Nan Goldin

File:The Hug (Nan Goldin).jpg

Goldin was born in Washington, D.C., in 1953{{Cite book |title=Great women artists |date=2019 |publisher=Phaidon Press |isbn=978-0714878775 |page=155}} to middle-class Jewish parents, and grew up in the Boston suburb of Swampscott, moving to Lexington in her teens. Goldin's father worked in broadcasting and served as the chief economist for the Federal Communications Commission.{{Cite news |last=Solomon |first=Deborah |author-link=Deborah Solomon |date=October 9, 1996 |title=Nan Goldin: Scenes From the Edge |url=https://www.wsj.com/articles/SB844810967532358500 |archive-url=https://web.archive.org/web/20170222193915/https://www.wsj.com/articles/SB844810967532358500 |archive-date=February 22, 2017 |work=The Wall Street Journal}} Goldin had early exposure to tense family relationships, as her parents often argued about Goldin's older sister Barbara who ultimately committed suicide when Goldin was 11: "This was in 1965, when teenage suicide was a taboo subject. I was very close to my sister and aware of some of the forces that led her to choose suicide. I saw the role that her sexuality and its repression played in her destruction. Because of the times, the early sixties, women who were angry and sexual were frightening, outside the range of acceptable behavior, beyond control. By the time she was eighteen, she saw that her only way to get out was to lie down on the tracks of the commuter train outside of Washington, D.C. It was an act of immense will."{{Cite web |last=Goldin |first=Nan |title=The Ballad of Sexual Dependency (Introduction) |url=https://aperture.org/shop/nan-goldin-ballad/ |url-status=dead |archive-url=https://web.archive.org/web/20180305142526/https://aperture.org/shop/nan-goldin-ballad/ |archive-date=March 5, 2018 |access-date=4 March 2018 |website=Aperture.org}}

Goldin began to smoke marijuana and date an older man. She left home by age 13 and subsequently lived in various foster homes.{{Cite encyclopedia |title=Nan Goldin, American photographer |encyclopedia=Encyclopedia Britannica |url=https://www.britannica.com/biography/Nan-Goldin |access-date=September 29, 2024 |date=September 8, 2024}} At 16 she enrolled at the Satya Community School in Lincoln, MA, that followed the educational concept of Summerhill.{{Cite news|url=https://www.theguardian.com/artanddesign/2014/mar/23/nan-goldin-photographer-wanted-get-high-early-age|title=Nan Goldin: 'I wanted to get high from a really early age'|last=O'Hagan|first=Sean|date=March 22, 2014|newspaper=The Guardian|access-date=16 February 2017|issn=0261-3077|archive-date=January 23, 2018|archive-url=https://web.archive.org/web/20180123153109/https://www.theguardian.com/artanddesign/2014/mar/23/nan-goldin-photographer-wanted-get-high-early-age|url-status=live}} After Polaroid donated some cameras to the school, a staff member (existential psychologist Rollo May's daughter) introduced Goldin to photography in 1969 when she was sixteen years old.{{Cite magazine |last=Als |first=Hilton |date=June 27, 2016 |title=Nan Goldin's Life in Progress |url=https://www.newyorker.com/magazine/2016/07/04/nan-goldins-the-ballad-of-sexual-dependency |access-date=4 March 2018 |magazine=The New Yorker |issn=0028-792X}} (paywall after three free articles) She got to be the school photographer and became "obsessed with recording my life".Interview with Mark Holborn, in: Aperture #103, 1986, p. 58. Still struggling from her sister's death, Goldin used the camera to cherish her relationships with those she photographed.{{Cite book |last=Goldin |first=Nan |title=The Ballad of Sexual Dependency |date=1986 |publisher=Aperture Foundation |isbn=0893812366 |editor-last=Goldin |editor-first=Nan |location=New York |editor-last2=Heiferman |editor-first2=Marvin |editor-last3=Holborn |editor-first3=Mark |editor-last4=Fletcher |editor-first4=Suzanne}} At first she tried to emulate early as well as contemporary fashion photography by the likes of Guy Bourdin and Helmut Newton in French and Italian Vogue magazine issues she stole and then she and her peers would be occupied with for hours. Henry Horenstein, whose evening class at New England School of Photography Goldin attended, appreciated her pictures and showed her Larry Clark's book Tulsa'' that had just come out in 1971 and documented Clark's life within a group of "speedfreaks". It opened her eyes and shifted her focus from fashion to art photography. Through Horenstein Goldin also got to know the work of August Sander and Lisette Model (Goldin attended a class by her in 1974). She finally enrolled at the School of the Museum of Fine Arts in Boston with her friend from Satya, David Armstrong. There she met Philip-Lorca diCorcia and Mark Morrisroe, and began to photograph in color.Sussman, Elisabeth. "Nan Goldin: [de:Zeitbilder]", p. 30, in: {{Cite book |title=Nan Goldin – I'll Be Your Mirror |date=1996 |publisher=Whitney Museum of American Art and Scalo |location=New York and Zurich |isbn=978-3-931141-33-2 |editor-last=Sussman |editor-first=Elisabeth |editor-last2=Armstrong |editor-first2=David}}

Goldin's first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transgender communities, to which she had been introduced by her friend David Armstrong.{{cite news|last1=Burton|first1=Johanna|title=Nan Goldin|id={{ProQuest|914170687}}}} While living in downtown Boston at age 18, Goldin "fell in with the drag queens," living with them and photographing them.Westfall, Stephen. "The Ballad of Nan Goldin." Bomb No. 37 (1991): 27–31. Retrieved Mar 3, 2015. Among her work from this period is Ivy wearing a fall, Boston (1973). Unlike some photographers who were interested in psychoanalyzing or exposing the queens, Goldin admired and respected their sexuality. Goldin said, "My desire was to show them as a third gender, as another sexual option, a gender option. And to show them with a lot of respect and love, to kind of glorify them because I really admire people who can re-create themselves and manifest their fantasies publicly. I think it's brave".

Goldin admitted to being romantically in love with a queen during this period of her life in a Q&A with Bomb "I remember going through a psychology book trying to find something about it when I was nineteen. There was one little chapter about it in an abnormal psych book that made it sound so ... I don't know what they ascribed it to, but it was so bizarre. And that's where I was at that time in my life".

Goldin describes her life as having been completely immersed in that of the queens. "I lived with them; it was my whole focus. Everything I did – that's who I was all the time. And that's who I wanted to be". However, upon attending the School of the Museum of Fine Arts in Boston, when her professors told her to go back and photograph queens again, Goldin admitted her work was not the same as when she had lived with them. Goldin graduated from the School of the Museum of Fine Arts in 1977/1978, where she had worked mostly with Cibachrome prints, but also had begun showing slides. Her work from this period is associated with the Boston School of Photography.{{cite web|title=Emotions and Relations: Photographs by David Armstrong, Nan Goldin, Philip Lorca DiCorcis, Mark Morrisroe, and Jack Pierson |url=http://www.photoeye.com/bookstore/citation.cfm?catalog=TD034&i=&i2= |website=photo-eye |publisher=Taschen |url-status=dead |archive-url=https://web.archive.org/web/20150425162245/http://www.photoeye.com/bookstore/citation.cfm?catalog=TD034&i=&i2= |archive-date=April 25, 2015 }}

Following graduation, Goldin moved to New York City.{{cite web|url=http://www.gagosian.com/exhibitions/nan-goldin--march-21-2014|title=Nan Goldin: Scopophilia, March 21 – May 24, 2014|url-status=dead|archive-url=https://web.archive.org/web/20140323233718/http://www.gagosian.com/exhibitions/nan-goldin--march-21-2014|archive-date=March 23, 2014|website=Gagosian Gallery}} She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. Her first slideshow in New York was at the birthday party of Frank Zappa at the Mudd Club, with her boyfriend acting as deejay, while on another occasion a live band (the Del Byzanteens featuring Jim Jarmusch) accompanied the screening. A first exposure to a wider audience was her participation in the 1981 exhibition New York/New Wave at PS1.{{cite web |title=New York/New Wave (Feb 15–Apr 5, 1981, MoMA PS1) |type=Archive |url=https://www.moma.org/calendar/exhibitions/4213 |website=The Museum of Modern Art }}

In the young, sex-affirmative, hard-drug subculture of the Bowery neighborhood she found her "tribe," which became the subject of her photographs taken between 1979 and 1986. These pictures constitute her slideshow The Ballad of Sexual Dependency, which she initially showed to her peers in clubs and other venues they frequented. Their immediate reaction to the pictures shaped its constantly evolving form. Later versions of the cycle had around 700 images screened in about 45 minutes (ca. 3 seconds per slide). After the slideshow was screened at the Whitney Biennial in 1985, it was published as a book a year later by Aperture with help from Marvin Heiferman, Mark Holborn, and her friend Suzanne Fletcher.{{cite book|last1=Goldin|first1=Nan|last2=Heiferman|first2=Marvin|last3=Holborn|first3=Mark|last4=Fletcher|first4=Suzanne|title=The Ballad of Sexual Dependency|date=2012|edition=2|orig-year=1986|publisher=Aperture Foundation|location=New York City|isbn=978-1-59711-208-6}}

Taken from a song in Bertolt Brecht's Threepenny Opera,Brecht, Bertolt. Three Penny Opera, Act II, song 12. which served as opener for the slideshow, the title printed on flyers and posters for the events was originally an undefined plural, Ballads of Sexual Dependency, referring to the slideshow's deejayed soundtrack with songs by The Velvet Underground, Screamin' Jay Hawkins, Yoko Ono ("She Fights Back"), Petula Clark ("Downtown"), Dionne Warwick ("Don't Make Me Over"), Dean Martin ("Memories"), Nina Simone, chansons by Boris Vian ("Fais-moi mal, Johnny"), Charles Aznavour and Edith Piaf, arias sung by Maria Callas a. o. The book's 125 pictures were sequenced in a similar way with song titles.

The snapshot aesthetic images were dominantly taken indoors and by night: "That series is stark. It's all flash-lit. I honestly didn't know about natural light then and how it affected the colour of the skin because I never went out in daylight." They depict autobiographical moments, mostly of friends, women and men for themselves and couples, often nude, some causual, some explicit, but also a small spread with kids and groups of people partying; they show love, joy and confidence, but also vulnerability, tears and the result of violence, especially an incident at the end of her intense relationship with Brian, who is subject of many images as well as on the book cover. Her self-portrait, "Nan One Month After Being Battered, 1984", was called the center-piece of the Ballad.The Ballad of Sexual Dependency, edited by Goldin, Marvin Heiferman, Mark Holborn and Suzanne Fletcher. New York: Aperture, 1986, p. 83. In her foreword to the book she describes it as a "diary [she] lets people read" of people she referred to as her "tribe". Part of Ballad was driven by the need to remember her chosen family. Photography was a way for her to hold onto her friends, she hoped.{{Cite book|title=Fantastic Tales|last=Goldin|first=Nan|publisher=Palmer Museum of Art in association with The Pennsylvania State University Press |location=University Park, Penn. |year=2005|isbn=9780911209631}}

The photographs show a transition through Goldin's travels and her life. Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller.Curley, Mallory. A Cookie Mueller Encyclopedia, Randy Press, 2010. In 2003, The New York Times nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years."Tillman, Lynne. "A New Chapter of Nan Goldin's Diary." The New York Times, November 16, 2003. In addition to the Ballad, she combined her Bowery pictures in two other series: I'll Be Your Mirror and All by Myself.

Beside the Ballad, Goldin's work series are most often presented in the form of a slideshow, and have been shown at galleries, museums, photo and film festivals. The main themes of her early pictures are love, gender, domesticity, and sexuality. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency.{{citation | title= Nan Goldin at Pa. Academy of Fine Arts | publisher= Blouinartinfo | date= September 11, 2007 | url= http://www.blouinartinfo.com/news/story/9149/nan-goldin-at-pa-academy-of-fine-arts | access-date= 23 April 2008 | archive-date= June 12, 2018 | archive-url= https://web.archive.org/web/20180612145853/http://www.blouinartinfo.com/news/story/9149/nan-goldin-at-pa-academy-of-fine-arts | url-status= dead }} In the book Auto-Focus, her photographs are described as a way to "learn the stories and intimate details of those closest to her". The book speaks of her uncompromising manner and style when photographing acts such as drug use, sex, violence, arguments, and traveling and references one of Goldin's photographs "Nan One Month After Being Battered, 1984"{{cite web|last1=Tate|access-date=2022-05-23|title='Nan one month after being battered', Nan Goldin, 1984|url=https://www.tate.org.uk/art/artworks/goldin-nan-one-month-after-being-battered-p78045|website=Tate|archive-date=March 28, 2022|archive-url=https://web.archive.org/web/20220328183247/https://www.tate.org.uk/art/artworks/goldin-nan-one-month-after-being-battered-p78045|url-status=live}} as an iconic image which she uses to reclaim her identity and her life.{{cite book|last=Bright|first=Susan|title=Auto Focus: The Self-Portrait in Contemporary Photography |year=2010|publisher=Monacelli Press|location=[New York]|isbn=978-1-58093-300-1|page=000}}

Goldin's work since 1995 has included a wide array of subject matter: a collaborative book project with Japanese photographer Nobuyoshi Araki; New York City skylines and uncanny landscapes; people (notably in water) and her lover, Siobhan; and babies, parenthood and family life.

In 2000, her hand was injured and she currently retains less ability to handle a camera.

File:Christmas at the other side.jpg

In 2006, her exhibition, Chasing a Ghost, opened in New York. It was the first installation by her to include moving pictures, a fully narrative score, and voiceover, and included the three-screen slide and video presentation Sisters, Saints, & Sybils, which premiered in Paris the year before. The work involved her sister Barbara's suicide and how she coped through production of numerous images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her gravitation towards working with films.{{citation | title=Nan Goldin | author=Robert Ayers | publisher=Blouinartinfo | date=March 27, 2006 | url=http://www.blouinartinfo.com/artists/72685-nan-goldin | access-date=23 April 2008 | archive-date=February 8, 2019 | archive-url=https://web.archive.org/web/20190208141440/https://www.blouinartinfo.com/artists/72685-nan-goldin | url-status=dead }} Archive-url only shows html code of page (2024-10-03).

After some time, her photos moved from portrayals of dangerous youthful abandonment to scenes of parenthood and family life in progressively worldwide settings. Goldin currently resides and works in New York, Paris, as well as London.{{Cite web|url=https://www.guggenheim.org/artwork/artist/nan-goldin|title=Guggenheim Collection Online, Nan Goldin|website=guggenheim.org|access-date=7 March 2018|archive-date=March 8, 2018|archive-url=https://web.archive.org/web/20180308231557/https://www.guggenheim.org/artwork/artist/nan-goldin|url-status=live}}

Goldin has undertaken commercial fashion photography—for Australian label Scanlan & Theodore's Spring/Summer 2010 campaign, shot with model Erin Wasson; for Italian luxury label Bottega Veneta's Spring/Summer 2010 campaign with models Sean O'Pry and Anya Kazakova, evoking memories of her Ballad of Sexual Dependency;Ann Binlot (January 3, 2012), [http://www.blouinartinfo.com/news/story/754977/bottega-veneta-taps-jack-pierson-for-latest-arty-ad-campaign Bottega Veneta Taps Jack Pierson for Latest Arty Ad Campaign] {{Webarchive|url=https://web.archive.org/web/20180612141934/http://www.blouinartinfo.com/news/story/754977/bottega-veneta-taps-jack-pierson-for-latest-arty-ad-campaign |date=June 12, 2018 }} Blouinartinfo. for shoemaker Jimmy Choo in 2011 with model Linda Vojtova;Ann Binlot (October 18, 2011), [http://www.blouinartinfo.com/visual-arts/article/38892-the-ballad-of-shoe-dependency-nan-goldin-shoots-a-new-ad-campaign-for-jimmy-choo The Ballad of Shoe Dependency: Nan Goldin Shoots a New Ad Campaign for Jimmy Choo] {{Webarchive|url=https://web.archive.org/web/20180612143439/http://www.blouinartinfo.com/visual-arts/article/38892-the-ballad-of-shoe-dependency-nan-goldin-shoots-a-new-ad-campaign-for-jimmy-choo |date=June 12, 2018 }} Blouinartinfo. for Dior in 2013, 1000 LIVES, featuring Robert Pattinson;{{cite web |title=Robert Pattinson Confirmed as New Face of Dior |author=Charlotte Cowles |date=June 12, 2013 |work=New York Magazine |url=https://nymag.com/thecut/2013/06/robert-pattinson-confirmed-as-new-face-of-dior.html |access-date=June 12, 2013 |archive-date=June 16, 2013 |archive-url=https://web.archive.org/web/20130616071242/http://nymag.com/thecut/2013/06/robert-pattinson-confirmed-as-new-face-of-dior.html |url-status=live }} and for Gucci in 2024, featuring Debbie Harry and Kelsey Lu, among others.Hikmat Mohammed (5 December 2024), [https://wwd.com/fashion-news/fashion-features/gucci-campaign-photos-for-sale-gagosian-nan-goldin-interview-1236750999/ Nan Goldin Talks Putting Intimate Gucci Campaign Photos Up for Sale at Gagosian] ARTnews.

In March 2018, clothing brand Supreme released a collaborative range with Goldin as part of their Spring/Summer 2018 collection. This consisted of jackets, sweatshirts and t-shirts in various colors, with designs titled "Misty and Jimmy Paulette", "Kim in Rhinestone" and "Nan as a dominatrix".{{cite web|url=https://www.vogue.co.uk/gallery/supreme-nan-goldin-collaboration|title=Supreme Announces Nan Goldin Collaboration|publisher=British Vogue|last=Singer|first=Olivia|date=March 26, 2018|access-date=February 17, 2019}}

Some critics have accused Goldin of making heroin use appear glamorous and of pioneering a grunge style that later became popularized by youth fashion magazines such as The Face and I-D.{{Cite news|url=https://www.nytimes.com/1997/05/20/style/a-death-tarnishes-fashion-s-heroin-look.html|title=A Death Tarnishes Fashion's 'Heroin Look'|last=Spindler|first=Amy M.|date=May 20, 1997|work=The New York Times|access-date=20 March 2018|issn=0362-4331|archive-date=January 27, 2024|archive-url=https://web.archive.org/web/20240127172708/https://www.nytimes.com/1997/05/20/style/a-death-tarnishes-fashion-s-heroin-look.html|url-status=live}} However, in a 2002 interview with The Observer, Goldin herself called the use of "heroin chic" to sell clothes and perfumes "reprehensible and evil."{{citation | title=The dark room |author= Sheryl Garratt|newspaper= The Guardian|date=January 6, 2002|access-date=8 March 2010|url=https://www.theguardian.com/theobserver/2002/jan/06/features.magazine27|quote= "I never took pictures of people doing heroin to sell clothes. And I have a bit of a problem with it. Like this Dior campaign right now, where the girl is really dope-sick then she sprays Addiction perfume and suddenly she's high. I find that really reprehensible and evil."}} Goldin admits to having a romanticized image of drug culture at a young age, but she soon saw the error in this ideal: "I had a totally romantic notion of being a junkie. I wanted to be one." Goldin's substance usage stopped after she became intrigued with the idea of memory in her work, "When people talk about the immediacy in my work, that's what its about: this need to remember and record every single thing."{{Cite web|url=https://bombmagazine.org/articles/nan-goldin/|title=Nan Goldin |first=Stephen |last=Westfall |work=Bomb Magazine|date=October 1991 |access-date=20 March 2018}}

Goldin's interest in drugs stemmed from a sort of rebellion against parental guidance that parallels her decision to run away from home at a young age, "I wanted to get high from a really early age. I wanted to be a junkie. That's what intrigues me. Part was the Velvet Underground and the Beats and all that stuff. But, really, I wanted to be as different from my mother as I could and define myself as far as possible from the suburban life I was brought up in."

Goldin denies the role of voyeur; she is instead a queer insider sharing the same experiences as her subjects: "I'm not crashing; this is my party. This is my family, my history." She insists her subjects have veto power over what she exhibits.{{Cite book|title=Variety. Photographs by Nan Goldin|last=Crump|first=James|publisher=Skira Rizzoli |location=New York |year=2009|isbn=9780847832552 }} In Fantastic Tales Liz Kotz criticizes Goldin's claim that she is just as much a part of what she is photographing rather than exploiting her subjects. Goldin's insistence on intimacy between artist and subject is an attempt to relegitimize the codes and conventions of social documentary, presumably by ridding them of their problematic enmeshment with the histories of social surveillance and coercion, says Kotz. [Her] insider status does nothing to alter the way her pictures convert her audience into voyeurs.

Goldin's The Ballad of Sexual Dependency critiques gender norms ("clichés" as she calls them) by highlighting the collective human desire to form connections regardless of the emotional or physical cost.{{Cite book |last=Friedling |first=Melissa Pearl |date=2019-06-04 |title=Recovering Women |doi=10.4324/9780429303975 |url=http://dx.doi.org/10.4324/9780429303975 |isbn=9780429303975 |s2cid=199141219 }} Throughout Ballad, Goldin showcases some difficult moments for both herself and her friends, especially in relation to their codependency in search of genuine connection. Her friends are a diverse cast consisting of many non-conforming gender identities and sexualities; Goldin's photography exposes many narratives that most would turn a blind eye to, such as the intense intimacy and pain of same-sex relationships. The AIDS epidemic cost most of Goldin's friends their lives, now preserved in time through the photos that she captured of them. Throughout this period of loss, the desire for connection was further perpetuated and Goldin and her remaining friend group found it essential to remain in close contact with one another. This constant desire for intimacy and connection highlights the similarities amongst people, despite their more obvious differences, emphasizing the societally upheld "differences" between men and women.

Her friends and colleagues Peter Hujar, Larry Clark, and David Wojnarowicz, as well as historical figures like August Sander and Claude Cahun were all major influences to Goldin's work.{{Cite web |last=Rosen |first=Miss |date=3 August 2020 |title=Nan Goldin Shares the Photography That Inspires Her |url=https://www.huckmag.com/article/nan-goldin-shares-the-photography-that-inspires-her |access-date=December 13, 2023 |website=huckmag |archive-date=December 14, 2023 |archive-url=https://web.archive.org/web/20231214013550/https://www.huckmag.com/article/nan-goldin-shares-the-photography-that-inspires-her |url-status=live }}

Both Goldin and Diane Arbus celebrate those who live marginal lives. Stills from Variety are compared to Arbus' magazine work; the Variety series portray "the rich collision of music, club life, and art production of the Lower East Side pre and post AIDS period". Both artists ask to reexamine artists' intentionality.

One of the reasons Goldin began photographing was Michelangelo Antonioni's Blow Up (1966). The sexuality and glamour of the film exerted a "huge effect" on her. Referring to images shown in Ballad, "the beaten down and beaten up personages, with their gritty, disheveled miens, which populate these early pictures, often photographed in the dark and dank, ramshackle interiors, relate physically and emotionally to the alienated and marginal character types that attracted Antonioni."

The youths in Larry Clark's Tulsa (1971) presented a striking contrast to any wholesome, down-home stereotype of the heartland that captured the collective American imagination. He turned the camera on himself and his lowlife amphetamine-shooting board of hanger-ons. Goldin would adopt Clark's approach to image-making.

{{See also|Opioid epidemic|Opioid epidemic in the United States}}

In 2017, in a speech in Brazil, Goldin revealed she was recovering from opioid addiction,{{Cite web|url=https://www.theguardian.com/artanddesign/2018/jan/22/nan-goldin-interview-us-opioid-epidemic-heroin-addict-oxycontin-sackler-family|title='I don't know how they live with themselves' – artist Nan Goldin takes on the billionaire family behind OxyContin|last=Walters|first=Joanna|date=January 22, 2018|website=The Guardian|access-date=22 January 2018|archive-date=January 22, 2018|archive-url=https://web.archive.org/web/20180122071011/https://www.theguardian.com/artanddesign/2018/jan/22/nan-goldin-interview-us-opioid-epidemic-heroin-addict-oxycontin-sackler-family|url-status=live}} specifically to OxyContin, after being prescribed the drug after wrist surgery.{{cite news|first1=Joanna|last1=Walters|access-date=24 March 2019|title=Tate art galleries will no longer accept donations from the Sackler family|url=https://www.theguardian.com/artanddesign/2019/mar/21/tate-art-galleries-will-no-longer-accept-donations-from-the-sackler-family|newspaper=The Guardian|date=March 22, 2019|issn=0261-3077|archive-date=March 22, 2019|archive-url=https://web.archive.org/web/20190322064850/https://www.theguardian.com/artanddesign/2019/mar/21/tate-art-galleries-will-no-longer-accept-donations-from-the-sackler-family|url-status=live}} She had sought treatment for her addiction and battled through rehab. This led to her setting up a campaign called Prescription Addiction Intervention Now (P.A.I.N.) pursuing social media activism directed against the Sackler family for their involvement in Purdue Pharma, manufacturers of OxyContin.{{Cite news|url=https://www.artforum.com/inprint/issue=201801&id=73181|title= I Survived the Opioid Crisis |author=Nan Goldin |work=Artforum |access-date=22 January 2018 |archive-url=https://web.archive.org/web/20180103074116/https://www.artforum.com/inprint/issue%3D201801%26id%3D73181|archive-date=3 January 2018|url-status=dead}} Goldin has said the campaign attempts to contrast the philanthropic contributions of the Sackler family to art galleries, museums and universities with a lack of responsibility taken for the opioid crisis. Goldin became aware of the Sackler family in 2017.

In 2018, she organized a protest in the Sackler Wing's Temple of Dendur at The Metropolitan Museum of Art. The protest called for museums and other cultural institutions not to accept money from the Sackler family.{{Cite news|url=https://www.nytimes.com/2018/03/10/us/met-museum-sackler-protest.html|title=Opioid Protest at Met Museum Targets Donors Connected to OxyContin|last=Moynihan|first=Colin|date=March 10, 2018|work=The New York Times|access-date=20 March 2018|issn=0362-4331}}

Also in 2018, she was one of several artists who participated in a $100 sale organized by Magnum Photos and Aperture to raise funds for Goldin's opioid awareness group P.A.I.N. (Prescription Addiction Intervention Now).{{Cite web|url=https://news.artnet.com/art-world/aperture-magnum-nan-goldin-1379896|title=Nan Goldin Is Selling Signed Prints for $100 to Support Victims of the Opioid Crisis|date=October 29, 2018|website=artnet News|access-date=11 April 2019|archive-date=April 11, 2019|archive-url=https://web.archive.org/web/20190411181822/https://news.artnet.com/art-world/aperture-magnum-nan-goldin-1379896|url-status=live}}

"I've started a group called P.A.I.N. to address the opioid crisis. We are a group of artists, activists and addicts that believe in direct action. We target the Sackler family, who manufactured and pushed OxyContin, through the museums and universities that carry their name. We speak for the 250,000 bodies that no longer can."

She also said that she would withdraw from a retrospective exhibition of her work at the National Portrait Gallery in London if they did not turn down a gift of £1 million from the Sacklers.{{cite news|url=https://www.theguardian.com/artanddesign/2019/feb/16/nan-goldin-sackler-gift-oxycontin-national-portrait-gallery|title=Nan Goldin threatens London gallery boycott over £1m gift from Sackler fund|work=The Guardian|last1=Walters|first1=Joanna|last2=Thorpe|first2=Vanessa|date=February 17, 2019|access-date=February 17, 2019|archive-date=March 23, 2019|archive-url=https://web.archive.org/web/20190323041149/https://www.theguardian.com/artanddesign/2019/feb/16/nan-goldin-sackler-gift-oxycontin-national-portrait-gallery|url-status=live}} The gallery subsequently said it would not proceed with the donation.{{cite news|first1=Nadeem|last1=Badshah|access-date=19 March 2019|title=National Portrait Gallery turns down £1m grant from Sackler family|url=https://www.theguardian.com/artanddesign/2019/mar/19/national-portrait-gallery-turns-down-grant-from-sackler-family-oxycontin|newspaper=The Guardian|date=March 19, 2019|issn=0261-3077}}

Two days after the National Portrait Gallery statement, the Tate group of British art galleries (Tate Modern and Tate Britain in London, Tate St Ives and Tate Liverpool) announced it would no longer accept any gifts offered by members of the Sackler family, from whom it had received £4 million. Tate Modern had been planning to display its copy of Goldin's The Ballad of Sexual Dependency slideshow, for a year from April 15, 2019.{{cite news|first1=Joanna|last1=Walters|access-date=24 March 2019|title='This is blood money': Tate shuns Sacklers – and others urged to follow|url=https://www.theguardian.com/artanddesign/2019/mar/24/sackler-money-tate-modern-art-nan-goldin-oxycontin|newspaper=The Guardian|date=March 24, 2019|issn=0261-3077}} Goldin had not discussed the show with Tate.

Goldin identified that Tate, which has received Sackler money, paid her for one of the ten copies of The Ballad of Sexual Dependency in 2015, when she was deeply addicted to OxyContin. She says she spent some of the money on buying black market OxyContin, as doctors would no longer prescribe her the drug.

In July 2019, Goldin and others from the group Prescription Addiction Intervention Now staged a protest in the fountain at the Louvre in Paris. The protest was to try to persuade the museum to change the name of its Sackler wing, which is made up of 12 rooms.{{cite news|first1=Angelique|last1=Chrisafis|access-date=2 July 2019|title=Artist Nan Goldin protests against Sackler wing at the Louvre|url=https://www.theguardian.com/world/2019/jul/01/nan-goldin-protests-against-sackler-wing-at-the-louvre|newspaper=The Guardian|date=July 1, 2019|issn=0261-3077}} In November that year, Goldin campaigned at the Victoria and Albert Museum, London.{{cite news|first1=Vanessa|last1=Thorpe|access-date=2019-11-17|title=Artist Nan Goldin leads die-in at V&A over use of Sackler name|url=https://www.theguardian.com/artanddesign/2019/nov/16/nan-goldin-die-in-v-and-a--sackler-courtyard-opiods|newspaper=The Observer|date=16 November 2019|issn=0029-7712|via=www.theguardian.com}}

In October 2023, soon after the 2023 Hamas-led attack on Israel, Goldin signed a letter on Artforum that was criticized by pro-Israel activists for being antisemitic, as it did not mention the Palestinian organization Hamas or the Israelis who were killed.{{cite web |url=https://www.artforum.com/columns/open-letter-art-community-cultural-organizations-518019/ |title=An Open Letter from the Art Community to Cultural Organizations |date=October 19, 2023 |website=Artforum |access-date=2024-09-03 |archive-date=October 20, 2023 |archive-url=https://web.archive.org/web/20231020012220/https://www.artforum.com/columns/open-letter-art-community-cultural-organizations-518019/ |url-status=bot: unknown }} The letter received more than 8,000 signatures.{{cite web |last=Community |first=Art |title=Both Should Come Together |website=ערב רב Erev Rav |date=2023-10-22 |url=https://www.erev-rav.com/archives/english/both-should-come-together |access-date=2024-09-03 |archive-date=September 3, 2024 |archive-url=https://web.archive.org/web/20240903202749/https://www.erev-rav.com/archives/english/both-should-come-together |url-status=live }}{{cite web |last=Small |first=Zachary |title=Artists Call for Boycott After Artforum Fires Its Top Editor |website=The New York Times |date=2023-10-27 |url=https://www.nytimes.com/2023/10/27/arts/design/artforum-boycott-goldin-eisenman.html |access-date=2024-09-03 |archive-date=October 28, 2023 |archive-url=https://web.archive.org/web/20231028001617/https://www.nytimes.com/2023/10/27/arts/design/artforum-boycott-goldin-eisenman.html |url-status=live }}

In November 2023, during the Israeli invasion of the Gaza Strip, hundreds of members and supporters of Jewish Voice for Peace–New York City (JVP-NYC) took part in a sit-in protest in front of New York's Statue of Liberty demanding a ceasefire in Gaza. Goldin addressed the demonstration, saying, "As long as the people of Gaza are screaming, we need to yell louder, no matter who attempts to silence us."{{cite news |last1=Luscombe |first1=Richard |title=Protesters stage sit-in demanding ceasefire in Gaza at Statue of Liberty |url=https://www.theguardian.com/us-news/2023/nov/06/statue-of-liberty-protest-gaza-ceasefire |work=The Guardian |date=November 6, 2023 |access-date=November 7, 2023 |archive-date=November 6, 2023 |archive-url=https://web.archive.org/web/20231106234156/https://www.theguardian.com/us-news/2023/nov/06/statue-of-liberty-protest-gaza-ceasefire |url-status=live }} Goldin also canceled a photo shoot with the New York Times Magazine due to concerns about the New York Times' reporting on the Gaza crisis, accusing the newspaper of complicity with Israel in its reporting and further questioning its handling of Palestinian perspectives.{{cite news |last1=Dubreil |first1=Jean |title=Nan Goldin Boycotts New York Times Project Over Gaza Coverage |url=https://www.artmajeur.com/en/magazine/2-art-news/nan-goldin-boycotts-new-york-times-project-over-gaza-coverage/334516 |work=Artmajeur Magazine |date=November 10, 2023}} Goldin was arrested on October 14, 2024 during a Jewish Voice for Peace protest in New York City.{{Cite web |last= |first= |date=2024-10-16 |title=NAN GOLDIN, LAURA POITRAS ARRESTED AT NYC PRO-PALESTINE PROTEST |url=https://www.artforum.com/news/nan-goldin-laura-poitras-arrested-nyc-pro-palestine-protest-1234720413/ |access-date=2024-10-21 |website=Artforum |language=en-US}}

In 2023, Goldin was described as the most influential person in the art world in ArtReview's "Power 100" list of influential people in art.{{Cite web |last=Lawson-Tancred |first=Jo |date=2023-12-01 |title=Nan Goldin Takes the Top Spot on ArtReview's Power 100 List |url=https://news.artnet.com/art-world/artreview-power-100-2-2400508 |access-date=2023-12-28 |website=Artnet News |language=en-US |archive-date=December 28, 2023 |archive-url=https://web.archive.org/web/20231228193117/https://news.artnet.com/art-world/artreview-power-100-2-2400508 |url-status=live }}

• 1989: Camera Austria Prize for Contemporary Photography, Graz, Austria{{cite web |url=https://camera-austria.at/en/camera-austria-preis/nan-goldin-2/ |access-date=September 29, 2024 |publisher=Camera Austria |title=Camera Austria Award for Contemporary Photography by the City of Graz 1989 Nan Goldin |archive-date=March 4, 2024 |archive-url=https://web.archive.org/web/20240304024600/https://camera-austria.at/en/camera-austria-preis/nan-goldin-2/ |url-status=live }}

• 1991: Louis Comfort Tiffany Foundation Award, Cold Spring Harbor, Long Island[https://www.louiscomforttiffanyfoundation.org/1979-1999 List of past winners] {{Webarchive|url=https://web.archive.org/web/20241002004802/https://www.louiscomforttiffanyfoundation.org/1979-1999 |date=October 2, 2024 }} on the Foundation's homepage.
• 1991: DAAD Artists-in-Residence program, Berlin, Germany{{Cite web |url=http://www.berliner-kuenstlerprogramm.de/de/gaeste.php |title=Berliner Künstlerprogramm – Gäste 1963–2009 |access-date=October 2, 2024 |archive-date=April 22, 2021 |archive-url=https://web.archive.org/web/20210422235802/http://www.berliner-kuenstlerprogramm.de/de/gaeste.php |url-status=dead }}.
• 2006: Ordre des Arts et des Lettres, France[http://www.matthewmarks.com/new-york/artists/nan-goldin/ Nan Goldin] {{Webarchive|url=https://web.archive.org/web/20200920111811/https://www.matthewmarks.com/new-york/artists/nan-goldin |date=September 20, 2020 }} Matthew Marks Gallery, New York/Los Angeles.
• 2007: Hasselblad Award, Gothenburg, Sweden{{citation |title=Nan Goldin |publisher=Hasselblad Foundation |year=2007 |url=http://www.hasselbladfoundation.org/nan-goldin/en/ |access-date=8 March 2010 |archive-date=September 24, 2015 |archive-url=https://web.archive.org/web/20150924025313/http://www.hasselbladfoundation.org/nan-goldin/en/ |url-status=live }}{{citation |publisher= Hasselblad Foundation |date= March 8, 2007 |title= Hasselblad Award Citation |url= http://www.hasselbladfoundation.org/assets/pdf/07-Goldin-en.pdf |access-date= 8 March 2010 |url-status= dead |archive-url= https://web.archive.org/web/20110125135755/http://www.hasselbladfoundation.org/assets/pdf/07-Goldin-en.pdf |archive-date= January 25, 2011 }}
• 2012: 53rd Edward MacDowell Medal, MacDowell Colony, Peterborough, New Hampshire, US.Meghan Pierce (June 9, 2012), [http://www.unionleader.com/article/20120610/NEWHAMPSHIRE02/706109936&source=RSS MacDowell will honor Nan Goldin] {{Webarchive|url=https://web.archive.org/web/20160303210808/http://www.unionleader.com/article/20120610/NEWHAMPSHIRE02/706109936%26source%3DRSS |date=March 3, 2016 }} New Hampshire Union Leader.{{cite web |url= http://www.macdowellcolony.org/events-MedalDay-History.html |access-date= November 20, 2015 |publisher= MacDowell Colony |title= Medal Day History |url-status= dead |archive-url= https://web.archive.org/web/20120806122325/http://www.macdowellcolony.org/events-MedalDay-History.html |archive-date= August 6, 2012 }}{{cite news |url= https://www.telegraph.co.uk/culture/theatre/theatre-news/8447621/MacDowell-Medal-winners-1960-2011.html |date= April 13, 2011 |access-date= November 20, 2015 |work= The Daily Telegraph |location= London |title= MacDowell Medal winners 1960–2011 |archive-date= December 6, 2019 |archive-url= https://web.archive.org/web/20191206223846/https://www.telegraph.co.uk/culture/theatre/theatre-news/8447621/MacDowell-Medal-winners-1960-2011.html |url-status= live }}
• 2018: Royal Photographic Society Centenary Medal and Honorary Fellowship, London, UK{{cite web|access-date=10 December 2018|title=The Royal Photographic Society Awards 2018|url=http://www.rps.org/news/2018/november/the-royal-photographic-society-awards-2018|website=rps.org|archive-url=https://web.archive.org/web/20181204113432/http://www.rps.org/news/2018/november/the-royal-photographic-society-awards-2018|archive-date=December 4, 2018|url-status=dead}}
• 2022: Käthe-Kollwitz-Preis, Academy of Arts, Berlin, Germany
• 2025: Kering Women In Motion Award for Photography, ArlesHikmat Mohammed (5 December 2024), [https://wwd.com/fashion-news/fashion-features/gucci-campaign-photos-for-sale-gagosian-nan-goldin-interview-1236750999/ Nan Goldin Talks Putting Intimate Gucci Campaign Photos Up for Sale at Gagosian] ARTnews.

An exhibition of Goldin's work was censored in Brazil, two months before opening, due to its sexually explicit nature.{{cite news|url=http://cultura.estadao.com.br/noticias/geral,cancelamento-de-exposicao-no-rio-deixa-artista-norte-americana-chocada,805090|title=Cancelamento de exposição no Rio deixa artista norte-americana chocada|author=Roberta Pennafort|location=Rio de Janeiro|newspaper=Estadão|language=pt|date=November 30, 2011|access-date=March 6, 2016|archive-date=March 8, 2016|archive-url=https://web.archive.org/web/20160308051919/http://cultura.estadao.com.br/noticias/geral,cancelamento-de-exposicao-no-rio-deixa-artista-norte-americana-chocada,805090|url-status=live}} The main reason was that some of the photographs contained children in bed with their parents, who are naked and caressing each other. In Brazil, there is a law that prohibits the image of minors associated with pornography.{{cite web|url=http://www.planalto.gov.br/ccivil_03/leis/2003/L10.764.htm#art3|title=L10764|language=pt|access-date=March 6, 2016|archive-date=October 24, 2020|archive-url=https://web.archive.org/web/20201024112523/http://www.planalto.gov.br/ccivil_03/leis/2003/L10.764.htm#art3|url-status=live}}

The sponsor of the exhibition, a cellphone company, claimed to be unaware of the content of Goldin's work and that there was a conflict between the work and its educational project. The curator of the Rio de Janeiro Museum of Modern Art changed the schedule to accommodate, in February 2012, the Goldin exhibition in Brazil.{{cite news |url=http://www1.folha.uol.com.br/ilustrada/1013229-oi-futuro-cancela-mostra-da-artista-nan-goldin-no-rio.shtml |title=Oi Futuro cancela mostra da artista Nan Goldin no Rio |language=pt |first=Silas |last=Martí |location=São Paulo |work=Folha de S. Paulo |date=November 29, 2011 |access-date=March 6, 2016 |archive-date=March 4, 2016 |archive-url=https://web.archive.org/web/20160304123612/http://www1.folha.uol.com.br/ilustrada/1013229-oi-futuro-cancela-mostra-da-artista-nan-goldin-no-rio.shtml |url-status=live }}

Sorted by state.

• National Gallery of Australia, Canberra, Australia{{cite web |last1=Goldin |first1=Nan |title=Nan one month after being battered |url=https://cs.nga.gov.au/detail.cfm?irn=450 |website=Item held by National Gallery of Australia |access-date=April 22, 2021 |archive-date=October 2, 2024 |archive-url=https://web.archive.org/web/20241002004821/https://searchthecollection.nga.gov.au/stcapi/service/landing-info |url-status=live }}
• Galerie Rudolfinum, Prague, Czech Republic
• Centre Pompidou, Paris, France
• Goetz Collection, Munich, Germany
• Castello di Rivoli Museum of Contemporary Art, Torino, Italy
• Astrup Fearnley Museum of Modern Art, Oslo, Norway
• Fotomuseum Winterthur, Switzerland
• Tate, London, UK"[http://www.tate.org.uk/art/artists/nan-goldin-2649 Nan Goldin: born 1953] {{Webarchive|url=https://web.archive.org/web/20241002004811/https://www.tate.org.uk/art/artists/nan-goldin-2649 |date=October 2, 2024 }}". Tate Etc.. Retrieved March 2, 2017

• Museum of Fine Arts, Boston{{cite web |title=Nan as a dominatrix, Boston |url=https://collections.mfa.org/objects/539225 |website=collections.mfa.org |language=en |access-date=April 22, 2021 |archive-date=April 22, 2021 |archive-url=https://web.archive.org/web/20210422061658/https://collections.mfa.org/objects/539225 |url-status=live }}
• Art Institute of Chicago{{cite web |title=Nan Goldin |url=https://www.artic.edu/artists/43762/nan-goldin |website=The Art Institute of Chicago |access-date=2024-09-21 |archive-date=April 22, 2021 |archive-url=https://web.archive.org/web/20210422060616/https://www.artic.edu/artists/43762/nan-goldin |url-status=live }} Six works listed and shown.
• Museum of Contemporary Art, Chicago{{cite web |title=Nan Goldin |url=https://mcachicago.org/About/Who-We-Are/Artists/Nan-Goldin |website=MCA |language=en |access-date=April 22, 2021 |archive-date=October 2, 2024 |archive-url=https://web.archive.org/web/20241002004813/https://mcachicago.org/About/Who-We-Are/Artists/Nan-Goldin |url-status=live }}
• Getty Museum, Los Angeles{{cite web |title=Gilles and Gotscho at Home, Paris (Getty Museum) |url=https://www.getty.edu/art/collection/objects/295610/nan-goldin-gilles-and-gotscho-at-home-paris-american-1992/ |website=The J. Paul Getty in Los Angeles |language=en}}
• Museum of Contemporary Art, Los Angeles{{cite web |title=Nan Goldin |url=https://www.moca.org/artist/nan-goldin |website=www.moca.org |access-date=April 22, 2021 |archive-date=October 2, 2024 |archive-url=https://web.archive.org/web/20241002004802/https://www.moca.org/artist/nan-goldin |url-status=live }}
• Currier Museum of Art, Manchester, New Hampshire{{cite web |title=Nan Goldin |url=https://currier.org/collection/nan-goldin/ |website=Currier Museum |access-date=April 22, 2021 |archive-date=April 22, 2021 |archive-url=https://web.archive.org/web/20210422063431/https://currier.org/collection/nan-goldin/ |url-status=live }}
• New York

:* Guggenheim Museum{{cite web |title=The Guggenheim Museums and Foundation |url=https://www.guggenheim.org/artwork/artist/nan-goldin |website=The Guggenheim Museums and Foundation |access-date=March 7, 2018 |archive-date=March 8, 2018 |archive-url=https://web.archive.org/web/20180308231557/https://www.guggenheim.org/artwork/artist/nan-goldin |url-status=live }}

:* The Jewish Museum{{Cite web|url=http://thejewishmuseum.org/collection/artist/nan-goldin-american-b-1953|title=The Jewish Museum|website=thejewishmuseum.org|access-date=26 April 2017|archive-date=October 2, 2024|archive-url=https://web.archive.org/web/20241002004813/https://thejewishmuseum.org/collection/artist/nan-goldin-american-b-1953|url-status=live}}

:* Collection Lambert{{cite web |title=Collection Lambert |url=https://collectionlambert.com/en/exposition/i-will-reflect-what-you-are/ |website=Collectionlambert.com |access-date=2024-09-21 |archive-date=April 22, 2021 |archive-url=https://web.archive.org/web/20210422060731/https://collectionlambert.com/en/exposition/i-will-reflect-what-you-are/ |url-status=live }} "Set of about a hundred works."

:* Metropolitan Museum of Art{{cite web |title=Nan and Brian in Bed, NYC |url=https://www.metmuseum.org/art/collection/search/284773 |website=www.metmuseum.org |date=1983 |access-date=April 22, 2021 |archive-date=October 2, 2024 |archive-url=https://web.archive.org/web/20241002004800/https://www.metmuseum.org/art/collection/search/284773 |url-status=live }}

:* Museum of Modern Art{{cite web |title=Nan Goldin {{!}} MoMA |url=https://www.moma.org/artists/7532 |website=The Museum of Modern Art |language=en}}

• San Francisco Museum of Modern Art{{cite web |title=Goldin, Nan · SFMOMA |url=https://www.sfmoma.org/artist/Nan_Goldin/ |website=SFMOMA |access-date=April 22, 2021 |archive-date=April 22, 2021 |archive-url=https://web.archive.org/web/20210422062920/https://www.sfmoma.org/artist/Nan_Goldin/ |url-status=live }}
• National Gallery of Art, Washington, D. C.
• National Museum of Women in the Arts, Washington, D.C.{{cite web |title=Nan Goldin {{!}} Artist Profile |url=https://nmwa.org/art/artists/nan-goldin/ |website=NMWA |access-date=April 22, 2021 |archive-date=October 2, 2024 |archive-url=https://web.archive.org/web/20241002004834/https://nmwa.org/art/artists/nan-goldin/ |url-status=live }}

• 1987: The Ballad of Sexual Dependency, screening and exhibition, Rencontres d'Arles
• 1991: Cookie Mueller, Pace/MacGill Gallery, New York (catalogue)
• 1992: Getrennte Welten/Separate Worlds with Gundula Schulze, Kunst-Werke Berlin, curated by Klaus Biesenbach and Inge Herbert (small catalogue)
• 1993: Die andere Seite (The Other Side), DAAD Artists-in-Residence program, Berlin (book)
• 1995: The Golden Years, Yvon Lambert Gallery, Paris (catalogue)
• 1996: I'll Be Your Mirror, retrospective, Whitney Museum of American Art (book), and traveled to
• Kunstmuseum Wolfsburg, Germany
• Stedelijk Museum, Amsterdam
• Fotomuseum Winterthur, Switzerland
• Kunsthalle Wien
• National Museum, Prague
• 1997: Rencontres d'Arles, 10 year anniversary of screening The Ballad of Sexual Dependency (Théâtre Antique)
• 1997: Love Streams, Yvon Lambert Gallery, Paris (catalogue)
• 2001: Le Feu Follet/The Devil's Playground, Centre Georges Pompidou, Paris (book), and traveled to
• Whitechapel Gallery, London
• Museo Nacional Centro de Arte Reina Sofía, Madrid
• Fundação de Serralves, Porto, Portugal
• Castello di Rivoli, Turin
• Ujazdów Castle, Warsaw.
• 2005: Fantastic Tales, Palmer Museum of Art, Pennsylvania State University (catalogue)
• 2005: Soeurs, Saintes et Sibylles, commissioned for the Chapelle St. Louis de la Salpêtrière at Festival d'automne, Paris; first installation with three screens and film (catalogue)
• 2006: Chasing a Ghost, Matthew Marks Gallery, New York
• 2007: Hasselblad Award, Hasselblad Center, Gothenburg (book)
• 2009: Rencontres d'Arles, Guest of honour, screening of The Ballad of Sexual Dependency with live music by The Tiger Lillies,{{Cite web |title=Nan Goldin and The Tiger Lillies |url=https://www.rencontres-arles.com/en/mediatheque/view/167/nan-goldin-and-the-tiger-lilies |website=Rencontres d'Arles |access-date=2024-09-22 }} slideshow and film installation Sisters, Saints and Sibyls{{Cite web |title=Edition 2009: Sœurs, saintes et sibylles |url=https://www.rencontres-arles.com/en/expositions/view/1175/soeurs-saintes-et-sibylles |website=Rencontres d'Arles |language=English |access-date=2024-11-30 }} (curates central show Nan's Guests){{Cite web|title=Edition 2009: Nan Goldin |url=https://www.rencontres-arles.com/en/artistes/view/1279/nan-goldin |website=Rencontres d'Arles |language=English |access-date=2024-11-30 }}{{cite web|first1=Sean|last1=O'Hagan|author-link=Sean O'Hagan (journalist)|access-date=14 June 2018|title=Sons, lovers ... and weird things about mothers |url=https://www.theguardian.com/artanddesign/2009/jul/12/les-rencontres-darles-photography-review|date=July 11, 2009|website=The Guardian |type=Photography Review |archive-date=October 2, 2024|archive-url=https://web.archive.org/web/20241002005256/https://www.theguardian.com/artanddesign/2009/jul/12/les-rencontres-darles-photography-review|url-status=live}}
• 2009: Poste Restante. Slide Shows/Grids, C/O Berlin{{Web archive |url=https://www.co-berlin.org/de/programm/ausstellungen/nan-goldin-poste-restante |title=

Nan Goldin. Poste Restante. Slide Shows/Grids |wayback=20100822084611}}

• 2010/11: Berlin Work. Fotografien 1984–2009, Berlinische Galerie
• 2010: Scopophilia, Louvre, Paris{{cite web |author=Randy Kennedy |title=The Look of Love |url=https://www.nytimes.com/2011/10/27/arts/design/nan-goldin-at-the-matthew-marks-gallery.html |website=The New York Times |date=October 26, 2011 |access-date=September 28, 2024 |archive-date=October 2, 2024 |archive-url=https://web.archive.org/web/20241002005246/https://www.nytimes.com/2011/10/27/arts/design/nan-goldin-at-the-matthew-marks-gallery.html |url-status=live }}
• 2011: Matthew Marks Gallery{{cite web |author=Karen Rosenberg |title=A Voyeur Makes Herself at Home in the Louvre |type=Review |url=https://www.nytimes.com/2011/12/09/arts/design/nan-goldin-scopophilia-at-matthew-marks-gallery-review.html |website=The New York Times |date=December 18, 2011 |access-date=September 28, 2024 |archive-date=June 17, 2022 |archive-url=https://web.archive.org/web/20220617062645/https://www.nytimes.com/2011/12/09/arts/design/nan-goldin-scopophilia-at-matthew-marks-gallery-review.html |url-status=live }}
• 2015: Diving for Pearls, Kestner Gesellschaft, Hannover (book)
• 2016/17: The Ballad of Sexual Dependency, MoMA, New York
• 2017: Weekend Plans, Irish Museum of Modern Art, Dublin, alongside exhibition by Vivienne Dick; showed some drawings and photographs taken in Ireland (catalogue and edition){{cite web|access-date=14 June 2018|title=Nan Goldin, Weekend Plans|url=http://www.imma.ie/en/page_237204.htm|website=IMMA.ie|archive-date=June 14, 2018|archive-url=https://web.archive.org/web/20180614171624/http://www.imma.ie/en/page_237204.htm|url-status=live}}{{cite news|access-date=14 June 2018|title=In the Picture: Nan Goldin at IMMA|url=https://www.rte.ie/culture/2017/0711/889192-in-the-picture-nan-goldin-at-imma/|publisher=Raidió Teilifís Éireann|date=July 18, 2017|archive-date=June 14, 2018|archive-url=https://web.archive.org/web/20180614171741/https://www.rte.ie/culture/2017/0711/889192-in-the-picture-nan-goldin-at-imma/|url-status=live}}{{cite news|access-date=14 June 2018|title=Nan Goldin and Vivienne Dick: extraordinary art, extraordinary friendship|url=https://www.irishtimes.com/culture/art-and-design/nan-goldin-and-vivienne-dick-extraordinary-art-extraordinary-friendship-1.3135795|newspaper=The Irish Times|archive-date=February 12, 2018|archive-url=https://web.archive.org/web/20180212061828/https://www.irishtimes.com/culture/art-and-design/nan-goldin-and-vivienne-dick-extraordinary-art-extraordinary-friendship-1.3135795|url-status=live}}
• 2019/20: Sirens, Marian Goodman Gallery, London{{cite web|last1=Dazed|access-date=2019-12-28|title=Life lessons we can take from Nan Goldin's seminal photography|url=https://www.dazeddigital.com/art-photography/article/46793/1/life-lessons-we-can-take-from-nan-goldins-seminal-photography|date=14 November 2019|website=Dazed|archive-date=December 28, 2019|archive-url=https://web.archive.org/web/20191228083525/https://www.dazeddigital.com/art-photography/article/46793/1/life-lessons-we-can-take-from-nan-goldins-seminal-photography|url-status=live}}{{cite web|access-date=2019-12-28|title=Nan Goldin's Sirens exhibition is a woozy, devastating tale of addiction ★★★★★|url=https://inews.co.uk/culture/arts/nan-goldin-at-marian-goodman-gallery-is-a-woozy-devastating-tale-of-addiction-1303259|website=Inews.co.uk|archive-date=December 28, 2019|archive-url=https://web.archive.org/web/20191228083525/https://inews.co.uk/culture/arts/nan-goldin-at-marian-goodman-gallery-is-a-woozy-devastating-tale-of-addiction-1303259|url-status=live}}{{cite news|first1=Adrian|last1=Searle|access-date=2019-12-28|title=Nan Goldin review – Gut-wrenching, brilliant and beautiful. I cannot turn away|url=https://www.theguardian.com/artanddesign/2019/nov/14/nan-goldin-review-marian-goodman-gallery-london-gut-wrenching-brilliant-beautiiful|newspaper=The Guardian|date=14 November 2019|issn=0261-3077|via=www.theguardian.com|archive-date=October 2, 2024|archive-url=https://web.archive.org/web/20241002005252/https://www.theguardian.com/artanddesign/2019/nov/14/nan-goldin-review-marian-goodman-gallery-london-gut-wrenching-brilliant-beautiiful|url-status=live}}
• 2022: Käthe-Kollwitz-Preis 2022: Nan Goldin, Akademie der Künste, Berlin (book)
• 2023/24: This Will Not End Well, Moderna Museet, Stockholm, Focussed on slideshows and films (book). Travelled to
• Stedelijk Museum Amsterdam{{cite web | url=https://www.stedelijk.nl/nl/tentoonstellingen/nan-goldin-will-not-end-well | title=Nan Goldin – This Will Not End Well | website=Stedelijk.nl | access-date=November 17, 2023 | archive-date=October 2, 2024 | archive-url=https://web.archive.org/web/20241002005308/https://www.stedelijk.nl/nl/tentoonstellingen/nan-goldin-will-not-end-well | url-status=live }}
• Neue Nationalgalerie, Berlin.{{cite web |url=https://www.smb.museum/en/museums-institutions/neue-nationalgalerie/exhibitions/detail/nan-goldin/ |title=Nan Goldin – This Will Not End Well |website=Staatliche Museen zu Berlin (SMB) |access-date=2024-09-22 |archive-date=September 23, 2024 |archive-url=https://web.archive.org/web/20240923175325/https://www.smb.museum/en/museums-institutions/neue-nationalgalerie/exhibitions/detail/nan-goldin/ |url-status=live }}

For some group exhibitions see catalogues listed in Books on Goldin.

Curated by Goldin at Artists Space, Witnesses: Against Our Vanishing (November 16, 1989 – January 6, 1990) invited New York artists to respond to the HIV/AIDS crisis. Artists represented included David Armstrong, Tom Chesley, Dorit Cypis, Philip-Lorca DiCorcia, Jane Dickson, Darrel Ellis, Allen Frame, Peter Hujar, Greer Lankton, Siobhan Liddel, Mark Morrisroe, Jamie Nares, Perico Pastor, Margo Pelletier, Clarence Elie-Rivera, Vittorio Scarpati, Jo Shane, Kiki Smith, Janet Stein, Stephen Tashjian, Shellburne Thurber, Ken Tisa, and David Wojnarowicz. Goldin noted that artists' works varied in response, as "out of loss comes memory pieces, tributes to friends and lovers who have died; out of anger comes explorations of the political cause and effects of the disease."{{Cite web|url=https://www.aaa.si.edu/collections/items/detail/witnesses-against-our-vanishing-12141|title=Witnesses: against our vanishing, 1989, from the Lucy R. Lippard papers, 1930s–2010, bulk 1960s–1990|website=aaa.si.edu|access-date=4 March 2018}}

David Wojnarowicz's essay "Post Cards from America: X-Rays from Hell" in the exhibition's catalogue criticized conservative legislation that Wojnarowicz believed would increase the spread of HIV by discouraging safe sex education. Additionally, Wojnarowicz speaks about the efficacy of making the private public via the model of outing, as he and Goldin believed empowerment begins through self-disclosure. Embracing personal identities then becomes a political statement that disrupts oppressive rules of behavior of bourgeois society – though Wojnarowicz does admit outing may lock a subject into a single frozen identity. Goldin's show was also met with criticism, but in particular Wojnarowicz's explicit essay, Goldin as curator stood by, lead to the National Endowment for the Arts rescinding its support for the publication.{{Cite book|url=https://books.google.com/books?id=ST6MAQAAQBAJ|title=Arresting Images: Impolitic Art and Uncivil Actions|last=Dubin|first=Steven C.|date=October 18, 2013|publisher=Routledge|isbn=9781135214609|language=en|access-date=December 15, 2020|archive-date=October 2, 2024|archive-url=https://web.archive.org/web/20241002005254/https://books.google.com/books?id=ST6MAQAAQBAJ|url-status=live}}{{Cite news|url=http://artjournal.collegeart.org/?p=1360|title=David Wojnarowicz: Against His Vanishing - Art Journal Open|date=March 25, 2011|work=Art Journal Open|access-date=4 March 2018|archive-date=October 2, 2024|archive-url=https://web.archive.org/web/20241002005311/http://artjournal.collegeart.org/?p=1360|url-status=live}}

Goldin's second curated show, From Desire: A Queer Diary (March 29 – April 19, 1991), was held at the Richard F. Brush Art Gallery at St. Lawrence University, Canton, NY. Artists who were exhibited included David Armstrong, Eve Ashcraft, Kathryn Clark, Joyce Culver, Zoe Leonard, Simon Leung, Robert Mapplethorpe, Robert Windrum, and David Wojnarowicz.{{Cite book|title=From desire: ... a queer diary|last1=Goldin|first1=Nan|last2=Wojnarowicz|first2=David|last3=Richard F. Brush Art Gallery|last4=Visual AIDS (Organization)|last5=St. Lawrence University Festival of the Arts|date=1991|publisher=Richard F. Brush Art Gallery|location=Canton, N.Y.|language=en|oclc = 228438880}}

Rencontres d'Arles 2009, Arles, France. The major show of the photo festival included the work of thirteen photographers including Antoine d'Agata, David Armstrong, JH Engström, Christine Fenzl, Jim Goldberg, Boris Mikhailov, Anders Petersen and Annelies Strba. As guest of honor she also choose Leigh Ledare for a solo show.

• The Ballad of Sexual Dependency, edited with Marvin Heiferman, Mark Holborn and Suzanne Fletcher. New York: Aperture, 1986. {{ISBN|978-0-89381-236-2}}. Kodak Photobook Award (Arles 1987).
• Remastered reissue: 2012. ISBN 978-1-59711-208-6.
• New afterword: 2021.
• The Other Side (DAAD Artists-in-Residence Program, Berlin). Zurich: Scalo, 1993. {{ISBN|1-881616-03-7}}.
• Expanded 2nd edition with revised introduction by Goldin. Göttingen: Steidl, 2019 (2nd pr. 2023). ISBN 978-3-95829-613-8.
• Vakat, with poems by Joachim Sartorius. Cologne: Walter Konig, 1993. ISBN 3-88375-178-2.
• Desire by Numbers, with fiction by Klaus Kertess. San Francisco: Artspace, 1994. ISBN 0-9631095-3-7.
• A Double Life, with David Armstrong. Zurich/New York: Scalo, 1994. ISBN 1-881616-21-5.
• Tokyo Love, with Nobuyoshi Araki. Tokyo: Hon don do, 1994. ISBN 4-87233-189-3 (Japanese).
• English edition: Zurich/New York: Scalo, 1995. ISBN 1-881616-57-6.
• I'll Be Your Mirror (exhibition catalogue), edited by Elisabeth Sussman and David Armstrong. Zurich: Scalo, 1996. {{ISBN|3-931141-33-0}}.
• Ten Years After: Naples 1986–1996, with Guido Costa (text), edited with Gigi Giannuzzi and Guido Costa. Zurich: Scalo, 1998. {{ISBN|3-931141-79-9}}.
• Couples and Loneliness, edited with Taka Kawachi. Kyoto: Korinsha, 1998. ISBN 4-7713-0342-8 (English/Japanese).
• Nan Goldin: Recent Photographs (=Perspectives 115, exhibition catalogue). Houston: Contemporary Arts Museum, 1999. ISBN 0-936080-51-5.
• The Devil's Playground. London: Phaidon, 2003. {{ISBN|978-0-7148-4223-3}}.
• Fantastic Tales: The Photography of Nan Goldin (exhibition catalogue), edited by Jonathan Weinberg and Joyce Henri Robinson. Pennsylvania: Palmer Museum of Art, Pennsylvania State University, 2005. ISBN 0-911209-63-8.
• Soeurs, Saintes et Sibylles. Editions du Regard, 2005. {{ISBN|978-2-84105-179-3}} (French).
• The Beautiful Smile (Hasselblad Award), edited by Jack Ritchey, Gerhard Steidl and Walter Keller. Hasselblad Center, Gothenburg, and Göttingen: Steidl, 2007. {{ISBN|3-86521-539-4}}.
• 2nd edition. Göttingen: Steidl, 2017. {{ISBN|978-3-95829-174-4}}.
• Variety. Photographs by Nan Goldin (from the Film by Bette Gordon), text by James Crump. New York: Skira Rizzoli, 2009. {{ISBN|978-0-8478-3255-2}}.
• Eden and After, with Guido Costa. London: Phaidon, 2014. {{ISBN|978-07148-6577-5}}.[https://m.youtube.com/watch?v=r_rVyt-ojpY Nan Goldin – 'My Work Comes from Empathy and Love'] on Tate Shots produced by the Tate, uploaded May 1, 2014, on YouTube.
• Diving for Pearls (exhibition catalogue). Göttingen: Steidl, 2016. {{ISBN|978-3-95829-094-5}}.
• Visible/Invisible (exhibition catalogue, Château de Versailles), Ed. Dilecta, 2019. ISBN 264408372796.
• Käthe-Kollwitz-Preis 2022: Nan Goldin (exhibition catalogue). Berlin: Akademie der Künste, 2023. ISBN 978-3-8833-1253-8.
• This Will Not End Well (exhibition catalogue). Stockholm: Moderna Museet, and Göttingen: Steidl, 2023. ISBN 978-3-96999-058-2.

• "Peter Hujar", in: Parkett, No. 44. Zurich: Parkett, 1995. ISBN 3-907509-94-3, S. 15f(–22). (German/English).Parkett No. 42 in 1994 featured already a photo spread called "Insert" by Goldin.
• David Armstrong: The Silver Cord. Afterword by Goldin. Zurich/Berlin/New York: Scalo, 1997. ISBN 3-931141-48-9.
• Parkett No. 57: Doug Aitken, Thomas Hirschhorn, Nan Goldin. Zurich: Parkett, 1999 (German/English).
• Jean-Christian Bourcart. Madonnes Infertiles. Text by Goldin. Edition of 1200 copies. Paris: TDM Editions, 2002 (no ISBN).
• Jean-Christian Bourcart. All About Love. Text by Goldin. Loco, 2014. ISBN 978-2-91950734-4.
• Tomasz Gudzowaty. Beyond the Body. Edited by Goldin. Göttingen: Steidl, 2017. {{ISBN|978-3-95829-040-2}}.
• "I Survived the Opioid Crisis". In: Artforum, Vol. 56, January 2018.
• Christine Fenzl. Land in Sonne. Texts by Dani Levy and Goldin. Ostfildern: Hatje Cantz, 2019. ISBN 978-3-7757-4609-0.

Listed are catalogues of group exhibitions, Goldin took part in, that reveal different facets of her work and biography by comparison with other like-minded artists, as well as publications on different subjects like the portrait, the self-portrait, subcultures in art, autobiographical storytelling and its meaning, the snapshot as expressive style etc.

• Nan Goldin’s Ballad of Sexual Dependency, interview by Mark Holborn. In: Aperture #103 – Fiction and Metaphor, edited by Kenneth Rush. New York: Aperture, 1986, p. 58.
• Max Kozloff. Real Faces. Exhibition catalogue, with Bill Burke, Birney Imes, Judith Joy Ross and Goldin. New York: Whitney Museum of American Art at Philip Morris, 1988.
• Philip Monk. The American Trip: Larry Clark, Nan Goldin, Cady Noland, Richard Prince... Exhibition catalogue, Contemporary Art Gallery at Harbourfront Centre, Toronto. Power Plant, 1996. ISBN 092104707X. On America and its image of the outcast.
• Nobuyoshi Araki/Diane Arbus/Nan Goldin. Exhibition catalogue, Goetz Collection, Munich: Sammlung Goetz, 1997. Texts by Elisabeth Bronfen, Johannes Meinhardt, Ingvild Goetz and Goldin (German/English).
• Emotions and Relations: Nan Goldin, David Armstrong, Mark Morrisroe, Jack Pierson and Philip-Lorca diCorcia. Exhibition catalogue, Hamburger Kunsthalle (curated by F. C. Gundlach). Cologne: Taschen, 1998. {{ISBN|3-82287507-4}} (English/German/French). "Five from Boston."
• Rachel Rosenfield Lafo, Gillian Nagler: Photography in Boston: 1955–1985. Exhibition catalogue, DeCordova Museum. Cambridge, Mass.: MIT Press, 2000. ISBN 0262122294. Broad survey featuring Berenice Abbott, William Wegman, Lotte Jacobi, Harold Edgerton a. o.
• Guido Costa, Lisa Liebman. Nan Goldin. Phaidon 55s, London: Phaidon, 2001. {{ISBN|0-7148-4073-4}}. Small but quality paperback introduction.
• larger format edition: 2006. ISBN 0-7148-4553-1.
• small hardback edition: 2010. ISBN 0-7148-5945-1.
• Katherine A. Bussard. So the Story Goes: Photographs by Tina Barney, Philip-Lorca DiCorcia, Nan Goldin, Sally Mann, and Larry Sultan. New Haven, Ct: Yale University Press, 2006. {{ISBN|978-0300114119}}.
• Susan Bright. Auto Focus: The Self-Portrait in Contemporary Photography. London: Thames & Hudson, 2010. {{ISBN|978-0500543894}}.
• Daniel Jelitzka, Gerald A. Matt (eds.). Die Kamera ist grausam / The camera is cruel: Lisette Model, Diane Arbus, Nan Goldin. Vienna: Verlag für moderne Kunst, 2018 (German/English).
• Catherine Zuromskis. Snapshot Photography. Cambridge, Mass.: MIT Press, 2021. ISBN 9780262544115.

With experimental filmmaker Bette Gordon Goldin worked several times. In Empty Suitcases from 1980 she acted alongside Irish artist and friend Vivienne Dick. In the 1983 film Variety Goldin plays a character called Nan. She also accompanied the production of the film with her camera; the photographs were published in 2009 (see bibliography). For Gordon's 1998 Luminous Motion, she worked again as still photographer.This and all following data from the [https://m.imdb.com/name/nm0325667/?language=en cast and crew listing] {{Webarchive|url=https://web.archive.org/web/20241002005305/https://m.imdb.com/name/nm0325667/?language=en |date=October 2, 2024 }} from the Nan Goldin page on IMDb. Retrieved September 29, 2024.

Goldin also provided still photography for two films by Sara Driver: You Are Not I (1981, co-written by Jim Jarmusch and its director), starring Goldin's lover and friend Suzanne Fletcher, and herself playing one of the accident victims. In 1993 followed When Pigs Fly with Alfred Molina.

Photographs shown in the 1986 film Working Girls, as taken by the lead character Molly, were those of Goldin.Audio commentary by Lizzie Borden on the DVD of "Working Girls".^{Publisher, date, timestamp missing}

In the production of Mary Harron's infamous I Shot Andy Warhol (1996) with Lili Taylor as Valerie Solanas, Goldin is listed for "special photography".

The photographs by the character Lucy Berliner, played by actress Ally Sheedy in Lisa Cholodenko's 1998 film High Art, were based on those by Goldin.{{cite web |first1=Richard |last1=von Busack |access-date=2024-09-29 |title=Cold Dish of Careerism – Lisa Cholodenko's icy 'High Art' turns from chic comedy to humiliation |url=http://www.metroactive.com/papers/metro/06.18.98/highart-9824.html |website=Metroactive.com |date=June 18–24, 1998 |archive-date=February 20, 2020 |archive-url=https://web.archive.org/web/20200220180610/http://www.metroactive.com/papers/metro/06.18.98/highart-9824.html |url-status=live }}

In the second season of the 2017 HBO series The Deuce by George Pelecanos and David Simon she has a cameo sitting at a bar.

On the occasion of her first major retrospective in the UK an early documentary was made beforehand in 1995 for the BBC by Edmund Coulthard, called like the show, I'll Be Your Mirror. The film received a Teddy Award at the Berlin International Film Festival 1996, and the City of Melbourne Award at the Melbourne International Film Festival.[https://m.imdb.com/title/tt0113372/awards/?ref_=tt_awd Awards for the film] on IMDb. Retrieved September 29, 2024.

Paul Tschinkel did a 30 minute feature on occasion of the retrospective being shown at the Whitney Museum in New York, titled Nan Goldin: In My Life.{{Cite web|title = Nan Goldin: In My Life (ART/new york No. 47)|url = https://www.youtube.com/watch?v=omKMdqqI_NY|website = YouTube|type = Excerpt|publisher = Artnewyork.org|access-date = 20 December 2018|archive-date = December 29, 2017|archive-url = https://web.archive.org/web/20171229225435/https://www.youtube.com/watch?v=omKMdqqI_NY&gl=US&hl=en|url-status = live}}

The intimate hour-long portrait Nan Goldin: I Remember Your Face directed by Sabine Lidl came out in 2011.{{cite web |author=Jeannette Catsoulis |title=A Photographer Recalls Her Life Within a Demimonde |type=Movie Review |url=https://www.nytimes.com/2014/06/13/movies/in-nan-goldin-sabine-lidl-profiles-a-portraitist.html |website=The New York Times |date=June 12, 2014 |access-date=September 28, 2024 |archive-date=June 16, 2022 |archive-url=https://web.archive.org/web/20220616223813/https://www.nytimes.com/2014/06/13/movies/in-nan-goldin-sabine-lidl-profiles-a-portraitist.html |url-status=live }}[https://m.youtube.com/watch?v=pOVWTQnk_do Trailer] of the film on YouTube. Retrieved September 28, 2024.

In 2022, filmmaker Laura Poitras' Peabody Award-winning {{cite web | url=https://peabodyawards.com/award-profile/all-the-beauty-and-the-bloodshed/ | title=All the Beauty and the Bloodshed }} documentary All the Beauty and the Bloodshed on Goldin premiered at the 79th Venice International Film Festival,{{cite news|first1=Manohla|last1=Dargis|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Review: Nan Goldin's Art and Activism|type=Critic's Pick|url=https://www.nytimes.com/2022/11/22/movies/all-the-beauty-and-the-bloodshed-review-nan-goldin.html|newspaper=The New York Times|date=22 November 2022|issn=0362-4331|archive-date=February 26, 2023|archive-url=https://web.archive.org/web/20230226050202/https://www.nytimes.com/2022/11/22/movies/all-the-beauty-and-the-bloodshed-review-nan-goldin.html|url-status=live}}{{cite web|first1=Owen|last1=Gleiberman|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Review: Laura Poitras's Film About How Nan Goldin Turned Her Art of Transgression Against the Sackler Family|url=https://variety.com/2022/film/reviews/all-the-beauty-and-the-bloodshed-review-nan-goldin-laura-poitras-1235358856/|date=3 September 2022|archive-date=February 28, 2023|archive-url=https://web.archive.org/web/20230228184027/https://variety.com/2022/film/reviews/all-the-beauty-and-the-bloodshed-review-nan-goldin-laura-poitras-1235358856/|url-status=live}} The feature-length film interweaves Goldin's biography told by herself, with her engagement with P.A.I.N. against the Sackler family, evolving in part during the Covid-19 pandemic. The film was awarded the Golden Lion in Venice and was nominated for the Academy Award for Best Documentary Feature.{{cite web|first1=Alison|last1=Foreman|access-date=2022-11-23|title='All the Beauty and the Bloodshed' Wins Venice Film Festival Golden Lion: See All the Winners|url=https://www.indiewire.com/2022/09/venice-film-festival-winners-2022-1234760259/|date=10 September 2022|archive-date=September 10, 2022|archive-url=https://web.archive.org/web/20220910202856/https://www.indiewire.com/2022/09/venice-film-festival-winners-2022-1234760259/|url-status=live}}

{{reflist}}

• {{Instagram|nangoldinstudio}}
• [http://www.thecollectiveshift.com/show/portfolio/Nan_Goldin Nan Goldin at theCollectiveShift]
• National Gallery of Art [https://www.nga.gov/exhibitions/2024/70s-lens-documentary-photography.html The ’70s Lens: Reimagining Documentary Photography] and [https://www.nga.gov/stories/12-documentary-photographers-to-know.html 12 Documentary Photographers Who Changed the Way We See the World]

{{Hasselblad Award|state=collapsed}}

{{Authority control}}

{{unreferenced category|date=February 2023}}

{{DEFAULTSORT:Goldin, Nan}}

Category:American bisexual artists

Category:American bisexual women

Category:Bisexual Jews

Category:LGBTQ people from Washington, D.C.

Category:1953 births

Category:Living people

Category:Jewish American artists

Category:Commandeurs of the Ordre des Arts et des Lettres

Category:Artists from Washington, D.C.

Category:Artists from Massachusetts

Category:People from Lexington, Massachusetts

Category:20th-century American photographers

Category:21st-century American photographers

Category:Opioid epidemic

Category:Bisexual women artists

Category:Bisexual photographers

Category:Fellows of the Royal Photographic Society

Category:20th-century American women photographers

Category:21st-century American women photographers

Category:American LGBTQ photographers

Category:21st-century American Jews

Category:Jews from Washington, D.C.