Nan Goldin's The Ballad of Sexual Dependency remains an electrifying visual experience nearly five decades after its creation, capturing the complexities of a bygone era with remarkable precision. This 1986 compilation of photographs, shot between 1973 and 1986, serves as a poignant reminder of a lost world that feels just as relevant today.
The exhibition is presented as an immersive slide show, with Goldin displaying her iconic 126 photographic prints stacked four high on three black walls. The arrangement is both imposing and intimate, inviting viewers to become lost in the cumulative effect of these images, which range from tender moments of intimacy to haunting depictions of marginalised individuals.
Each photograph in The Ballad feels like a snapshot in time, capturing a moment or emotion with remarkable immediacy. Goldin's camera, always at hand, has a distinct voice that belies its casual appearance – the emotional texture and atmosphere of her images prove that not everyone who can hold a phone can take photographs worth looking at.
The exhibition takes viewers on a journey through a kaleidoscope of memories, from the Duke and Duchess of Windsor to skeletons embracing in a doorway. It's a parade of sex, smoke, and sullen silence – a world of pleasure and pain, of laughter and tears. These images humanise the past, stripping away the gloss of nostalgia to reveal a complex tapestry of relationships, desires, and silences.
What strikes Goldin now is how normal her life seems in retrospect. The people who populated her orbit – friends, lovers, and acquaintances – don't look lost or marginalised at all. In fact, they seem remarkably like us today, caught up in the same cycle of social media, curated self-presentation, and anxious expectation.
Goldin's photographs, however, remain unvarnished by these pressures. They speak of a world where people took photographs on the fly, sharing them with peers rather than an audience of millions. The intimacy and immediacy of her images are what make them so compelling – they prove that the art of photography is not just about capturing moments, but about revealing the human experience.
As we navigate today's digitally mediated reality, Goldin's The Ballad of Sexual Dependency serves as a powerful reminder of the enduring power of image-making. These photographs continue to captivate and disturb us in equal measure – a testament to the indelible mark that Nan Goldin has left on our collective consciousness.
The exhibition is presented as an immersive slide show, with Goldin displaying her iconic 126 photographic prints stacked four high on three black walls. The arrangement is both imposing and intimate, inviting viewers to become lost in the cumulative effect of these images, which range from tender moments of intimacy to haunting depictions of marginalised individuals.
Each photograph in The Ballad feels like a snapshot in time, capturing a moment or emotion with remarkable immediacy. Goldin's camera, always at hand, has a distinct voice that belies its casual appearance – the emotional texture and atmosphere of her images prove that not everyone who can hold a phone can take photographs worth looking at.
The exhibition takes viewers on a journey through a kaleidoscope of memories, from the Duke and Duchess of Windsor to skeletons embracing in a doorway. It's a parade of sex, smoke, and sullen silence – a world of pleasure and pain, of laughter and tears. These images humanise the past, stripping away the gloss of nostalgia to reveal a complex tapestry of relationships, desires, and silences.
What strikes Goldin now is how normal her life seems in retrospect. The people who populated her orbit – friends, lovers, and acquaintances – don't look lost or marginalised at all. In fact, they seem remarkably like us today, caught up in the same cycle of social media, curated self-presentation, and anxious expectation.
Goldin's photographs, however, remain unvarnished by these pressures. They speak of a world where people took photographs on the fly, sharing them with peers rather than an audience of millions. The intimacy and immediacy of her images are what make them so compelling – they prove that the art of photography is not just about capturing moments, but about revealing the human experience.
As we navigate today's digitally mediated reality, Goldin's The Ballad of Sexual Dependency serves as a powerful reminder of the enduring power of image-making. These photographs continue to captivate and disturb us in equal measure – a testament to the indelible mark that Nan Goldin has left on our collective consciousness.
I'm still blown away by the raw emotion and intimacy in these photos 
. It's crazy how some of those images can transport you back in time, making you feel like you're experiencing it all for the first time again 
. I love how Goldin's photography humanizes the past, showing us that everyone was complex and multi-dimensional way back when too 
. And it's really interesting to see how her work still resonates today, especially with our own social media-obsessed culture 
. The way she captures these fleeting moments of connection and vulnerability is just masterful 
. Can't wait to see more exhibitions like this in the future! 
Just saw that a major oil spill is affecting marine life in the Pacific Ocean 
And it's not just the animals, research suggests that climate change is causing more frequent and severe heatwaves for people too, especially those living in vulnerable communities 
, i mean who needs social media when you can capture the human experience with just one snap of the shutter? 
nan goldin's work is like a warm hug for the soul, and i'm obsessed that her photos are still so relevant today 
anyway, this exhibition is a must-see – get ready to have your emotions pulled in every direction 
. What strikes me most is how her photos capture the complexities of human relationships, desires, and silences in a way that feels timeless 
. It's like she's showing us what we're still struggling with today, but also reminding us of the power of vulnerability and intimacy 
. I think that's what makes her work so compelling - it's not just about capturing moments, but about revealing our shared humanity 
. I mean think about it, we're living in a world where social media is all about curated perfection, but Goldin's photos are like a slap in the face – they're raw, they're real, and they're unapologetic 
. Her camera has captured over 10,000 images since 1973, which translates to an average of 2-3 shots per day 
. That's dedication! 
The exhibition's immersive slide show has been viewed by 9 out of 10 attendees, who described it as "emotional," "haunting," and "totally relatable" 
. I'm down for a repeat viewing, stat! 
. what i loved most tho was how she shows us that photography isn't just about taking pics, but about revealing who we are as humans. like, her camera doesn't care if you have a million followers or not - it just captures the moment, flaws and all 
I'm still trying to wrap my head around how relevant these old photos are today 
And I love how she's all casual about it too 
. Like, her camera just happens to be there, capturing life as it is. It's so different from today's Instagram-perfect world where everyone curates their self-presentations 
. Goldin's photos feel like they're speaking straight to me, you know? They're not trying to sell me anything or make me look a certain way, they just show what life was like back then 
I mean, I've seen some of these photos online before, but seeing them in person like this is a whole different story. The energy in the room was electric! 
.
. And can we talk about how relatable it feels? Like, I look at these pics and think "wait, didn't I see my ex on social media last week?" 
. And I'm here for it! The fact that these pics feel so timeless is just mind-blowing 
. In today's world, where everyone's curating their online presence and sharing it with the whole world, these photos feel so raw and honest. It's like she's reminding us that photography isn't just about capturing moments, but about revealing our humanity 
.
anyway, i guess what goldin is saying is that photography can be a powerful tool for revealing the human experience, but also that it's hard to escape the pressures of social media 
anyway i think what's wild is that even though we're living in a world where everyone's always on their phone taking selfies and stuff, Nan's pics are like, this reminder of when people actually took photos just for the sake of sharing them with others 
it's like, so intimate and raw and honest... i mean i know some ppl might be all like "oh nan's photos are so depressing" but honestly i think they're just a testament to her bravery in sharing these vulnerable moments with the world