Nan Goldin

two people sitting in the back seat of a car

Tumblr

NAN GOLDIN | KIM & MARK IN THE RED CAR | NEWTON | 1978

Nan Goldin Photography

Elephant Mask

Contemporary Fine Art Photography

Mo Farah

Stedelijk Museum

Photographic Projects

Terry Richardson

Experimental Photography

The 20 photographs of the week

Nan Goldin

a woman sitting in a chair next to a dog on the floor with her legs crossed

Feral Frocks and Frills

Nan Goldin More

a person sitting at a table in front of a window looking out to the ocean

Nan Goldin - Anthony by the Sea, Brighton, England 1979, a work from the series The Ballad of Sexual Dependency.

a woman is looking at her reflection in the mirror

Belly Button Photography

Underground Artist Aesthetic

Quotes of the Day : Nan Goldin

NAN GOLDIN | 23. Nella revisione modernista la dialettica arte-documento rappresenta chiaramente uno strumento critico nei confronti del posmodernismo, ma anche il rifiuto di un naturalismo ossessionante. Nei 90 l'idea di documento incarnata dalla fotografia non ha ancora trovato la sua autonomia, ma la persegue come un dato modernista di de-teatralizzazione.

two people sitting in the back seat of a car, one holding a coffee cup

Saul Leiter

Winterthur

Cinematic Photography

Documentary Photography

Drugs, Sex, Art: Nan Goldin

9yOtSfl2Foi8s8saHvK4qfTgo1_500

a woman is leaning on a pole in a black dress and tights with her legs crossed

BLACK ALBUM ///

Kate by nan goldin. I have a major short hair rush again.

a young man sitting on a bus looking out the window

Levitation Photography

Double Exposure Photography

Subway Train

Nyc Photography

Water Photography

Nan Goldin - Photographs London Friday, May 16, 2008 | Phillips

NAN GOLDIN, Simon on the Subway, NYC, 1998

a pink couch sitting on top of a hard wood floor next to a fire place

Velvet Trend

The Haunting Of Hill House

Pink Couch

Haunting Of Hill House

Distressed Walls

404 Not Found

Nan Goldin Flits - kader - kleur - contrast

Quotes of the Day : Nan Goldin

NAN GOLDIN | 23. Nella revisione modernista la dialettica arte-documento rappresenta chiaramente uno strumento critico nei confronti del posmodernismo, ma anche il rifiuto di un naturalismo ossessionante. Nei 90 l'idea di documento incarnata dalla fotografia non ha ancora trovato la sua autonomia, ma la persegue come un dato modernista di de-teatralizzazione.