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Nancy "Nan" Goldin (born September 12, 1953) is an American photographer. She lives and works in New York City, Berlin, and Paris.〔(Nan Goldin: Scopophilia, March 21 - May 24, 2014 ) Gagosian Gallery, Rome.〕 ==Life and work== Goldin was born in Washington, D.C., and grew up in the Boston suburb of Lexington, to middle-class Jewish parents. Goldin’s father worked in broadcasting, and served as the chief economist for the Federal Communications Commission.〔Deborah Solomon (October 9, 1996), (Nan Goldin: Scenes From the Edge ) ''Wall Street Journal''.〕 After attending the nearby Lexington High School, Goldin left home at 13-14. She enrolled at the Setya Community School in Lincoln, where a teacher, Philosopher Rollo May’s daughter introduced her to the camera in 1968. Goldin was then fifteen years old. Her early influences were Andy Warhol's early films, Federico Fellini, Jack Smith, French and Italian Vogue, Guy Bourdin and Helmut Newton. Her first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transsexual communities, to which she had been introduced by her friend David Armstrong. While living in downtown Boston at age 18, Goldin “fell in with the drag queens,” living with them and photographing them.〔Westfall, Stephen. "The Ballad of Nan Goldin." BOMB No. 37 (1991): 27-31.JSTOR. Web. 03 Mar. 2015.〕 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 recreate themselves and manifest their fantasies publically. I think it’s brave”.〔 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. 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”.〔 Goldin describes her life as being completely immersed in the queens’. However, after she went to the school of Museum of Fine Arts in Boston, 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, Boston/Tufts University in 1977/1978, where she had worked mostly with Cibachrome prints. Her work from this period is associated with the Boston School of photography.〔(【引用サイトリンク】url=https://web.archive.org/web/20150425162245/http://www.photoeye.com/bookstore/citation.cfm?catalog=TD034&i=&i2= )〕 Following graduation, Goldin moved to New York City. 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 famous work ''The Ballad of Sexual Dependency'' — a title taken from a song in Bertolt Brecht's ''Threepenny Opera''.〔Brecht, Bertolt. "Three Penny Opera." Act II, song 12.〕 Published 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 () lets people read” of people she referred to as her “tribe”. The photographs show a transition through Goldin’s travels and her life. 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.〔Curley, Mallory. ''A Cookie Mueller Encyclopedia'', Randy Press, 2010.〕 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."〔Tillman, Lynne. The New York Times. "A New Chapter of Nan Goldin's Diary." 16 November 2003.〕 In addition to ''Ballad,'' she combined her Bowery pictures in two other series: ''I'll Be Your Mirror'' (from a song on The Velvet Underground's ''The Velvet Underground & Nico'' album) 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; these frames are usually shot with available light. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public. In the book ''Auto-Focus'', her photographs are described as a way to “learn the stories and intimate details of those closest to her”. It speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling. It references one of Goldin’s famous photographs 'Nan One Month After Being Battered, 1984' as an iconic image which she uses to reclaim her identity and her life. 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 2002, her hand was injured in a fall, and she currently retains less ability to turn it than in the past. 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'' which has been described as disturbing. 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. 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'';〔Ann Binlot (January 3, 2012), (Bottega Veneta Taps Jack Pierson for Latest Arty Ad Campaign ) ''BLOUINARTINFO''.〕 for shoemaker Jimmy Choo in 2011 with model Linda Vojtova;〔Ann Binlot (October 18, 2011), (The Ballad of Shoe Dependency: Nan Goldin Shoots a New Ad Campaign for Jimmy Choo ) ''BLOUINARTINFO''.〕 and for Dior in 2013, ''1000 LIVES'', featuring Robert Pattinson.〔(【引用サイトリンク】url=http://nymag.com/thecut/2013/06/robert-pattinson-confirmed-as-new-face-of-dior.html )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Nan Goldin」の詳細全文を読む スポンサード リンク
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