Reframing a Collection
Drawn from the Cruthers Collection of Women’s Art at the University of Western Australia (UWA), Lawrence Wilson Art Gallery’s show Place Makers, reframes the artists—who just happen to be female.
Nan Goldin, C.Z. and Max on the beach, Truro, Mass., 1976 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Bruce on top of French Chris, Fire Island, N.Y., 1979 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Bruce with his portrait, New York City, 1981 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Cookie at Tin Pan Alley, New York City, 1983 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Twisting at my birthday party, New York City, 1980 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin is known for her intimate depictions of her friends and chosen family, which have become a snapshot of many late 20th century subcultures—from post-punk and new-wave to the post-Stonewall queer communities of 1980’s New York City.
The Ballad of Sexual Dependency began as a slide show, transitioned into book form in 1986, and is now showing as an exhibition described by Goldin herself as her ‘public diary’. “For me it is not a detachment to take a picture,” she says. “It’s a way of touching somebody—it’s a caress, I think that you can actually give people access to their own soul.”
Victorian audiences are now getting a chance to view the show, which is touring from The National Gallery of Australia to its new home in the Art Gallery of Ballarat. “Goldin has been incredibly influential in contemporary culture, as both an artist and an activist.” says gallery director Louise Tegart. “In this important series, Goldin documented her life and that of her circle of friends to create images that are powerful, poignant and that reveal a cultural milieu that was on the edge and vulnerable. This revelatory body of work influenced a generation. We are very excited to present it in Ballarat, together with some exciting events inspired by the exhibition.”
View, in pictures, Nan Goldin’s love letter to her community.
Nan Goldin, Cookie and Vittorio’s wedding, New York City, 1986 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Dieter on the train, Sweden, 1984 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Vivienne in the green dress, New York City, 1980, Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Millie with the cheeseburger radio at home, New York City, 1980 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Mark tattooing Mark, Boston, 1978 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Nan and Brian in bed, New York City, 1983. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Nan Goldin, Suzanne in the green bathroom, Pergamon Museum, East Berlin, 1984 – web version. Dye destruction photograph on paper. National Gallery of Australia, Kamberri/Canberra, purchased in celebration of the National Gallery of Australia’s 40th anniversary, 2022. Courtesy the artist.
Drawn from the Cruthers Collection of Women’s Art at the University of Western Australia (UWA), Lawrence Wilson Art Gallery’s show Place Makers, reframes the artists—who just happen to be female.
For contemporary jeweller Kyoko Hashimoto, an exhibition at the Art Gallery of South Australia marks a shift in her approach to materials and method, with a renewed focus on sustainability.
Tasmanian artist Helen Wright’s survey exhibition, Shapeshifting at Queen Victoria and Gallery: Art Gallery at Royal Park, chronicles decades of practice across mediums to reveal new meanings.
An exhibition of newly commissioned works at the National Art School gallery in Sydney brings to light the historic and ongoing ties between Indigenous and Asian-Australian communities.
Rigg Design Prize has announced its winner for 2025, in a celebration of early and established designers, the innovative works are on display at The Ian Potter Centre.
In the paintings of Yugambeh poet and artist Lionel Fogarty, dynamic words spill across the canvas and suggest a new way of reading, writing and approaching poetry in his new solo show, Burraloupoo at Darren Knight Gallery in Sydney.
