Nan Goldin was an extremely influential photographer in the
1980’s. Her dead honest documentation of the underground New York counterculture
made her a controversial but staple figure for the future of photography. Her photos are much an autobiography, leaving
the viewer to not only draw their own conclusions about them but to see an
honest, fresh portrayal of her subjects.
Goldin’s photographs are a slideshow of her life. It’s much
like her private journal because she photographs her surroundings and those
close to her. Her photos are intimate and often sensual, but never smooth the
rough edges of her subjects. This is why her photography is so interesting: she
allows a fresh, low-key perspective of her subjects to be revealed. The first
photo of a woman at a bar is Cookie Mueller, a long-time friend of hers. The
scene is simple, and seemingly not posed. It is shot with available light from
the bar, adding to low key, and hazy atmosphere of the photo. The thing that
Nan really brings to this photograph is the expression on Cookie’s face. It’s
the look you give someone that knows you, and who you trust. Someone you
recognize. This photo lets us know Cookie, but from our own perspective. The
less is more rule is omnipresent in her photography, letting her subjects
shine. The more her photographs downplay, the more the viewer will be able to
relate rather than estrange her subjects.
Nan doesn't do your thinking for you. Her photos embody the
simplicity of life, but are not boring because nothing is reserved. She leaves
loose ends for you to process. The picture of the lady in the mirror is an
example of this. The mirror is filthy and the woman is looking away, seeming
distracted and distant. Her hand is delicate and leads you to wonder where she
is going and what she might be thinking about. What makeup is she fixing and
why? This is what is different about Goldin’s photos. They bring a unique
perspective to common subjects, but do not manipulate. You draw your own
conclusions from the photos, and almost learn more about her than her subjects
in the photos.
Nan’s photos are blatant snapshots of illicit drug use,
death and violence and for this she was strongly criticized. However, she
merely shed light on the shadows, corners and fringes that were always there,
but just dismissed by mainstream culture. Nan’s subjects may if anything be
understated in her photos. She portrays everyone just through her lenses,
letting their own absurdity steal the show. For example, her picture of the two
male drag queens is framed unremarkably and their expressions are open and
relatable.
Overall, Nan’s photographs are a testament to her life and
perspective, but do not use the camera as a tool to glamorize. The dead honesty
and refusal to censor her photos evoke strong emotion from the viewers.
However, they do not alienate viewers because they are relatable and show the
similarities of being human despite lifestyle choice.
