
The Black Hole of Trauma by Bessel A. Van der Kolk: and Alexander C. McFarlane

The Black Hole of Trauma by Bessel A. Van der Kolk: and Alexander C. McFarlane

Nan Goldin

Muriel Zeller


(Excerpts from Why Does He Do That? by Lundy Bancroft)
Sue Williams, Irresistible, rubber, 1992, text on sculpture reads: Thanks for the beer. Love is forgiving. If you don’t care about yourself, how do you expect others to–you dumb bitch. I didn’t do that. Have you been seeing someone–huh slut. I think you like it mom. Look what you made me do. The No. 1 cause of injury to women is battery (men) Course no one asks what the women did. He’s under a lot of uh———oh do. So uptight. Can you find something to ram in her mouth? We don’t know if she enjoyed it or not. This case remains a mystery.
Kiki Smith, Blood Pool , 1993, wax, gauze and pigment
Anika: “He Hit Me”
Nan Goldin
Nan at the Hospital, Berlin,
1984/1999
Cibachrome, 76.2 x 101.6 cm
Collection Fotomuseum Winterthur, gift Andreas Reinhart
Inv. no. 1999-008-007
© Nan Goldin
Nan Goldin
Self-portrait with Brian having sex, NYC,
1983/1999
Cibachrome
Collection Fotomuseum Winterthur, gift Andreas Reinhart
Inv. no. 1999-008-005
© Nan Goldin
Nan Goldin
Self-portrait in bed, NYC,
1981/1999
Cibachrome, 76.2 x 101.6 cm
Collection Fotomuseum Winterthur, gift Andreas Reinhart
Inv. no. 1999-008-002
© Nan Goldin
Nan Goldin
Sunset over Naples bay from Mt. Vesuvius, Italy,
1997
Cibachrome, 50.8 x 60.9 cm
Collection Fotomuseum Winterthur
Inv. no. 1998-031-009
© Nan Goldin
Nan Goldin
Nan Crying in Bathroom, Baltimore MD,
1986/1999
Cibachrome, 76 x 102 cm
Collection Fotomuseum Winterthur, gift Andreas Reinhart
Inv. no. 1999-008-010
© Nan Goldin
Nan Goldin
Self-Portrait with Eyes Turned Inward, Boston,
1989/1999
Cibachrome, 76 x 102 cm
Collection Fotomuseum Winterthur, gift Andreas Reinhart
Inv. no. 1999-008-015
© Nan Goldin
Lundy Bancroft, from Why Does He Do That?

Nan Goldin

Sam Taylor Wood
Travesty of a Mockery,
The righteous attempts of a couple to outline their respective positions in an argument are mirrored in the dual screens of this installation. The changing channels of a radio places each stage of the argument to a different soundtrack, highlighting one of the major ways that emotion is manipulated by filmmakers.