expression de la subjectivité / 2.Modernist Non-fictional Narratives of War and Peace (1914-1950)

Standardisation and Variation in English Language(s) / 2. Modernist Non-fictional Narratives: Rewriting Modernism 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. 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”?

Ibars, Stéphane. “Entretien avec Yvon Lambert” in Nan Goldin. Trans. Simon Pleasance, Fronza Woods. Les Cahiers de la Collection Lambert. Arles : Actes Sud, 2020. course, Nan Goldin’s narratives are activated by the appearance of recurring characters —Gina, Bruce, Cookie, Sharon, Gilles —people we see again and again, people we see evolve over the years. This repetition brings us close to the heart of the matter. Says Goldin: “To represent someone what is needed is not a photo, but an accumulation of photos. I don’t believe in the single portrait. I believe only in the accumulation of portraits as a representation of a person. Because I think people are really complex” (Armstrong and Keller, 454). Essentially then, Nan Goldin’s signature is not in the isolated unit, like that of a photograph by Edward Weston, it is in the sequence. This is how the artist herself puts it: “My genius, if I have any, is in the slideshows, in the narratives. It is not in making perfect images. It is in the groupings of work” (Mazur, np). In 1989 Goldin curated the first art exhibition in New York about AIDS, “Witnesses: Against Our Vanishing.” Mounted at Artists Space, it included work by Armstrong, diCorcia, Lankton, Morrisroe, Peter Hujar, Vittorio Scarpati, Kiki Smith, and David Wojnarowicz. “I am often filled with rage at my sense of powerlessness in the face of this plague,” Goldin wrote in one of the show catalogue’s essays. “I want to empower others by providing them a forum to voice their grief and anger in the hope that this public ritual of mourning can be cathartic in the process of recovery, both for those among us who are ill and those survivors who are left behind.”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. Access-restricted-item true Addeddate 2022-10-17 14:12:39 Associated-names Goldin, Nan, 1953-; Armstrong, David, 1954-2014; Holzwarth, Hans Werner; Whitney Museum of American Art Autocrop_version 0.0.14_books-20220331-0.2 Bookplateleaf 0002 Boxid IA40737419 Camera Sony Alpha-A6300 (Control) Collection_set printdisabled External-identifier 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 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 “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.

Coellier Sylvie, dir. Des émotions dans les arts aujourd’hui. Aix-en-Provence: Presses Universitaires de Provence, 2015. Armstrong, David and Walter Keller. “Conversation”. I’ll Be Your Mirror, New York: Whitney Museum of Art, 1996. Que fait l'image ? De l'intericonicité aux États-Unis » / 2. « Character migration in Anglophone Literature »have examined the ways Goldin’s photographic work is a portrait of the self: first in the literal self-portraits, then in the portraits of self and friends in the same frame, and more largely in the “family portraits.” I will now explore how the construction of Goldin’s work is akin to verbal autobiography. For this, I would like to make use of an idea formulated by Eric Marty while editing Roland Barthes. For Barthes, Marty tells us, thinking is anchored not so much in concepts, but in the rhythm of writing: “Le vrai lieu où la pensée vibre, pour lui, ce n'est pas le concept, mais la phrase rythmée” (Birnbaum, np). II. Le vrai lieu où la pensée vibre 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

urn:oclc:record:1349254867 Foldoutcount 0 Identifier nangoldinillbeyo0000suss Identifier-ark ark:/13960/s2rptqthgz9 Invoice 1652 Isbn 0874271029 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. Goldin was born in Washington in 1953. Her work began to emerge in the New York of the 1980s, when the artist was in her early thirties. The Ballad of Sexual Dependency, the work that founded Goldin’s place in contemporary art (“The thing that sustains my name,” MoCA) began as an ever-changing slide show projected by the artist herself in underground clubs in New York and around the world. Sound was added in 1980 and the work received its name in 1981 from a song in Brecht’s Three-Penny Opera. In 1985, it was reviewed in the Village Voice and presented at the Whitney Biennial; it reached its definitive form, running for 48 minutes with over 700 pictures and with 30 songs, in 1987. That year it was also shown during the Rencontres de la photographie in the Roman theatre in Arles. Goldin’s work began to be exhibited in France in the early 1990s, first by Agnès b. and then by Yvon Lambert whose gallery she joined in 1995. Lambert chose Goldin and other artists working with photography precisely because she was not a photographer, but an artist using photography: “I’ve always supported the work of that generation which called themselves artists, and used photography as one medium among others, by reinventing it. People like Louise Lawler, Andres Serrano…” (Ibars 67). In the late 1980s and early 1990s, The Ballad would take on new meaning as a portrayal of a closeknit queer community right before the wave of destruction that was the AIDS epidemic. “I used to think I could never lose anyone if I photographed them enough. In fact, my pictures show me how much I’ve lost,” Goldin said in I’ll Be Your Mirror. “It wasn’t until the first year of my sobriety that I confronted the reality as I watched a number of my friends die. I photographed some of them while they were ill to try to keep them alive and to leave traces of their lives. It was then I realized how little photography could preserve.” Arbus’ young man in curlers is relaxed as well. But the mood is different. Like Jimmy Paulette, he is not dressed yet and he’s in between his masculine and soon-to-be feminine expressions of self. Arbus is prodding at his psyche. She’s investigating the young man’s liminal state within his own state of becoming. She’s curious about him, but she is less invested in his authentic self than his naked self. Is an investment in one better than the other? It does raise questions about authenticity and intention, but the world of documentary photography is full of practitioners who have their own agendas.So when she was fourteen, she chose to escape from the home, where was rigid, stubborn, false and serious, to formed a new “Utopia family” with a group of young people who lived on the edge of society and loved the hippie culture. Most of these young people are artists and writers who despised traditional bourgeois life, indulged in alcohol, drugs and sex. They never live for others. Goldin had her first solo show in 1973 at Project, Inc. in Boston. The following year she and Armstrong enrolled in the School of the Museum of Fine Arts, Boston (as did Philip-Lorca diCorcia and Mark Morrisroe, who would go on to successful careers of their own); after graduating she moved with a group of friends first to Provincetown, Massachusetts, and then to New York. Goldin had found her “extended family.” With her sister still at the forefront of her mind, she “became obsessed with never losing the memory of anyone again,” she said in I’ll Be Your Mirror. It was this that drove her to constantly photograph members of what she called her tribe.