View full screen - View 1 of Lot 433. NAN GOLDIN | SELF PORTRAIT.





b. 1953


signed, titled and dated Sunday, March 17, 1996, NYC

unique polaroid

4⅛ by 4⅛ in. (10.5 by 10.5 cm.)

This work is in very good condition overall. There is no apparent fading. There are two small ink stains; the first to the left of the face and the second at the lower left corner, inherent to the artist's working method and chosen media. There are a few scattered fingerprint marks, visible under raking light and upon close inspection. Unframed.

The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.

Private Collection, New York (acquired directly from the artist in 1996)

"The sequence of self-portraits is a sequel and necessary partner to the earlier Ballad and it rearticulates Goldin's project: to make work that connects with one's life, to replace the abstraction and distance of the document with an empathetic and frank confrontation of personal experience and emotions. Thus the tradition of the document—loaded since inception with moral intention but also with distanced stance—is different when the photographer is closely enmeshed with her subject."

(Elizabeth Sussman, "In/Of Her Time: Nan Goldin's Photographs," Nan Goldin: I'll Be Your Mirror, New York 1996, p. 37)