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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Stella McCartney is [my] big fan.
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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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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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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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Yes, photography saved my life. Every time I go through something scary, traumatic, I survive by taking pictures.
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One of my assistants, a British man, says I should find a platform for [cosmetic industry]. Meanwhile I wear make-up.
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I don't even like photography at all. I'm just doing photography until I can do something better.
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I feel like if I started to use it [camera] that way, it would be like a sin almost. I never show people ugly pictures I take of them. I usually destroy them. So even if I like it, and they don't, it doesn't get shown.
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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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The complete disregard for the camera's presence indicates its complete saturation in their lives. The subject neither notices nor seems to care that someone has been invited into their private moment.
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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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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 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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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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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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I have the freedom of seeing it [churches and paintings of saints] with a non-Catholic eye without the guilt.
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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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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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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.
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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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I have very healthy strong relationships with women.
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I think the wrong things are kept private
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I think it's obscene that many people are starving to death from anorexia. It's been said many times, it's trite. But when so much evil is going on against, for example the Afghani people, where women are being so oppressed that a woman's body is a battlefield.