Vivian Maier (1926-2009) was one of the most accomplished street photographers of the late 20th century whose work was only recognized after her death.
Vivian Maier (1926-2009) was one of the most accomplished street photographers of the late 20th century whose work was only recognized after her death.
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In 2007, a real-estate agent by the name of John Maloof acquired the contents of a storage unit at an auction. It included over a hundred thousand negatives and undeveloped rolls of film. But the identity of the photographer behind these never-before-seen images -- now regarded as one of the most accomplished street photographers of the late 20th century -- would turn out to be an even greater mystery.
From Wonder Media Network, I’m Jenny Kaplan and this is Womanica.
Today, we’re talking about the elusive Vivian Maier.
Even when she was alive, Vivian Maier was not forthcoming about her life and history. She claimed to be from France, and often used fake names and spoke with an unrecognizable accent. But from census data, we now know she was born on February 1, 1926 in the Bronx, to a French mother and Austrian father. For a short period of time, Vivian may have lived with Jeanne Bertrand, another notable photographer. Records have Vivian bouncing back and forth between France and New York for several years, until she returns for good in 1951 at the age of 25. A few years later, Vivian made her way to Chicago, where she’d spend the rest of her life.
Throughout her time in Chicago, Vivian supported herself by working as a nanny and caregiver. The children she looked after were often the subjects of her photographs, as were the people of Chicago. Prone to catching her subjects unaware, Vivian carried a camera strapped over her neck at all times. Her photographs captured intimate moments, candid expressions, and looks of disapproval from those who suddenly realize their photo is being taken. Her photographs framed each subject with a sly clarity that makes it impossible for the viewer to resist conjuring up a backstory behind each fleeting moment. Vivian, as if also mythologizing herself, often snapped quick self portraits of her reflection and shadow.
Vivian chose to not share her photography with the outside world. In April of 2009, she died in poverty and obscurity in an Illinois nursing home.
Her posthumous fame is ethically ambiguous and riddled with controversy. John Maloof -- the man who bought her life’s work for $400 at an auction -- has gone on to create many books of Vivian’s photography and even an Academy Award-nominated documentary about her life.
But many take issue with someone else profiteering from the work Vivian decidedly withheld. A court case challenged John Maloof’s copyright over Vivian’s work. Though, they eventually settled.
Similarly, there has been great debate over who has the right to craft the narrative of Vivian’s life. When Vivian’s work was first unearthed, she was characterized as “the nanny photographer”. In the documentary and other early tellings of her life, Vivian’s work as a nanny is often painted in opposition to her work as a photographer. Casting the role of caretaker as contradictory to the identity of an artist has deep roots in the sexism that persists in the art world today.
For instance, in Vivian’s later years, she transitioned to color photography. Her images are now among the most highly regarded in color-street-photography -- yet it is often male photographers who worked decades after Vivian who are credited with bringing color to the street photography movement.
By the men who initially wrote her story, Vivian was also often cast as a sad recluse who suffered from trauma or neurological differences. Yet her biographer, Pamela Bannos, provides a different image. She recounts how Vivian took at least one five-month long trip around the world, and a subarctic expedition, with nothing to accompany her but her camera. The biography challenges that there is nothing inherently sad about a woman who chose not to marry, nor to have kids of her own, nor to seek recognition and monetary compensation for her work. Vivian explored her curiosity on her own terms.
While Vivian Maier is now regarded as one of America’s great photographers, it’s hard not to feel guilty when we gaze upon her captivating images. Captivating images that were never meant to be seen.
All month, we’re honoring incredible, artistic visionaries.
Special thanks to Liz Kaplan, my favorite sister and co-creator. And to Alesandra Tejeda for curating this month’s theme.
As always, we’re taking a break for the weekend.
Talk to you on Monday!