Nan Goldin Quotes
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Some people have become [in U.S] a lot more conservative but I can't really speak about that because I wasn't there. I feel compassion for their pain but it distresses me to see them all become more patriotic.
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The only time I went out was to go to bars at night and all the pictures were taken with a flash because there was no light at all. However now I'm very interested in light.
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If I say something honestly, generally, I am being completely honest and don't tell me I am lying. It drives me crazy to be told I set up my pictures. How does it benefit me to lie? I guess they are afraid to believe it and are afraid to look at it.
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I never courted that but it's nice when it's people you respect and they respect your work. It's thrilling.
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Plastic surgery is distressingly popular and I feel that the fashion industry has killed tens of thousands of women over the years from anorexia.
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It's so rare to see a woman's sexuality, real female sexuality, either in the shows or in the clothes.
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I've got really prolific since I moved to Paris where I am living permanently, for the rest of my life, until I find another idea. I have really close women friends here: Valerie, Raymonde, not Joana so much, Maria Schneider, who was always a real heroine of mine who and has now become a close friend.
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Usually people just do their own work. But I want to deal with the place and what it means to show in a mental hospital.
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The main thing that I want to say is that I don't think women are at their most beautiful in their adolescence or in their early 20s.
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I start to paint my walls. And I'm heavily influenced by films.
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I always thought if I photographed anyone or anything enough, I would never lose the person, I would never lose the memory, I would never lose the place. But the pictures show me how much I've lost.
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My work shows the beauty in so many different kinds of people because I never photograph anyone who I don't think is beautiful. I never take an intentionally mean picture.
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In a way, it [my style] is an homage. But I didn't really know about it at first. But then when I started living in Berlin in the early '90s, I started getting ID and Dazed and Confused. I was shocked how close things were to my work.
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Of course I was wearing make-up, I never went anywhere without red lipstick for 25 years! It was a form of self-preservation for me to continue to wear lipstick even though my face was broken.
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I think the wrong things are kept private
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I usually work really instinctively and it's afterwards that I think about what it means. I don't know consciously that I have these themes that run through my work.
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I like Stella [McCartney] a lot - she's a very open and warm person. I don't particularly want to know about her background.
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One of the major things I really want to work on now is female rage because that's not dealt with at all - and I have a lot of it.
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Actually, I think what is being shown as beauty in fashion magazines right now has become particularly ugly. This kind of straight, blonde very conservative.
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I have the freedom of seeing it [churches and paintings of saints] with a non-Catholic eye without the guilt.
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The things that I look at include Renaissance art. I'm obsessed with churches and paintings of saints.
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That's where I got the idea to paint the walls of the gallery with varied colours [at the Whitechapel show]. I tried to figure out how all these Renaissance paintings manage to work together.
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I have very healthy strong relationships with women.
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One of the fashion things I ever did was for Helmut Lang for Visionaire magazine and I used people from all genders. People from the age of 18 - like James King - to people like my friend Sharon [Stone] who's about 50 or older. People of all different shapes and literally all different genders and my boyfriend at the time and his daughter who was 11.