Goldin’s inclusion in the 1993 Whitney Biennial solidified her position in the artworld, but by the 1990s the artist was already beginning to adjust her focus she spent more time in Europe, living first in Berlin then in Paris images shot in bars and nightclubs gave way to photos taken at friend’s summer houses, hotels and on the beach. NAN GOLDIN - Valérie in the taxi, Paris, 2001, 2004
In 1998, Goldin was admitted to rehab, and by the end of the decade, a number of her friends and photographic subjects had succumbed to AIDS. That early work came with an associated cost. The American artist’s graphic, vulnerable and, at times, shocking work documented the lives of the doomed demimonde in both Boston and New York. Indeed, Massadian’s life is quite distinct from many of those who feature in Goldin’s canonical 1985 slideshow, The Ballad of Sexual Dependency - 700 snapshot-like portraits sequenced against an evocative music soundtrack that established Goldin as one of the preeminent photographers of her generation. Massadian might not have come across as the most obvious addition to Goldin’s circle she was driven, successful, and is still thriving today, working as a film director. The pair became close friends Massadian worked for Goldin Goldin photographed Massadian – in the nude, in bed, as well as in everyday settings, such as a taxi.
There, in the offices of the French designer Jean Colonna, Goldin met the former model-turned-designer and editor Valérie Massadian. In the autumn of 1995, Nan Goldin was in Paris shooting a feature for the New York Times, profiling the American model, James King.
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