This article associates discourses on the subject, the sociology of photography and Nan Goldin’s work, and argues that the photographer questions gender paradigms leading to the definition of « abject » identities. As she reinvests the snapshot aesthetic and family photography, Goldin reveals the plurality of gender identities. Her photography documents the dismantling of the heterosexual couple and claims the social viability of homosexuals, transgender people and drag queens, thus rising to the status of subaltern knowledge and counter-discourse on humanity.
Keywords: contemporary American photography,genders,identity,Nan Goldin,subaltern knowledge,identités,genres,photographie américaine contemporaine,savoirs minoritaires,generi,Nan Goldin,scibile minoritario,fotografia americana contemporanea,identità,[SHS.SOCIO]Humanities and Social Sciences/Sociology