By John Maloof
The definitive monograph of yankee photographer Vivian Maier, exploring the complete variety and brilliance of her paintings and the secret of her existence, written and edited via famous images curator and author Marvin Heiferman; that includes 250 black-and-white photographs, colour paintings, and different fabrics by no means noticeable earlier than; and a foreword by way of New York Times bestselling writer Laura Lippman.
Vivian Maier’s story—the secretive nanny-photographer in the course of her lifestyles who turns into a favored sensation almost immediately after her death—has, thus far, been pieced jointly purely from formerly obvious or identified photographs she made and the handful of evidence that experience surfaced approximately her lifestyles. in the course of her lifetime she shot greater than 100,000 photographs, which she saved hidden from the realm. In 2007, years prior to her demise, Chicago historical preservationist John Maloof chanced on a trove of negatives, and roll upon roll of undeveloped movie in a garage locker he got at public sale. They published a shocking and entire artist and a gorgeous physique of labor, which Maloof championed and taken to around the globe acclaim.
Vivian Maier presents the main entire assortment and biggest choice of the photographer’s work—created in the course of the Fifties throughout the Seventies in big apple, Chicago, and on her travels round the country—almost solely unpublished and together with her formerly unknown colour paintings. It positive aspects photographs of and excerpts from Maier’s own artifacts, memorabilia, and audiotapes, made to be had for the 1st time. This impressive quantity attracts upon lately carried out interviews with those that knew Maier, which shed new gentle on Maier’s photographic ability and her life.
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Additional info for Vivian Maier: A Photographer Found
More than a century later, Garry Winogrand would say something similar in explaining what drove his restless picture making: “I get totally out of myself. ” Photography, for those who devote themselves to it, becomes a philosophical pursuit as much as a way of life. Looking for pictures is speculative and liberating, a compulsive activity that paradoxically sets you a distance apart from the world as you contemplate and do your best to connect with it. For photographers, that intense level of engagement is not only pleasurable but addictive.
Downtown Chicago was one of the primary locales where Maier explored what mattered to her, in photographs that ranged from lyrical to harsh, from appreciative to anxious. Those same qualities are evident, too, in the pictures she made away from the city center, in or near the homes where she worked. Those images were often of the children she spent her days with, the activities they engaged in, the places they went. Shot indoors in family rooms or outside in yards and tree-lined neighborhoods safe to wander, these images mostly depict a comfortable world where late-model cars were parked in driveways, roses blossomed in gardens, and kids played outdoors on sunny summer days.
I would find myself sort of backing up when I talked to her,” he went on. ” Maier could be prickly. Inger Raymond tells a story about how Maier, who had balanced herself atop a tree stump to get the right angle for a picture she’d hoped to make, once took a swing at a man standing nearby who, thinking Maier might fall, reached up to steady her. He ended up in the hospital with a concussion and threatened to sue her. In fact, Maier had a history of railing against men or keeping more than an arm’s distance from them.
Vivian Maier: A Photographer Found by John Maloof