Legacy: The Emily Fisher Landau Collection

Solo en Inglès

This audio guide, introduced by Alice Pratt Brown Director Adam D. Weinberg, highlights a diverse range of works from the exhibition Legacy: The Emily Fisher Landau Collection. Artists John Baldessari, Gregory Crewdson, Eric Fischl, Jasper Johns, Glenn Ligon, and Mark Tansey provide additional commentary.

Nan Goldin, Self-Portrait with Milagro, the Lodge, Belmont, MA 1988, 1988

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Narrator: In this self-portrait, the photographer Nan Goldin sits on her bed at a rehab clinic for drug and alcohol addiction. Her face is blurred, but her hand is sharply defined, clutching a pillow marked with an institutional logo. Goldin’s bright flash casts a harsh light on the scene, draining the image of color—except for her red lips. The cramped composition, barely able to contain her figure, creates a feeling of claustrophobia, and Goldin appears uncomfortable. The image may look like a snapshot, but in fact it was carefully constructed to communicate mood and emotion.

In the 1970s, Goldin began a project of documenting the most intimate moments of her life. The photographs record herself and her friends in a chronicle of drug use, squalor, and abusive relationships. From these images she produced a landmark work, The Ballad of Sexual Dependency, a slide show with music featuring several hundred images.

Unlike traditional documentary photographers, Goldin is not an outsider looking in, so her photographs never have the distant feel of a document. She is deeply enmeshed with her subjects, and confronts them with candor and empathy—an approach she applies to herself as well.

Narrator: In this self-portrait, the photographer Nan Goldin sits on her bed at a rehab clinic for drug and alcohol addiction. Her face is blurred, but her hand is sharply defined, clutching a pillow marked with an institutional logo. Goldin’s bright flash casts a harsh light on the scene, draining the image of color—except for her red lips. The cramped composition, barely able to contain her figure, creates a feeling of claustrophobia, and Goldin appears uncomfortable. The image may look like a snapshot, but in fact it was carefully constructed to communicate mood and emotion.

In the 1970s, Goldin began a project of documenting the most intimate moments of her life. The photographs record herself and her friends in a chronicle of drug use, squalor, and abusive relationships. From these images she produced a landmark work, The Ballad of Sexual Dependency, a slide show with music featuring several hundred images.

Unlike traditional documentary photographers, Goldin is not an outsider looking in, so her photographs never have the distant feel of a document. She is deeply enmeshed with her subjects, and confronts them with candor and empathy—an approach she applies to herself as well.


Nan Goldin (b. 1953), _Self-Portrait with Milagro, The Lodge, Belmont, MA 1988_, 1988. Silver dye bleach print, 27 3/8 x 40in. (69.5 x 101.6 cm). Edition no. 6/25. Promised gift of Emily Fisher Landau P.2010.87 © Nan Goldin/Courtesy of Matthew Marks Gallery, New York; photograph by Tim Nighswander/Imaging4Art