goldine

7

Nearly every year, for the past thirty years, Frances Goldin has gone to New York City Pride holding a sign that reads, “I adore my lesbian daughters. Keep them safe.” (x)


“Since the beginning of the parade, I’ve been going and waving my sign,” Goldin said. “It sort of hit a nerve with people, particularly those whose parents rejected them. The response to the sign is always so great — it urges me to keep going.”

“Everybody would come running up to her and cry, kiss her, and say, ‘Would you call my mother?’ or ‘Would you be my mother?’” her daughter, Sally, explained. 


“She’d take down names and addresses and write letters to these kids’ mothers!” 

When asked about all the young LGBT parade-goers who have begged her to speak to their own mothers, Goldin replied, “I think I changed a few people’s minds and I’m glad about that. Everyone should support their gay and lesbian children, they’re missing a lot in life if they don’t.”

Nan Goldin, Anthony by the Sea, Brighton, England, 1979

When her sister committed suicide, Nan Goldin decided she would never want to loose the memory of anyone, anymore and promptly became obsessed with photography. An art student in Boston, she met David Armstrong who would become her first muse and guide her within the underground world of New York as he turned into a drag queen. In 1979, she presented her first slideshow in a nightclub and her deeply colored, personal, spontaneous and sexual snap-shot-like photographs of her family, friends and lovers were soon observed as a subversive alternative to fine arts photography. « The Ballad of Sexual Dependency » is the name she gives to her ever-evolving work compromised of more than 800 photographs with such themes as nightlife, drugs, violence, sexuality but also death. Not a mere depiction of subversiveness, Nan Goldin’s photographs capture life and the authentic, crude humanity of her subjects - herself after having been beaten by her boyfriend or her entourage dying from AIDS in the 1980s - with the help of strong sensual lights, blurred images and unusual framings - ‘Nothing is calculated’. The witness of a society consumed by drugs and AIDS, Nan Goldin is a survivor as well as her visual journal that despite its dark atmosphere, is a universal tribute to human nature.

(via theredlist)