Renowned photographer Nan Goldin reflects on her journey in the world of photography, stating, "I don't ever want to be susceptible to anyone else's version of my history." This sentiment resonates through her seminal photobook, The Ballad of Sexual Dependency, which was first released in 1986. As it marks its 40th anniversary, Gagosian gallery in London is showcasing all 126 photographs from this influential collection, which has previously graced prestigious venues like MoMA and Tate Modern.
Goldin dedicated the Ballad to her late sister, Barbara, who tragically passed away when Goldin was just 11. In her introduction, she expresses, "I lost the real memory of my sister... I don't ever want to lose the real memory of anyone again." This deep-rooted desire to document the lives of those around her is a central theme in her work, capturing intimate and everyday moments.
The Ballad, named after a song from Bertolt Brecht and Kurt Weill's The Threepenny Opera, features photographs taken predominantly between 1973 and 1986. Goldin's lens focuses on friends, lovers, and the vibrant personalities within her life, portraying the complexities of their relationships against the backdrop of cities like New York, Berlin, and Provincetown.
Originally conceived as a 45-minute slideshow accompanied by a diverse soundtrack, Goldin presented her work in New York's nightlife spaces, where she personally operated the projector. The slideshow's popularity led to its inclusion in the iconic 1980 exhibition, the "Times Square Show," and its eventual publication as a book by Aperture in 1987.
The images in the Ballad broke new ground, positioning Goldin as a unique voice in the art world. Her use of color photography challenged traditional notions, while her blend of personal snapshots and documentary styles elevated the genre. Critic Hilton Als noted that Goldin's work captures life as a performance, showcasing the complexities of identity and societal expectations.
Among the standout images is Nan one month after being battered (1984), a haunting self-portrait that reveals the scars of personal trauma yet retains a sense of defiance through Goldin's bold expression. Her work serves as a poignant reminder of the struggles faced by many during the tumultuous 1980s, especially as the AIDS crisis affected her community.
Goldin describes the Ballad as a diary that offers her control over her narrative, allowing her to meticulously document every detail of her life. This collection not only reflects her personal experiences but also resonates universally, encapsulating a generation's spirit and struggles.