“History of art is a history of great things neglected and ignored and mediocre things being admired. At different times things are different. The history of photography is a history of changes.” –Saul Leiter (more…)
Vivian Maier (1926–2009) was an American street photographer born in New York City. Although born in the U.S., it was in France that Maier spent most of her youth. Maier returned to the U.S. in 1951 where she took up work as a nanny and care-giver for the rest of her life. In her leisure however, Maier had begun to venture into the art of photography. Consistently taking photos over the course of five decades, she would ultimately leave over 100,000 negatives, most of them shot in Chicago and New York City. Vivian would further indulge in her passionate devotion to documenting the world around her through homemade films, recordings and collections, assembling one of the most fascinating windows into American life in the second half of the twentieth century.
In 1951, Vivian arrived in New York City continuing the same techniques she practiced in France with the same Kodak Brownie camera in 6×9 film format. But, in 1952, Vivian’s work changed dramatically. She began shooting with a square format. She bought an expensive Rolleiflex camera – a huge leap from the amateur box camera she first used. Her eye had changed. She was capturing the spontaneity of street scenes with precision reminiscent of Henri Cartier-Bresson, street portraits evocative of Lisette Model and fantastic compositions similar to Andre Kertesz. 1952 was the year that that Vivian’s classic style began to take shape.
Maier’s massive body of work would come to light when in 2007 her work was discovered at a local thrift auction house on Chicago’s Northwest Side. From there, it would eventually impact the world over and change the life of the man who championed her work and brought it to the public eye, John Maloof.