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The Ballad Of Sexual Dependency PDF Free Download, The Ballad Of Sexual Dependency Book By Nan Goldin PDF Free Download.
Nan Goldin’s The Ballad Of Sexual Dependency Is A Deeply Personal Narrative, Formed Out Of The Artist’s Own Experiences Around Boston, New York, Berlin, And Other Places In The Late 1970s, 1980s, And Beyond. It Consists Of Almost 700 Snapshot-like Portraits Sequenced To An Evocative Music Soundtrack.
A Kind Of Downtown Opera With A Title Taken From A Song In The Threepenny Opera By Bertolt Brecht And Kurt Weill, Goldin’s Ballad Has Protagonists, Including The Artist Herself, Who Are Shown In Intimate Moments Of Love And Loss.
They Revel In Dance Clubs And Form Bonds With Their Children At Home, But They Also Experience Ecstasy And Pain Via Drug And Sexual Activity. They Also Experience Domestic Violence And The Ravages Of Aids. “The Ballad Of Sexual Dependency Is The Diary I Let People Read,” Wrote Goldin. “Keeping A Journal Gives Me Control Over My Life.
It Enables Me To Meticulously Document Every Detail. It Aids Me In Recalling. The Ballad Was Created Over The Course Of Many Impromptu Live Performances, During Which Goldin Manually Ran Through The Slides And Friends Helped Prepare The Soundtrack—which Included Everything From Maria Callas To The Velvet Underground—for A Crowd That Was Similar To The Subjects Of The Photographs.
Along With Photos That Also Appear As Images In The Slide Show, The Ballad Is Presented In Its Original 35mm Format. A Selection Of Materials From The Artist’s Archive, Including Flyers And Posters Advertising Early Versions Of The Ballad, Are Used To Introduce The Installation.
The Installation Is Organised By Lucy Gallun, Assistant Curator, Department Of Photography, Moma; Rajendra Roy, The Celeste Bartos Chief Curator Of Film, Moma; And Klaus Biesenbach, Chief Curator At Large, Moma, And Director, Moma Ps1.
The Ballad Of Sexual Dependency Is Now In Its Twenty-first Printing, 35 Years After It Was Originally Published. I’m Here Because I Love This Book, Which Is Why. That It Still Resonates In The World As It Does Amazes Me. Since Then, I’ve Lived A Lot Of Lives. The Years Of The Ballad Were Maybe The Period Of My Life That Shaped Me The Most. I Still Think That These Images Accurately Portray That Period Of Time. Every Ten Years, I Feel It’s Crucial To Recontextualize The Afterword. The Real Story Of This Work Is Told In The Foreword Is Forever. I Want To Keep Updating The Record Of My Life In The Same Way As I Often Alter My Slide Presentations.
I Grew Up In A Time When Denial Served As Suburban Life’s Glue. It Preserved The Outside Face, The Mentality, And The Culture. I Refused To Believe The Myths That Families Propagate To The Outside World And Tell To One Another. I Quickly Realised That My Experience May Not Be Accurate. That Never Happened, I Never Said That, And I Never Did That. I Wanted To Go.
I Took The Photos For This Book To Prevent Nostalgia From Ever Casting A Shadow On My Past. I Wanted To Create A Record Of My Life That Would Be Impenetrable To Revision—not A Safe, Clean Version, But Rather A Description Of How Things Really Seemed, Felt, And Smelled. I Don’t Believe I Could Live The Life I Did Back Then At This Age And In This Body. It Required A Certain Amount Of Wildness, Fearlessness, And Swift Changes In Clothes, Friends, Lovers, And Cities.
I Suppose That It Showed Young People There Was Another Way To Live And That They Didn’t Have To Accept The Version Of The Norm That Hurt Them, That They Didn’t Feel A Part Of, And That Was Destroying Them When Others Say That The Song Helped Them. Children Who Did Not See A Reflection Of Themselves In The World Around Them Were Given A Mirror By The Book. They Were Aware Of Their Comradeship.
People Once Told Me They Moved To New York As A Result Of The Ballad. They Were Introduced To Other Notable Personalities, Brilliant And Beautiful People, And Great Artists. They Discovered A World Where Friends Could Stand In For Family And You Choose The People Who Kept You Alive. Relationships Weren’t Built On Toxic Assumptions About Your Identity. You Could Be Whatever You Wanted To Be. Someone Just Told Me That My Work Saved Them From Committing Suicide. The Ultimate Goal Of My Work Is To Help One Person Survive.
This Book Is Allegedly About “Marginalised” Individuals. We Never Felt Excluded. The World Was Us. We Could Have Cared Less About What “Straight” People Thought Of Us Since We Were In Our Own World. I Turned My People Become Celebrities, And The Song Upholds Their Legacy.
There Was A Sense Of Freedom And Immortality In The 1980s That Vanished With The Decade. The Earth Was Weakened By Aids. Everything Changed When Everyone Died. Our History Was Interrupted. A Whole Generation Was Lost. A Culture Was Lost. Not Only Did We Lose The Actors, But Also The Audience. That Level Of Intensity Is Rarely Found Today. There Once Was A Way Of Looking At Life That No Longer Exists, Everything’s Been So Cleaned Up.
Recently, It Seems As If My Missing Friends’ Photos Are Frozen In Amber When I Work With Them. I Often Forget They Are Not Physically Here On Our Planet. But Looking At The Pictures Makes Me Realise How Much I’ve Lost—the People Who Knew Me Best, Who Carried My History, Who I Grew Up With And Intended To Spend My Latter Years With, Are All Gone. My Memory Was Taken Away By Them. The Images In The Song Have Remained Unchanged. But Cookie Is No More. Dead Is David. Dead Is Greer. Kenny Is No More. They No Longer Respond When I Talk To Them Constantly. Mourning Doesn’t Come To An End; It Goes On And Changes. This Book Is Now Both A Lament For Loss And A Love Song.
There Is The Feeling That You Are Immortal In Your Youth Even If Everyone Around You Is Dying. Death Doesn’t Immediately Affect You. I Didn’t Go Through The Transition From Being Young To Old. When You’re In Your Sixties, You Become Much More Aware Of Death And Realise How Short Your Time Is And How Quickly It Passes. A Woman In Our Country Is Invisible Beyond The Age Of Fifty, Which Is Kind Of A Relief Because It Gives You A Freedom That I Like. The American People Are Not Taught To Respect Their Elders. You Lose Credibility Because Young People Are So Dismissive. Because I Resemble A Punk Grandma, They Treat Me Like A Crazy Old Lady. I’ve Spoken With Other Women Over 50, And Many Of Them Share My Sentiments. I Would Want To Just Not Care.
The World Now Hardly Resembles The One We Once Knew. Dark Days Are Here. Due To The Fact That This Is All We Have, Everyone Must Find A Way To Fight Back. We Lack Elected Representatives Who Will Fight For Us. There Are No Leaders Who Can Save Us. We Lack Just Courts To Hand Out Justice. We Do Have The Media, But It Is Under Danger. The Only Chance We Have Is With The People On The Streets.
I Only Became Aware Of The Extent Of The Aids Epidemic And The Number Of My Friends Who Were Dying When I Became Sober In 1988 And Emerged From My Self-imposed Exile. Witnesses Against Our Vanishing, The First Show On Aids In New York, Was Curated By Me. Because Of David Wojnarowicz’s Brilliant And Venomous Words, Which Sparked Outrage And Brought People To The Streets, The Catalogue Was Censored. Witnesses Aided In Setting The Stage For The Art World To Begin Organising Around The Aids Crisis.
In 2017, After Being Sober, I Had To Rediscover My Fight. As Usual, I Followed My Body’s Knowledge. I Had Been Mired In A Deadly Oxycontin Addiction For Three Years. After Overcoming My Own Opioid Crisis, I Saw That America Was Experiencing A Terrible Overdose Crisis. I Couldn’t Watch As Another Generation Vanished.
I Made The Decision To Make It Political. Prescription Addiction Intervention Now (P.a.i.n.) Is A Group Of Artists And Activists I Organised. Targeting The Sacklers, The Family Responsible For Oxycontin, Was Our First Mission. Their Private Pharmaceutical Company Started The Opioid Overdose Epidemic While Making Money Off The Addiction And Deaths Of 500,000 Americans. We Called Them Out On Stage In The Museum World, Where Their Name Was Most Well-known, To Get Their Attention. We Were Able To Change Their Legacy Despite The Myth They Created Via Their Toxic Philanthropy.
These Museums Have My Work In Their Permanent Collections, Therefore I Confronted Them As An Artist Even At The Risk Of Ruining My Career. P.a.i.n. Is A Small Group, But Through Direct Action, We Make A Lot Of Noise. At The Met In 2018, We Began By Tossing Thousands Of Fake Oxygen Bottles Into The Nile. Since Then, We Have Acted Out At Museums All Around The World. Cutting Ties With The Family And Taking Down Their Name Has Helped Us Push Institutions To Live Up To Their Ethical Mandate.
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