Empire of Pain: The Secret History of the Sackler Family by Patrick Radden Keefe:
Nan Goldin lived. But she often felt a kind of survivor’s guilt, thinking of the friends, so many of them now gone, who stared back at her from her own photographs. Her work found new admirers. Museums ran retrospectives. Eventually, those pictures of her dead friends would hang on the walls of some of the most illustrious galleries in the world. In 2011, the Louvre opened its palatial halls to Goldin, after hours, so that she could stroll through the broad marble galleries, barefoot, and take pictures of the artworks on display, for an installation in which she juxtaposed images of paintings from the museum’s collection with photographs from her own oeuvre. The chronicler of life on the margins had become canonical.
In 2014, Goldin was in Berlin when she developed a severe case of tendinitis in her left wrist, which was causing her a great deal of pain. She went to see a doctor who wrote her a prescription for OxyContin. Goldin knew about the drug, knew its reputation for being dangerously addictive. But her own history of hard drug use, rather than making her more cautious, could sometimes mean that she was cavalier. I can handle it, she figured.
As soon as she took the pills, she could see what the fuss was about. OxyContin didn’t just ameliorate the pain in her wrist; it felt like a chemical insulation not just from pain but from anxiety and upset. The drug felt, she would say, like “a padding between you and the world.” It wasn’t long before she was taking the pills more quickly than she was supposed to. Two pills a day became four, then eight, then sixteen. To keep up with her own needs, she had to enlist other doctors and juggle multiple prescriptions. She had money; she had received a major grant to work on new material and was preparing for a show at the Museum of Modern Art in New York. But her efforts to source pills had come to feel like a full-time job. She started crushing pills and snorting them. She found an obliging dealer in New York who would ship her pills via FedEx.
Three years of her life disappeared. She was working throughout, but she was sequestered in her apartment, entirely isolated from human contact, seeing virtually no one, apart from those she needed to see to get her pills. She would spend days counting and recounting her collection of pills, making resolves and then breaking them. What kept her in this spiral was not the euphoria of the high but just the fear of withdrawal. When it hit, she could summon no words to capture the mental and physical agony. Her whole body raged with searing, incandescent pain. It felt as if the skin had been peeled right off her. She did a painting during this period of a miserable-looking young man in a green tank top, his arms festering with boils and wounds. She titled it Withdrawal/ Quicksand. At a certain point, her doctors caught on to her and she was struggling to access enough black-market OxyContin, so she lapsed back into using heroin. One night, she bought a batch that, unbeknownst to her, was actually fentanyl, and she overdosed.
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