Nan Goldin Quotes
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I had my first museum showing of my slide show in Rotterdam, in 1983. I love Rotterdam. I love harbour cities in general.
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Gena Rowlands is fabulous.
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For me it is not a detachment to take a picture. It's a way of touching somebody - it's a caress… I think that you can actually give people access to their own soul.
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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 shot for French and British Vogue. The British Vogue one featured clothes by Chloe and was shot at Highgate and the John Soane Museum. It came out much better in my opinion. I only did one day and was working with my own make-up and hair people and a model who I've known for years.
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There are days when everyone in the world looks like a Diane Arbus to me. She's a genius but her work is completely different to mine. But on those days I don't use my camera.
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I don't know if Yves St Laurent likes my work but Pierre Bergé does.
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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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I never, never photograph someone getting high to sell clothes. I was called, at some point, the person responsible for "heroin chic". I didn't have anything to do with "heroin chic".
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I just get inspired to take a picture by the beauty and vulnerability of my friends.
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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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If I want to take a picture, I take it no matter what.
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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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I wasn't there [in U.S] when the city was bombed but it seems to have changed my friends.
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I did [heroin] maybe when I was 18 but I got over that pretty quickly.
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It's a hideous feeling to go round shopping and even feel like you are a freak.
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I'm very influenced by a lot of things, but my chief influence is my friends and what I see and what I feel and my own experiences and memory.
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One of the things I love so much about Valerie [Belin] is that she inhabits her body so completely. She has no self-consciousness about having stretch marks or having given birth. It's just so amazing that she has nothing to hide. Whereas all these other women see every little - supposed - imperfection - anything irregular is seen as an imperfection.
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My life there[in New York] was almost entirely about gay men for 30 years.
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You know it's said that you make your own face. So you don't really have a face until you are 30 or your mid-20s. When you are starting to grow up and show your character in your face.
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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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I don't think I am going to do pictures which are anything like Renaissance art.
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In America, more than half the population are overweight. It's not healthy and I'm not proud of that but I don't hate having a woman's body.
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My desire is to preserve the sense of people’s lives, to endow them with the strength and beauty I see in them. I want the people in my pictures to stare back.