1985 Currents, Institute of Contemporary Art, Boston,
Massachusetts
1988 Indiana University Gallery, BloomingtonCouples,
Pace/MacGill Gallery, New York
1996 Nan Goldin: Children 1976–1996, Mathew Marks Gal-
lery, New York, New York
Nan Goldin: Self Portrait, Tokyo Love, Centre de la
Vieille Charite ́, Marseille, France
1996 Nan Goldin: I’ll Be Your Mirror, Whitney Museum of
American Art, New York, New York, (also Kunstmu-
seum, Wolfsburg, Germany; Stedelijk Museum, Amster-
dam, Fotomuseum Winterthur, Switzerland, Kunsthalle
Wien, Vienna, Austria)
1999 Nan Goldin, National Gallery of Iceland, Reykjavik,
Iceland
2001 Nan Goldin:Le feu follet, Centre Georges Pompidou,
Paris, France
2003 Nan Goldin, Musee d’art contemporain de Montreal,
Montreal, Canada
Group Exhibitions
1979 Pictures/Photographs, Castelli Graphics, New York,
New York
1980 Times Square Show, Co-Lab, New York, New York
1985 Self Portrait Show, Museum of Modern Art, New
York, New York
Biennial Exhibition, Whitney Museum of American
Art, New York, New York
1990 An Army of Lovers, PS 122, New York, New York
1991 Devil on the Stairs: Looking Back on the 80s, Institute
of Contemporary Art, Philadelphia, Pennsylvania
Pleasures and Terrors of Domestic Comfort, Museum
of Modern Art, New York, New York
1992 New Visions in Photography, Whitney Museum of
American Art, New York, New York
1995 Public Information: Desire, Disaster, Document, San
Francisco Museum of Modern Art, San Francisco,
California
1995 Biennial Exhibition, Whitney Museum of American
Art, New York, New York
Fe ́minin Masculin: Le Sexe de l’Art, Centre Georges
Pompidou, Paris
1996 Hospice: A Photographic Inquiry, Corcoran Gallery of
Art, Washington DC
1997 Defining Eye: Women Photographers of the 20thCen-
tury, The Saint Louis Art Museum, St. Louis, Missouri
(traveled to The Museum of Fine Arts, Santa Fe, New
Mexico; Mead Art Museum, Amherst, Massachusetts;
The Wichita Art Museum, Wichita, Kansas)
Rrose is a Rrose is a Rrose: Gender Performance in
Photography, Solomon R. Guggenheim Museum, New
York, New YorkFurther Reading
Goldin, Nan.The Other Side, edited with David Armstrong
and Walter Keller. New York: D.A.P., 2000; also Scalo
Publishers, 1993.
Goldin, Nan.The Ballad of Sexual Dependency. Millerton,
New York: Aperture, 1986.
Goldin, Nan.Nan Goldin, The Devil’s Playground. New
York: Phaidon, 2002.
Costa, Guido, ed.Nan Goldin55. London: Phaidon Press, 2001.
Gagnon, Paulette.Nan Goldin. Montreal: Musee d’art con-
temporain de Montreal, 2003.
Kotz, Liz. ‘‘Aesthetics of Intimacy.’’ InThe Passionate
Camera: Photography and Bodies of Desire, edited by
Deborah Bright. New York: Routledge, 1998.
Fridling, Melissa Pearl. ‘‘Nan Goldin’s Retrospective and
Recovery: Framing Feminism, AIDS and Addiction.’’ In
Recovering Women: Feminisms and the Representation of
Addiction. Boulder: Westview Press, 2000.
Townsend, Chris. ‘‘Nan Goldin: Bohemian Ballad.’’ In
Phototextualities: Intersections of Photography and Nar-
rativeEd. Alex Hughes and Andrea Noble. Albuquer-
que: University of New Mexico Press, 2003.
Goldin, Nan, and Taka Kawachi, eds.Nan Goldin: Couples
and Loneliness. Kyoto: Korinsha Press, 1998.EMMET GOWIN
American
Emmet Gowin can seem like two photographers.
Onecapturedimagesofhisruralfamilylifeinthe
late 1960s and 1970s, images deeply rooted in an
earthbound and intimate knowledge of place and
person. The other captured images from his world
travels in the 1980s and 1990s, images often up-
rooted in an airborne and detached comprehension
of untainted and irreversibly tainted landscapes. If
there was no readily apparent evolution from one
subject matter to the other, there is nevertheless
subtle unity to this eminent photographer’s body of
work. Partly achieved through technical ad-
venturousness, refined composition, and ethereal
calm, this unity is animated by Gowin’s faculty
for the ineffable: ‘‘the fact that something is unsay-
able, that you are emotionally restricted from saying
or even recognizing consciously what your own spirit
is struggling with, energizes one’s work’’ (InterviewGOLDIN, NAN