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I start to paint my walls. And I'm heavily influenced by films.

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
Influenced
Walls
Paint
Films
Wall
Start
Film
Heavily

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I never read theory. I think that was to my benefit.
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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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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 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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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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The things that I look at include Renaissance art. I'm obsessed with churches and paintings of saints.
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In Paris now, when I walk into stores and the shopgirls literally say to me every time, We don't have anything in your size.
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I remember so many girls when I was growing up who hated the way they looked.
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Gena Rowlands is fabulous.
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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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Yes, photography saved my life. Every time I go through something scary, traumatic, I survive by taking pictures.
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The thing that drives me most crazy in the world is not to be believed.
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No Jews have our own guilt, that's why we have psychiatrists - the Jewish version of a priest.
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Stella McCartney is [my] big fan.
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I knew from a very early age, that what I saw on tv had nothing to do with real life. So I wanted to make a record of real life. That included having a camera with me at all times.
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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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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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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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I like Stella [McCartney] a lot - she's a very open and warm person. I don't particularly want to know about her background.
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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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