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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.
Nan Goldin -
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.
Nan Goldin
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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.
Nan Goldin -
My work is received more intelligently in Europe.
Nan Goldin -
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.
Nan Goldin -
I start to paint my walls. And I'm heavily influenced by films.
Nan Goldin -
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.
Nan Goldin -
No place could be less sympathetic to my politics than America.
Nan Goldin
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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.
Nan Goldin -
Now what I like is that other artists know my work and are interested in me or want to collaborate.
Nan Goldin -
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.
Nan Goldin -
I think the wrong things are kept private
Nan Goldin -
The things that I look at include Renaissance art. I'm obsessed with churches and paintings of saints.
Nan Goldin -
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.
Nan Goldin
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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.
Nan Goldin -
I love all the Hollywood women. I saw all the films when I was a teenager. Jack Smith's "Flaming Creatures".
Nan Goldin -
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.
Nan Goldin -
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.
Nan Goldin -
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.
Nan Goldin -
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.
Nan Goldin
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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.
Nan Goldin -
I like it [Rotterdam] much better than Amsterdam which is too much like a postcard. It's too cute for me. Rotterdam is more real, it's got a stomach.
Nan Goldin -
I have the freedom of seeing it [churches and paintings of saints] with a non-Catholic eye without the guilt.
Nan Goldin -
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.
Nan Goldin