http://calendar.walkerart.org/event.wac?id=6193&hp=link&poster=Exhibitions

Documenting the intimate lives of friends and lovers, as well as trusting acquaintances from bar scenes in New York and Boston, photographer Nan Goldin compiled hundreds of images made over two decades into The Ballad of Sexual Dependency. Presented in its original, 35mm slide-show format, the images seem to invite us into a world that is universally human yet highly specific. "There is a popular notion that the photographer is by nature a voyeur, the last one invited to the party," Goldin has said. "But I'm not crashing, this is my party. This is my family, my history." The title of the work is taken from a song in Bertolt Brecht's The Threepenny Opera; its soundtrack features New York bands like The Velvet Underground, whose song lyrics evoke themes explored within the photographs.
I know it's a different approach, but I have always been able to identify myself with Nan Golden. I know that she uses the camera to document her life in a way that I would like to be remembered as well- but hopefull in a more positive light.  She is an inpirational documentary photographer for me because she truly uses the medium to express what is happening in her life. I really want to explore and advance in the overwhelming relm of documentary and I will strongly consider the raw tactics in which Nan has used throughout her carreer.
My Work. . .

Finale

Digital photography was very threatening during the dawn of it's time. Many photographers has mixed feelings about digital. . . here are some examples from the book:
Richen, "whose thinking is haunted by an almost Orwellian nightmare of a future world of digital illusions (1990a: 3), saw that substitution of chemical by electronic processes as leading to a radical increase in the degree to which a photograph could be manipulated. Fearing a world in which images would no longer be trusted to reliably inform us about the wider world, he searched for strategies which would enable photojournalists to ward off the digital"(315)
I can understand why Richen would feel this way about digital photography, however coming from my point of view, I think that digital is very important within todays world. We are constantly evolving as a culture and it is important to keep up with those things. Eventhough it's rapid- it wont stop. There is no need to fight against some things. I think that dark room processes and film have a very special place and they can still be utilized in the art world, however as far as photography- there are new and better things- and they must be embraced as well. For my own work, digital is important because I can shoot so much more without having to worry about film.
William J. Mitchell, "in his view, digital image technologies would bring a 150-year period of 'false innocence' to an end; a false innocence belonging to the period during which chemical photographs provided us with images that we could comforably regard as ' casually generated truthful reports about things in the real world." (Michell 1992: 225- Pg 318)
I think that Mitchell was worried that digital couldn't do the same things that film can, and to a certain extend, this is true- however with technology at a rapid incline- i think that digital is coming to a point in time where is can do all the things that film can and so much more.
Crary observed " that the new constructed 'virtual' visual spaces of computer-generated imagery which were then emerging, were radically different from the 'mimetic capacities of film, photgraphy and television." (319)