Christie Dooley
In the introduction to her 1992 autobiography Die Andere Seite, Nan Goldin explains her lasting infatuation with photographing drag queens. During the 1970s, Boston, Goldin’s friend David Armstrong introduced her to a group of "gorgeous creatures," whom she soon moved in with and photographed daily. As a photographer, Goldin does not exploit or objectify her sitters in any way. They are her friends, above all, and she does not attempt to “unmask them” as anyone but themselves with her camera. That is, Goldin keeps the interests of her subjects in mind—her self-proclaimed goal is to “put the queens on the cover of Vogue.” And her friends in Boston seem to have loved it, as they playfully competed for most photographed. I think it is important for portraitists (or even fashion photographers) to have similar respect for the people/models they are representing.
In the introduction to her 1992 autobiography Die Andere Seite, Nan Goldin explains her lasting infatuation with photographing drag queens. During the 1970s, Boston, Goldin’s friend David Armstrong introduced her to a group of "gorgeous creatures," whom she soon moved in with and photographed daily. As a photographer, Goldin does not exploit or objectify her sitters in any way. They are her friends, above all, and she does not attempt to “unmask them” as anyone but themselves with her camera. That is, Goldin keeps the interests of her subjects in mind—her self-proclaimed goal is to “put the queens on the cover of Vogue.” And her friends in Boston seem to have loved it, as they playfully competed for most photographed. I think it is important for portraitists (or even fashion photographers) to have similar respect for the people/models they are representing.
Once Goldin moved out, her photography no longer worked—she
needed to be an insider to feel comfortable. Over the next decades, especially
when she moved into New York, she made an effort to reintegrate into the
changing drag scene and discover “home” again. Even when she travelled to
Manila and Bangkok in the 1990s, now much older, she made real friends and
affectionate relationships. Notably, she refuses to treat this “underground”
culture of gender fluidity as merely “fascinating”—she respects each
individual and their identity. She not only accepts but also represents her subjects as they desire, not how the audience
desires. I find that her passion
contributes to the quality of her photography (see below).
One last thought/question—Goldin’s photographs remind me of
Sally Mann’s, perhaps because both photographers bond with their sitters. Do you find these emotional bonds are discernable
in their photographs, or is it just me? I have attached my favourite Sally Mann photograph (Sunday Funnies, ca. 1991) below for comparison.
3 comments:
I really enjoy your comparison between Goldin and Mann. Although the two pictures you chose are certainly similar in content, I think the same point could have been made even without the similarities in content. Both images and photographers share a certain level of comfortability with their subjects, as exhibited by the subjects ability to feel comfortable in very intimate situations, nude or otherwise.
I find your observation "she needed to be an insider to feel comfortable" extremely interesting. I do believe that this is a big part of both Mann's and Goldin's work. Only living with one another cultivates this comfortability between subject and photographer. However, I would question the idea that she needed to be an insider for her sake. I think that it was more about Goldin's need to be an insider for the subject's sake; for her work's sake, for it to feel as natural and candid as possible.
I love your comparison between Mann and Goldin. I have always been more attracted to Mann's work aesthetically than Goldin's. I think that is because for me Mann's work looks more like a painting with high contrast than a snapshot.
I find these two artists and pieces interesting. I feel like both artists created extremely intimate and compelling pieces. It gave the viewer a way into this world that is private and that they were invited to see these moments. I think that when work is presented like that it is particularly interesting, and for me harder to create personally.
I enjoy both Mann and Goldin's work because as an illustrator I cannot create work that is an intimate snapshot. I create work that tells stories about myself through proxy characters and events. I find work like this beautiful and compelling.
I thought that your likening of Goldin to Sally Mann was spot on! The bond between the sitter and the photographer is certainly evident in both the photographs you presented. I feel this way because a camera is so obtrusive that in these moments it would be difficult to feel so candid and relaxed without a tie to the photographer. I certainly would find it difficult to act naturally if I were laying in my bed in my underwear with my pubic hair exposed while some stranger was snapping away. The women's carelessness in each of the photos is paramount to the relaxed nature of the image and it is certainly an indicator of the comfort they feel around the photographer.
So what I mean to say is NO! It isn't just you. I certainly see the bond and making this connection between Mann and Goldin and their sitters was certainly insightful!!
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