About The Work
Nan Goldin (b. 1953) is one of the most influential, yet arguably underrated, photographers of the 20th century. Beginning in the 1970's Goldin took candid shots of her friends and lovers, characters often living on the margins of society. Following William Eggleston, Nan Goldin made an significant contribution to the evolution of color photography.
"My Bed, Hotel La Louisiane, Paris” is an intimate still-life taken of her unmade bed scattered with fruit and open notebooks. The picture portrays a delicate tangle of bed sheets and blankets illuminated by soft window light. It holds a quality of honesty and rawness that is essential to Goldin’s creative expression. While most are familiar with Goldin's portraits, her interiors and still lifes are an important element in her oeuvre.
Her work from the 1990's, which remains the most coveted, emanate quiet contemplation while still retaining her exceptional framing and frequent haze. Goldin's images of private spaces, typically bedrooms, both continue Eggleston's innovations, but are incredibly personal and intimate.
With its muted color palette and square crop, this composition is somewhat unusual for Goldin’s work as most of her images are printed in a format close to 28" x 40". One could argue that in an image such as this one, the photographer is presenting an image that is more about abstraction; the range of colors and textures. Notice the trio of ripe oranges in the center of the work. The folds in the sheets lead the eye to them, or how there are so many pale shades of beige and brown (the crumpled paper, the headboard, the blanket's trim) that seem to amplify the oranges' intensity.
As Goldin crosses the new millennium, she puts more emphasis on travel, interiors and scenes that are void of people. Yet despite the absence of people, the images are still full of clues related to their presence, behavior and adventures.
About Nan Goldin
From The Magazine
- Interviews & Features: Roger Davies - The Art for Home Interview
- Interviews & Features: The Female Gaze: Women Artists on the Male and Female Form
- Interviews & Features: The story behind Nan Goldin’s Valérie in the Taxi, Paris, 2001
- Interviews & Features: Laura Currie of Prospect Picks Ten Editions and Objects to Mark Ten Years of Artspace
- Interviews & Features: Smile! You Made it Through 2020
Photograph
Dye destruction print, flush-mounted
19.25 x 19.25 in
48.9 x 48.9 cm
Signed, titled, numbered and dated by the artist versoComes with certificate of authenticity.
About The Work
Nan Goldin (b. 1953) is one of the most influential, yet arguably underrated, photographers of the 20th century. Beginning in the 1970's Goldin took candid shots of her friends and lovers, characters often living on the margins of society. Following William Eggleston, Nan Goldin made an significant contribution to the evolution of color photography.
"My Bed, Hotel La Louisiane, Paris” is an intimate still-life taken of her unmade bed scattered with fruit and open notebooks. The picture portrays a delicate tangle of bed sheets and blankets illuminated by soft window light. It holds a quality of honesty and rawness that is essential to Goldin’s creative expression. While most are familiar with Goldin's portraits, her interiors and still lifes are an important element in her oeuvre.
Her work from the 1990's, which remains the most coveted, emanate quiet contemplation while still retaining her exceptional framing and frequent haze. Goldin's images of private spaces, typically bedrooms, both continue Eggleston's innovations, but are incredibly personal and intimate.
With its muted color palette and square crop, this composition is somewhat unusual for Goldin’s work as most of her images are printed in a format close to 28" x 40". One could argue that in an image such as this one, the photographer is presenting an image that is more about abstraction; the range of colors and textures. Notice the trio of ripe oranges in the center of the work. The folds in the sheets lead the eye to them, or how there are so many pale shades of beige and brown (the crumpled paper, the headboard, the blanket's trim) that seem to amplify the oranges' intensity.
As Goldin crosses the new millennium, she puts more emphasis on travel, interiors and scenes that are void of people. Yet despite the absence of people, the images are still full of clues related to their presence, behavior and adventures.
About Nan Goldin
From The Magazine
- Interviews & Features: Roger Davies - The Art for Home Interview
- Interviews & Features: The Female Gaze: Women Artists on the Male and Female Form
- Interviews & Features: The story behind Nan Goldin’s Valérie in the Taxi, Paris, 2001
- Interviews & Features: Laura Currie of Prospect Picks Ten Editions and Objects to Mark Ten Years of Artspace
- Interviews & Features: Smile! You Made it Through 2020
Framed with museum glass Very good condition.
This work may require special shipping and handling.
- This work is framed. Frame measurements are 20.25" x 20.25".
- Ships in 5 to 7 business days from Canada.
- This work is final sale and not eligible for return.
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