Quote

I like it [Rotterdam] much better than Amsterdam which is too much like a postcard. It's too cute for me. Rotterdam is more real, it's got a stomach.

Nan Goldin

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Nan Goldin
Age: 71
Born: 1953
Born: September 12
Photographer
Printmaker
Washington
District of Columbia
Nancy Goldin
Nancy Nan Goldin
Much
Rotterdam
Like
Postcard
Postcards
Amsterdam
Cute
Stomach
Better
Real

More quotes by Nan Goldin

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Of course I was wearing make-up, I never went anywhere without red lipstick for 25 years! It was a form of self-preservation for me to continue to wear lipstick even though my face was broken.
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The main thing that I want to say is that I don't think women are at their most beautiful in their adolescence or in their early 20s.
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I start to paint my walls. And I'm heavily influenced by films.
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That's where I got the idea to paint the walls of the gallery with varied colours [at the Whitechapel show]. I tried to figure out how all these Renaissance paintings manage to work together.
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As a non-Catholic, and since I was a child, I have been obsessed with the ritual and the beauty of Catholic art. I look at Renaissance art all the time.
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The complete disregard for the camera's presence indicates its complete saturation in their lives. The subject neither notices nor seems to care that someone has been invited into their private moment.
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Gena Rowlands is fabulous.
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[I want to] refuting the whole idea that there is only one way to look that women have to be so skinny to look good that they have to be 12 years old and wearing clothes that only women in their 30s and 40s can afford.
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I love all the Hollywood women. I saw all the films when I was a teenager. Jack Smith's Flaming Creatures.
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I also photographed Maggie Cheung - but these didn't develop into a friendship either.
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One of my assistants, a British man, says I should find a platform for [cosmetic industry]. Meanwhile I wear make-up.
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I'm not ashamed of my body and you know everything in the fashion world, if I was vulnerable to it, could drive me crazy. I think it produces so much self-hatred.
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I never read theory. I think that was to my benefit.
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I remember so many girls when I was growing up who hated the way they looked.
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I used to think that I could never lose anyone if I photographed them enough. In fact, my pictures show me how much I’ve lost.
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When I put my big retrospective together in '96 [for the Whitney Museum of American Art, New York], I saw that there were all these pictures of people inside looking out. All these pictures of women in water and mirrors. I don't know what it means.
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It's a hideous feeling to go round shopping and even feel like you are a freak.
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I've got really prolific since I moved to Paris where I am living permanently, for the rest of my life, until I find another idea. I have really close women friends here: Valerie, Raymonde, not Joana so much, Maria Schneider, who was always a real heroine of mine who and has now become a close friend.
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I shot for French and British Vogue. The British Vogue one featured clothes by Chloe and was shot at Highgate and the John Soane Museum. It came out much better in my opinion. I only did one day and was working with my own make-up and hair people and a model who I've known for years.
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[I influenced by ]the work of early [Michelangelo] Antonioni, Orson Welles and [Carlo] Pasolini, I love [Nicolas Jack] Roeg's film Performance.
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