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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I don't think of Maria Schneider like idol anymore, because I worshipped her when I was young.
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At the same time as the UK Vogue one, I did a shoot that took about 40 days of friends and people I admired in Paris, for French Vogue. This is how I met Maria Schneider in June and which began our friendship.
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I had said that when the first Bush got elected that I would leave the country. And when the second Bush wasn't even elected properly.
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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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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 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'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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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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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.
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I don't know if Yves St Laurent likes my work but Pierre Bergé does.
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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 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 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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My work is mostly about memory. It is very important to me that everybody that I have been close to in my life I make photographs of them.
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She has that kind of baby face, a very young face. So I was interested in working with Kate [Moss].
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I don't think I am going to do pictures which are anything like Renaissance art.
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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 did [heroin] maybe when I was 18 but I got over that pretty quickly.
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If I want to take a picture, I take it no matter what.
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I used to think that I could never lose anyone if I photographed them enough. In fact, my pictures show me how much I’ve lost.
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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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My life there[in New York] was almost entirely about gay men for 30 years.