The moment was unforgettable, and legendary photographer Nan Goldin has done it again, thrilling new audiences to her seminal work “The Ballad of Sexual Dependency.” This powerful collection reflects the captivating journey through intimacy, trauma, and the intricacies of being human. It was designed from 1973 to 1986. The exhibition features 126 framed photographic prints. Each component is carefully curated to create unfiltered passion and layered intention in narrative.
Goldin’s portraits are as personal and immersive—the aging process of her parents, her friends and peers, her own life experiences. The exhibition presents these nuanced images on three dramatic black walls. Stacked four high, they form a breathtaking tapestry that enhances the screening experience. Every photo has a tale to spin, guiding the viewer deep into the layers of Goldin’s world.
Since the 1980s, “The Ballad of Sexual Dependency” has extended its reach internationally by taking the stage as a dynamic slideshow. This evocative cinematic experience incorporates photographs together to transport viewers through Goldin’s recollections. The original slide show involved up to 800 images shown over a 45 minute length in a pitch black room. The experience takes audiences on a 360 degree, multi-sensory journey through the sounds of the diverse soundtrack. It includes amazing works from artists such as Maria Callas, Petula Clark, Dionne Warwick and Dean Martin.
Goldin’s philosophy of photography is compelling. By setting up her camera on a tripod across the room, she is able to record raw, authentic moments that we often miss. This painting technique exposes a deeper story than what you see on the surface. One particularly moving instance is the photograph of Goldin and her longtime partner Brian enjoying a quiet, tender moment. Such photographs lay bare the fragility and tenderness that evokes the brutality that is part of love.
The work goes from documenting a wedding ceremony to powerful images of despair and anger. Of particular interest is one of the original photographs, showing an empty bed in a New York brothel. Another sobering image is of Goldin herself, with a black eye and bruised face. These counterbalancing elements speak to humanity’s experience with love and loss, which is why Goldin’s work hits so hard.
As Goldin refers to “The Ballad”, it’s a diary that she’s willing to give someone the keys to. This metaphor makes apparent just how intimate her photography really is. It tells her story and opens up a window to what the rest of us un-looped folks went through. Through her lens, she captures a lost world that feels surprisingly relevant today—one that evokes nostalgia while confronting harsh realities.
The exhibition’s design and atmosphere are integral in shaping these stories. The contrast of celebrating life with the images of people mourning loss produces a potent conversation about the state of humanity. Visitors are then usually left to consider their own relationships and the fragility of those connections.