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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.

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
Painting
Walls
Show
Colour
Idea
Manage
Whitechapel
Shows
Figure
Colours
Together
Paint
Varied
Ideas
Tried
Renaissance
Work
Figures
Gallery
Wall
Paintings

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It's so rare to see a woman's sexuality, real female sexuality, either in the shows or in the clothes.
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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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If I do continue to do fashion, I would want to radicalise it.
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I know somewhat about Kate [Moss who featured in the Vogue spread]. I always thought that Kate's look had come from my old friend Siobhan Liddell and some of her friends because they dressed like that about ten years ago. Unconsciously, and right after that, that whole look sort of came out.
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American magazines are becoming very patriotic beyond belief to the point that I can't live there any more.
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The things that I look at include Renaissance art. I'm obsessed with churches and paintings of saints.
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I'm very flattered when people I respect like my work. It's like a dream of a little kid when somebody I idolised likes my work.
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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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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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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've become really interested in the landscape but not as landscape but more as it relates to mood and how we live and how the outside impacts on the inside. I didn't really look at the outside world during the years I was photographing the Ballad as I was locked inside my house and I lived totally inside.
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I never thought heroin was very chic.
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I have no ambivalence about myself wearing make-up or designer clothes but I have an enormous ambivalence about what the fashion world has done to women.
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My life is more important. At this point in my life I'm alone. I don't think about it a lot.
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The thing that drives me most crazy in the world is not to be believed.
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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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If I say something honestly, generally, I am being completely honest and don't tell me I am lying. It drives me crazy to be told I set up my pictures. How does it benefit me to lie? I guess they are afraid to believe it and are afraid to look at it.
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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 remember so many girls when I was growing up who hated the way they looked.
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