The Devil's Playground: 0000

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This chapter was hard for me to go through in the library, having people around me, watching me watch other people being naked in a personal and intimate moment. It also presents over three hundred prints of photographs taken since the 1970s, with a particular attention towards her recent works. At the same time, her art visualizes what characterizes personal memory and distinguishes it from the collective – the way we have of ‘filing away’ life in idiosyncratic fashion, like a fluid and changing universe of traces and details, and without objective relationships of scale among the various memories. Nan Goldin’s art evokes what personal memory fails to preserve – a person’s glance, the texture of skin, or the feel of flesh.

Every shot is the maximum moment of an encounter, that instant that inevitably precedes separation, the lens that closes, darkness. while “Mon am'” portrays another more mature couple of friends, with occasional apparitions of the woman’s child ( Valerie and Bruno Sex, Hand on Wall, Paris, 2001; Valerie, Bruno and Mel Laughing in Bed, Paris, 2001; etc. Jens' Hand on Clemen's Back,Paris2001" by Nan Goldin is a large format silkscreen limited print edition of 100. This book is a special edition of The Devil's Playground that is beautifully bound, signed and numbered.

Since the 1980s Goldin's photographs have been exhibited internationally, at the San Francisco Museum of Modern Art in California, the Whitney Museum of American Art in New York, the Stedelijk Museum in Amsterdam, the Centre Georges Pompidou in Paris and the Museu Reina Sofia in Madrid. Jens' Hand on Clemen's Back" by Nan Goldin is a large format silkscreen limited print edition of 100. C. in 1953, the artist spent her early childhood in a typical residential neighborhood of the great American suburbs. Being surrounded by other people while observing such photos seems almost like unacceptable, but I still went through the pictures with awe how interesting the moments captured were and how uncomfortable I was feeling while watching them. Voyuerism usually comes as a secreat obsession or sexual desire, that one experiences/enjoys by themselves.

In the Times Square bar where she worked to earn money, or at underground cinemas and downtown clubs, she projected unique slide shows. The mysteryof loss, the depth of feelings it arouses, as well as the spiritual longing it triggers, are also expressed through powerful images of relics, ex-voto and religious images ( Skulls and Tears, Chapel of Salpétrière, Paris, 1999; Masectomy ex-voto, Madonna dell’Arco, Somma Vesuviana, 1996). Instead she is a modern photographer, someone who still believes in the capacity of the photographic image to represent the truth, to indicate and make a memorial from authentic experiences. After attending the Boston School of Fine Arts, Goldin moved to New York in 1978, drawn by the myth of the artist’s life in the big city.I can say that I now see how people feel while looking my pictures as for some they could indicate the same exact feeling that I felt right at the moment of reading through the pictures. This is the Special Collectors edition of The Devil's Playground, limited to 100 copies, SIGNED and numbered by Nan Goldin. By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions. Since the mid-1990s, Goldin’s images have become more tender and more infused with light, more about connection than alienation. The Devil's Playground is the first major book to be published on Goldin's work since 1996 and it is by far her most important to date.

Goldin's life and friends became the focus of her work - a diary of friends and lovers in Europe and America, in the underground and gay scene. The underlying theme of survival – the artist’s own as well as that of others – is present throughout Goldin’s oeuvre – but it emerges forcefully in these recent pictures, after the loss of many of her friends to AIDS and drugs over the years. She became immersed in the intense climate of the East Village in the late 1970s and early 1980s, with its parties, music, film scene, drugs, and both heterosexual and homosexual sexual experiences.This book features a significant body of latest work by Goldin, including photographs from new series such as Still on Earth (1997-2001), 57 Days (2000) and Elements (1995-2003), many of which are previously unpublished.