Abstract
Nan Goldin: Devil's Playground, recently shown at the Whitechapel Art Gallery in London, represents the first retrospective in the United Kingdom for this American photographer who has lived, and photographed, internationally. Renowned for her photographs of the intimate lives of her friends-herself and the queer and drugs/bohemian communities-Goldin has taken a startling aesthetic/pictorial turn in her new photography. Prosser evaluates Goldin's career and the changes in it, and considers where her photography leaves the documentary tradition from which she arose. Charting in particular a trajectory towards light in her oeuvre, and working with the notion of testimony rather than documentary, Prosser suggests that Goldin has moved from an empathetic but critical representation of gender roles to a spiritual, accepting and visionary perspective on life and loss. His readings of photographs are focused on those from the exhibition and the curating of the exhibition is considered.
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