At the beach with NanGoldin, 1976 ⛱
, photography has always been about capturing moments with complete honesty, revealing life as it was happening. “The camera was like an extension of my hand. I shot all day and never moved anything.
It’s no surprise, then, to learn that her subjects were mostly friends, lovers and herself: friends tangled in each other’s bodies, lovers who may not have been good for one another and herself, battered by a lover. Unlike the traditional fine art photography aesthetic prevalent in the 1970s, Goldin’s visual language veered towards blurry, densely saturated images treading the line between crudely diaristic pictures and lush fashion photography.
“Real memory, which these pictures trigger, is an invocation of the color, smell, sound, and physical presence, the density and flavor of life” – Nan Goldinis propelled by bleakness and longing – many of the friends she photographed died from AIDS very young – the collection also pulses with delight and desire, especially in the ardent images chronicling the pursuit for intimacy as well as the struggle between autonomy and dependency in relationships.is a prime example of the latter.
: “It was not about the wild times. I never thought they would end. I was living in the moment, not documenting for the future.”
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