Jamie Uribe
Int Seminar / Daniel Penny
Nan Goldin
Nan Goldin is a well renowned 80’s photographer, whose subject matter primarily revolved around exploring “the narrative of the self”. Nan’s photography can often times be described as both candid, and explicit in the sense in which it is unafraid of expressing the grittier reality of 80’s underground communities. Nan often times captured both straight gay couples in their most intimate moments. In context, the photos are often fueled by the terrifying reality of both the horrific AIDS epidemic, as well as the harsh exterior environments by which the gay community was forced to live in. Nan also documented her experiences with domestic abuse, preceded by photos of lust or familiarity with said partners who caused her harm. Her work exposes the highest of highs: sex, love, passion, tranquility, juxtaposed by the lowest of lows: solitude, loss, grief, pain. Her work can be considered a peek into the world she crafted for herself, which was arguably much more fulfilling than the one she was initially dealt with.
“The Ballad” was Goldin’s first book and remains her best known, a benchmark for photographers who believe, as she does, in the narrative of the self, the private and public exhibition we call ‘being.’”
“‘It showed life as it was happening, and she wound up with something that was an amalgam of diaristic and family pictures and fashion photography and anthropology and celebrity photography and news photography and photojournalism.’”
Did Nan’s experience with her sister influence her to pursuit the exploration of smaller unvoiced communities? Of all of her documented lovers, which was the most impactful upon her career? How did Nan’s battering change her approach to life?
Nan Goldin
The Hug, New York City
1980
As I walked the floor of Nan Goldin’s exhibit, I spotted this one photograph near the end of the hall. In all of its glory was presented Nan Goldin’s “The Hug”. An exquisite 23 1/8 x 15 1/2″ sized piece, the photo is powerful enough to evoke an emotional response. It’s simple really. We see a woman, back to the camera, in a blue polkadotted dress. Around her waist is an arm, presumably a man’s, holding a firm grip. They seem to be standing mid corridor, and the woman’s hair is caught in the motion. Through this, it can be told that the hug was spontaneous, a captured moment of happiness and an expression of affection. To me, such a immediate and unexpected captured moment is the purest form of self expression. In a moment by which people are unaware they are being recorded, you are able to witness someone’s true sentiments. Whether they are in pure agony, or immense joy, in that moment they are themselves and you are able to mentally envision yourself in corridor along with them. To me, this photo is purity. Cleansed of all of the biases by which the knowing presence of a camera could pose, and in that moment there is euphoria. In that moment, that woman in that blue dress embodies both honesty and joy, and as a viewer I feel for her and with her on that New York City day in 1980.
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