I wrote on Friday about going to see the Nan Goldin exhibition at the Tate Modern. She dedicated the slides shows of The Other Side, 1972-2006 and The Ballard of Sexual Dependency, 1981-2006, to her older sister Barbara who committed suicide when 18 years old. Nan Goldin states that her camera saved her own life. The Turbine Hall at the Tate Modern was utterly packed to watch this one-off show.
Nan Goldin introduced the two set pieces, I was sitting in the middle and couldn’t get a good pic of her (she is one of my all time favourite women artists), the first being The Other Side set to the music and vocals of John Kelly. His set was upbeat and vocals operatic. The second of the sets was The Ballard of Sexual Dependency, music composed and performed by Patrick Wolf (guest vocals: Bishi). His was much more sombre and downbeat, along with the haunting vocals of Bishi.

Watching Goldin’s work that has spanned over 35 years was fascinating yet bittersweet because it exposed how transient life is. Her work encompasses her friends, many vulnerable living on the margins of society; social life, work, sexuality, family units and relationships.
The body of work is intertwined with incidents of violence, sex, tenderness, sadness, happiness, loneliness and death. And ultimately, the importance of the bonds of friendship. I found the pictures of the empty beds, strangely poignant and very sad. And towards the end, the pictures that both symbolically depict the end of friendships and relationships through death.

Nan Goldin captures the banality of life yet gives it passion and a powerful rawness. She captures the moment in all its realism. She also reminds me of the artist Edward Hopper and his depiction of alienation. And a woman photographer, she broke new ground and gave it new direction. And as a feminist, I find her work bold, unnerving and challenging while making a political statement about everyday life. I also like the way she photographs women as many seem, on the surface, confident and exude a positive attitude in expressing their sexuality and nakedness on their own terms (though that’s my own assumption).

It was a moving, beautifully composed, powerful and fitting tribute to the groundbreaking Nan Goldin. Long may she continue!!




