Showing posts with label Vivian Maier. Show all posts
Showing posts with label Vivian Maier. Show all posts

Thursday, April 24, 2014

Finding Vivian Maier screening at Cinematheque in Santa Fe






Finding Vivian Maier

“Compelling … haunting … captivating.”–Variety

John Maloof discovered the work of an amazing photographer—a nanny whom, over the course of 40 years, took more than 100,000 photographs. As Vivian Maier’s work is discovered, in storage lockers and thrift stores, she is being recognized as one of the 20th century’s most prolific and gifted street photographers. Using her unseen photographs and 8mm films, and interviews with dozens who thought they knew her, Maloof tells the story of an unsung master of 20th century expression. (U.S., 2013, 83m, DCP, IFC Films)

Synopsis: Who is Vivian Maier? Now considered one of the 20th century's greatest street photographers, Vivian Maier was a mysterious nanny who secretly took over 100,000 photographs that went unseen during her lifetime. Since buying her work by chance at auction, amateur historian John Maloof has crusaded to put this prolific photographer in the history books. Maier's strange and riveting life and art are revealed through never-before-seen photographs, films, and interviews with dozens who thought they knew her.

Starts April 25 at CCA
Showtimes:
Fri-Thurs April 25-May 1: 2:15p, 5:15p*


*After the 5:15pm show on Sunday, April 27 there will be a skype Q&A with co-director, Charlie Siskel, moderated by Michelle Monroe of Monroe Gallery of Photography.

Monday, September 9, 2013

New doc exposes photo-snapping nanny Vivian Maier



Via The Globe and Mail
Published
Last updated


"Finding Vivian Maier represents the resumption of the quest. Not only is Maloof a major presence and voice in its 83 minutes, he’s also the film’s co-producer, co-writer and cinematographer. Poignant, not a little sad, occasionally disturbing, the documentary does a yeoman’s job filling in quite a few of the blanks in the Maier biography and, by extension, her photographic practice. Who knew she went on a solo, around-the-world trip in 1959? Or that she tried to go into the postcard business in France? Or that she could be “mean” to some of her young charges? Still, as Roy Orbison would put it, she’s very much “a mystery girl” and likely will remain that way. This is not an entirely bad state of affairs, especially for her art. The great thing about Maier initially was that she seemed to come out of nowhere to posthumously elbow her way near the top of the photographic class. All there was was the art – pure, mysterious, uncompromised by gossip, New Yorker profiles, tweets, visits by TV crews to her nursing home. What we knew is what she saw and we saw that it was good."

Wednesday, June 26, 2013

BBC: Vivian Maier: Who Took Nanny's Pictures?




Untitled, no date


Via BBC1


Duration: 1 hour, 10 minutes

The incredible story of a mysterious nanny who died in 2009 leaving behind a secret hoard - thousands of stunning photographs. Never seen in her lifetime, they were found by chance in a Chicago storage locker and auctioned off cheaply.

Now Vivian Maier has gone viral and her magical pictures sell for thousands of dollars. Vivian was a tough street photographer, a secret poet of suburbia. In life she was a recluse, a hoarder, spinning tall tales about her French roots. Presented by Alan Yentob, the film includes stories from those who knew her and those who revealed her astonishing work.


(Part One)
 
 

Related:  Vivian Maier: lost art of an urban photographer

Related: Vivian Maier Discovered




 

Friday, March 8, 2013

VIVIAN MAIER NEWS


Untitled, n.d.
©Maloof Collection



"Vivian Maier was a mystery even to those who knew her. A secretive nanny in the wealthy suburbs of Chicago, she died in 2009 and would have been forgotten. But John Maloof, an amateur historian, uncovered thousands of negatives at a storage locker auction and changed history. Now, Vivian Maier is hailed as one of the greatest 20th Century photographers along with Diane Arbus Robert Frank, Henri Cartier-Bresson and Weegee. And that is just where the story begins. "
--VivianMaier.com


By now, you may know that a feature documentary on photographer Vivian Maier has been announced with a trailer. Vivian Maier’s extraordinary body of work continues to be archived and cataloged for the enjoyment of others and for future generations, and we are very pleased that several new images now available - and a selection is currently on view in the gallery.




Untitled, n.d.
 
 
 
Updated March 11, 2013:
 


Friday, February 15, 2013

Finding Vivian Maier Feature Documentary Film



Via Vivian Maier Facebook Page


We are very happy to officially announce the feature documentary Finding Vivian Maier which tells the incredible true story behind the mystery of her hidden life. We are excited to share the official trailer with you for the first time. The film will be ready later this year.
 
 


"That rare case of a genuine undiscovered artist, she left behind a huge trove of pictures that rank her with the great Am...erican mid-century street photographers. The best pictures bring to life a fantastic swath of history that now needs to be rewritten to include her." - Michael Mimmelman, NY Times

Film Licensing
During the Berlin Film Festival this week Submarine has concluded presales at Berlin to SVT (Swedish TV), AVRO (Dutch TV), Swiss TV, all rights in Canada to Films We Like, and all rights in Italy to Feltrinelli Films. Further licensing deals and a domestic partner will be announced shortly. See more about this news in Variety Magazine.

The Story
Vivian Maier was a mystery even to those who knew her. A secretive nanny in the wealthy suburbs of Chicago, she died in 2009 and would have been forgotten. But John Maloof, an amateur historian, uncovered thousands of negatives at a storage locker auction and changed history. Now, Vivian Maier is hailed as one of the greatest 20th Century photographers along with Diane Arbus Robert Frank, Henri Cartier-Bresson and Weegee.

And that is just where the story begins. Finding Vivian Maier follows the filmmakers as they unearth Vivian's story, combing through thousands of negatives and a mountain of other material (including hundreds of hours of Super 8 film footage and audio recordings) left behind in Maier's storage lockers. As the filmmakers track down an odd collection of parents who hired her, children she cared for, store owners, movie theater operators and curious neighbors who remember her, the story that emerges goes beyond cliches of the undiscovered artist and offers a portrait that is at times bewildering and troubling. Maier's story pushes us to ask as many questions about ourselves as it does about her.

Finding Vivian Maier was Directed & Produced by John Maloof and Charlie Siskel (Bowling for Columbine, Religulous) who are Chicago natives. John once worked the swap meets and storage lockers that led to the discovery of Vivian's photographs and Charlie grew up in the North Shore neighborhoods where Vivian was a nanny. John Maloof is a filmmaker and photographer. Since the discovery of Vivian's work, he is now the chief curator of her photographs. In 2008 he established the Maloof Collection with the purpose of preserving and making publicly available the work of Vivian Maier. Jeff Garlin, an Executive Producer on the film, is a producer, writer, director and actor whose credits include Curb Your Enthusiasm.

Charles Siskel stated, "Vivian's story is as powerful as her art. We are excited to work with the very best labels to share Vivian's life and work with audiences around the world. Finding Vivian Maier, we hope, will bring her the recognition she deserves."

Wednesday, November 7, 2012

"Vivian Maier’s story had come to an end. To the world, it was only just beginning."


Via New York Times Lens

The still unfolding legend of Vivian Maier has been one of photographic genius discovered only after a lifetime of shooting. Now hailed as a master of street photography, she spent most of her working life in obscurity as a nanny in New York, where she was born, and Chicago, where she died in 2009 at age 83.

In her later years, her oeuvre – more than 100,000 images – sat unseen in storage, along with much of her earthly possessions. When she was unable to keep up with the storage fees, they were auctioned off in 2007. After her death two years later, a collector who had bought one of the lots began to put her images online. Within weeks, she had a global following.

The latest chapter in this endlessly fascinating tale is the publication this year of “Vivian Maier: Out of the Shadows,” by Richard Cahan and Michael Williams (CityFiles Press). The following essay is excerpted from that book.






It’s the end of the day. The TV has been flipped on. A small fire is tended in the backyard. The marquee of the Wilmette Theater is being changed over. Parents’ night at the local school is wrapping up. The children are asleep as Vivian Maier heads home with her camera by the glow of the streetlights.

Maier continued to document her life throughout the 1980s and 1990s. She shot Ektachrome, packing tens of thousands of the color transparencies into sleek yellow Kodak slide boxes. But her days with the Rolleiflex, with which she had taken her most personal and important photographs, were mostly over by the 1970s.

DESCRIPTION
Vivian Maier On the beach at Coney Island during the early 1950s.
Vivian Maier learned to photograph using a box camera, which lends an impressionistic look to her early work.
 
Work as a nanny continued. When Zalman and Karen Usiskin interviewed her to be their housekeeper and baby sitter in the 1980s, she announced: “I come with my life, and my life is in boxes.” Zalman told her that would not be a problem since they had extra room in the garage. “We had no idea how many boxes,” he later said.

Around 1990, Maier took a job caring for Chiara Baylaender, a teenage girl with severe developmental disabilities. Maier was good company for her: they played kick the can and amused themselves with pop beads. Maier dressed Chiara in mismatched clothes from the Salvation Army. “But it’s Pendleton,” Vivian told the girl’s sister when she protested. It didn’t matter. “My sister looked like a junior Vivian,” she recalled.
 
DESCRIPTION
New, Old Photos
 
Ever since her street photography was “discovered” in 2009, Vivian Maier has received increasing attention and accolades. Lens has posted on Ms. Maier before:
 
And Maier proved an uninterested housekeeper, too. “It’s just going to get dusty again,” she would say. Having filled the Baylaenders’ storage room, she piled her bedroom five feet deep with books, leaving only a narrow path to her bed. Then she covered that — and slept on the floor.

In the mid-1990s, Maier went to work as a caretaker for an older woman. After the woman moved to a nursing home in 1996, Maier stayed on in her Oak Park house for a couple of months to get it ready to sell. Maier made overtures about working for the family of the woman’s daughter, but she was not needed.

Over the years, leaving was never easy. Despite being close to these families, Maier was an outsider. During the late 1960s, she photographed the light coming from the homes she passed. Always looking in. At seventy, she was looking for work in North Chicago or Waukegan, almost an hour north of Chicago. With little saved and no family of her own, she was determined to keep living independently.

Acquaintances recall Maier as an imposing, confident, stolid woman in her later years. Jim Dempsey, who worked the box office at the Film Center of the School of the Art Institute, saw her most every week for over a decade. She would dig through her purse looking for money, sighing until Dempsey let her in. She often stopped to talk — about movies, life, anything but herself — although he never got her name.

Bindy Bitterman, who ran the antiques store Eureka in Evanston, knew Maier only as Miss V. Smith, the name she gave to hold an item. She was the only customer who ever bought Ken, a long-forgotten liberal magazine from the 1930s. Roger Carlson, who ran Bookman’s Alley nearby, knew her full name but was scolded when he introduced her to another customer by it. She visited his shop as late as 2005 and bought Life magazines, talked politics (“Her judgment was pretty harsh on everyone”), and agonized about how difficult it was to find work.


She was a fighter to the end, Carlson said.

The boys who had thought of Vivian Maier as a second mother tried to keep track of her for years. They made overtures to help, but she resisted. She loved the Gensburgs and kept up with the family — going to weddings, graduations, baby showers — but it was hard for her to ask for help.


DESCRIPTION
Vivian Maier Self-portrait, Los Angeles. 1955.
Because of her pride and her need for privacy, Maier remained elusive for years. When the Gensburgs found her, she was on the verge of being put out of a cheap apartment in the western suburb of Cicero. The brothers offered to rent a better apartment for her on Sheridan Road at the northern tip of Chicago, but they told her she needed to clean up her Cicero place before she left. She agreed, showed them the Clorox and rags, pulled up a chair, sat back with The New York Times, and told Lane to start with the walls and bathroom.

Even in her new apartment, Maier made it difficult for the family to keep track of her. The Gensburgs bought her a cellphone, but she refused to use it. So they just dropped by when they wanted to see her.

In November 2008, Maier fell on the ice on Howard Street not far from her home and hit her head. She was taken, unconscious, by paramedics to St. Francis Hospital in Evanston. When she came to, she refused to tell the emergency room staff what had happened and demanded to leave. Lane Gensburg was called. Doctors assured the family that she would recover, but she never did. For the next several months, she resisted eating and was barely responsive. Too weak to return to her apartment, Maier was transported in late January 2009 to a nursing home in Highland Park, where her health continued to decline. She died there on April 21, 2009.

The Gensburgs had Vivian Maier cremated and scattered her ashes in a forest where she’d taken the boys fifty years earlier. They considered having a funeral but knew she would have abhorred such an observance. So they paid for a death notice in the Chicago Tribune: “Vivian Maier, proud native of France and Chicago resident for the last 50 years died peacefully on Monday. . . . A free and kindred spirit who magically touched the lives of all who knew her.”

To the faithful Gensburgs, Vivian’s story had come to an end. To the world, it was only just beginning.


DESCRIPTION
Vivian Maier Vivian Maier, Highland Park, Ill. 1965.

Wednesday, August 1, 2012

CHICAGO TONIGHT: VIVIAN MAIER


Self-Portrait of Vivian Maier ©Vivian Maier/Maloof Collection

Via Chicago Tonight

"We begin a three-part series on the amazing story of Vivian Maier -- the Chicago nanny who took more than a hundred thousand photos during her lifetime but never showed them to anyone. Now that she's gone, her photos have been discovered, and some say she may rank among the top street photographers of the 20th century.

Jay Shefsky brings us Vivian Maier's remarkable story on Chicago Tonight at 7:00 pm.
Watch on Wednesday for part two, as we explore the meteoric rise of Vivian Maier’s popularity around the world. And tune in on Thursday for part three, to see how the mystery of Maier's life and work has inspired people to learn more about her."

Part 1 Video here.


Related:

Chicago History Museum: Vivian Maier's Chicago, 1601 N. Clark St. Chicago, IL 60614, opens September 8

Vivian Maier: Discovered

Thursday, July 12, 2012

Vivian Maier: 1954, New York   ©Maloof Collection





Summer, 2012
Reviews, Santa Fe

Vivian Maier

Monroe Gallery of Photography

Among eccentric photographers of the 20th century, Vivian Maier stands out for her self-effacing reclusiveness. For much her life she worked as a nanny, and the tens of thousands of images she made remained unknown until a Chicago real-estate agent and amateur historian discovered them in 2007, less than two years before her death. Maier’s black and-white photos mostly depict street life in Chicago and New York, and bear comparison with the works of Helen Levitt, though Maier’s eye was more wide-ranging and her approach occasionally experimental, as when she ventured into pure abstraction in a manner reminiscent of Aaron Siskind. This show of images from the 1950s through the early ’70s offered a generous introduction to her remarkable output.
Like Levitt, Maier had an affection for children, capturing a small boy with one leg thrust forward, holding tight to a man, presumably his father, who adjusts the boy’s shoe. And like Weegee, she sometimes shot the seamier side of urban life, as in a photo of two men dragging another man down the street (Christmas Eve, 1953). But she was equally alert to the glamour of the city, paying homage to beautiful women in elegant hats and opulent furs. 

Some of the works here offered startlingly dramatic viewpoints: a man and woman, shot from above, hold hands across a restaurant table; a quartet of older women, pinned in a trapezoid of light, wait against a wall like characters in a Beckett play (1954, New York). Maier’s humorous side surfaced in an untitled image of a ragtag couple, the man standing on his head, in front of a poster for a strip joint. In another, Arbus-like shot, two men—one of them a stooping giant—inspect the goods in a shop window as a pair of curious women gape in amazement.

The show ended with a self-portrait of Maier, smiling wistfully, captured in the reflection of a mirror being unloaded in front of a drab apartment complex—as unassuming in art as she was in life.

By Ann Landi
 ©ARTnews



 

Thursday, June 21, 2012

“I once saw her taking a picture inside a refuse can. I never remotely thought that what she was doing would have some special artistic value.”


Self Portrait, February 1955   ©Maloof Collection


Self-Portrait in a Sheet Mirror: On Vivian Maier
Via The Nation

"We can’t know the full story behind this self-portrait, or behind the many thousands of images left in a storage locker in Chicago. But we can look at the range of Maier’s work and see the tantalizing evidence of artistry and ambition, and we can look at the expression of the woman reflected in the sheet mirror and see her indisputable pleasure. This is no frumpy old bird woman looking at her own pathetic destiny. This is a woman who knows what she wants, who has chosen to do her work free of judgment and commerce, and who is in charge of the scene."  Full article here.

Sunday, April 22, 2012

VIVIAN MAIER: Deceased April 21, 2009; Exhibit Closes Today



Via The Obit Patrol

....John Maloof set out to learn more about Vivian Maier. His first Google searches had fizzled, but in April 2009, he spotted her name scrawled on the lab envelope of a roll of developed film. He tried again.

This time, he found an obituary in the Chicago Tribune. "Oh, my God," he said.

Vivian Maier had died just days earlier.

"Vivian Maier, proud native of France and Chicago resident for the last 50 years died peacefully. ... A free and kindred spirit who magically touched the lives of all who knew her. Always ready to give her advice, opinion or a helping hand. Movie critic and photographer extraordinaire ..."

Her 83 years on earth, summed up in 96 words. But one sentence stood out: "Second mother to John, Lane and Matthew." Maloof wondered. Perhaps she was their stepmother?

Maloof called the Tribune, but the newspaper's leads turned out to be dead ends.

Then came one of those serendipitous moments: As he was filing loose negatives and about to throw out a shoe box that had been stuffed in the larger box, he spotted an address in north suburban Highland Park.

Bingo. A starting point.


 And, as they say, the rest is History. Today, Sunday, Aprl 22, 2012 is the final day of VIVIAN MAIER: DISCOVERED.  The gallery will be open from 10 to 5.

Tuesday, April 10, 2012

VIEW VIVIAN MAIER: DISCOVERED BEFORE EXHIBIT CLOSES APRIL 22


Vivian Maier: September 28, 1959, East 108th St, New York
© Maloof Collection


After sweeping the International press, the Vivian Maier story has captivated the Southwest with numerous reviews and articles. Most recently, AARP has featured Maier's stunning photography.

Please join us to view this exceptional exhibition through April 22, 2012.

Thursday, March 29, 2012

REVIEW - VIVIAN MAIER: DISCOVERD


January, 1953, New York

Vivian Maier, January, 1953, New York
Gelatin silver print, 16” x 20”, © Maloof Collection

THE Magazine
April, 2012

Monroe Gallery of Photography
112 Don Gaspar Avenue, Santa Fe

It’s not likely that Vivian Maier ever read pragmatist philosopher John Dewey’s classic 1934 text on art and aesthetics. It is certain that John Dewey never saw a photograph by Maier, whose work was virtually unknown until 2007. Yet the street photography of Vivian Maier could be a contemporary case study for Dewey’s grounding of art’s genesis in ordinary experience.

Dewey’s Art as Experience is slow going, weighed down after seven decades by its now-archaic style and language. Well worth the read, though: Its lasting contribution to discourse about art are Dewey’s fundamental insights about the nature of experience and the location of the art object within culture rooted inoncrete experience. He’s at his best—and most relevant for today—in Chapter 3, “Having an Experience.”

He asserts that the way we often experience things is largely inchoate, marked by an initial engagement that is rarely completed, turned aside by “distraction and dispersion” (multi-tasking) and by “external interruptions or … internal lethargy” (read cellphone, FacebookArt as Experience is slow going, weighed down after seven decades by its now-archaic style language. Well worth the read, though: Its lasting contribution to discourse about art are Dewey’s fundamental insights about the nature of experience and the location of the art object within culture rooted in concrete experience. He’s at his best—and most relevant for today—in Chapter 3, “Having an Experience.” He asserts that the way we often experience things is largely inchoate, marked by an initial engagement that is rarely completed, turned aside by “distraction and dispersion” (multi-tasking) and by external interruptions 0r … internal lethargy” (read cellphone, Facebook Twitter). Our continuous but “streaming” interaction with or environment rarely yields “an experience…[that] runs its course to fulfillment. … integrated within and demarcated in the general stream … from other experiences.” Dewey cites examples: a task done well, a problem solved, a game played through, a good meal, a personal encounter—any interaction that “is so rounded but that its close is a consummation and not a cessation. … It is an experience.”

Dewey’s notion of an experience—most often a common interaction—is key to art’s critical role in our lives: It constantly redirects our focus to the vital import of “ordinary” experience. Arguably, it is the most salient function of photography. Case in point: Vivian Maier, whose gelatin silver prints are featured at Monroe Gallery through April 22. Vivian Maier (1926-2009), born in the Bronx, worked as a nanny in Chicago in the 1950s and 1960s. Returning to New York City, she would pass her whole life as a caregiver, supported in the poverty of her old age by three of the children she had nannied in her early years. All she left behind was a storage locker stuffed with memorabilia. Unclaimed and delinquent in payment, the locker contents—placed in a Chicago auction house in 2007—were found to contain some 100,000 negatives, mostly in undeveloped rolls, taken by Maier over five decades. The negatives developed thus far reveal powerfully understated work by a major urban photographer of the last half of the twentieth century.

A first, cursory look reveals the consistent depth of her work and the unerring eye with which she imbued formal and narrative import across a wide range of subjects. Maier’s sense of place is especially evident in her shots of New York City—for example, in scenes that evoke paintings by the Ash Can School: the street façade in September 28, 1959, 108th St. East, New York recalling Edward Hopper’s 1930 Early Sunday Morning, or the John Sloan rooftop view of the dining couple framed in the window of the second-floor Chop Suey restaurant (Untitled, 1953). The latter photo’s choice of an unusual vantage to underscore human exchange occurs again in New York, NY, April 1953, another restaurant shot, taken from a railing directly above a young woman and a man in army uniform holding hands across a table—a private moment whose intimacy is breached innocently by the camera’s lens and ominously by the date of the print, taken some three months before the end of the Korean War.

Maier’s shots of human encounters are more than matched by her views of urban locales, where an epic sense of place vies with their sheer artistry as formal studies. An aerial view of a steel pylon dwarfing two pedestrians nearby (Untitled, no date); a worm’s eye view of a huge warehouse whose towering wall is stenciled with an “X” formed by the crossed shadows of two adjacent steel girders from an elevated train line (Unknown, September 1956); in Undated, Chicago, the dramatic recession to a distant vanishing point, beyond its pinhole portal at the far side, of a skyscraper’s colossal portico whose soaring Promethean columns are mocked by their incorporeal shadows strewn across its retreating marble corridor; in Untitled, 1955, a promenade high above the East River overlooking a massive Romanesque building enveloped in mist hosts a family of sightseers menaced by the looming bulk of a sharply foreshortened lifeboat suspended overhead, pointing far beyond and below them to a fog-laden inlet between the docks—a brilliant, blade-runner composition in black and white.

Finally, there are the crowd shots like 1954 New York in which Maier’s extraordinary eye for the ordinary mediates a benign balance between the monumental and the intimate, achieved in each instance by her attention to that rare, fleeting composition where the human subject exerts a dual role as formal agent and narrative device.

—Richard Tobin

Thursday, March 1, 2012

John Maloof: "I had absolutely no interest in photography as an art form before I found Maier's work. She sparked my obsession in photography."

Self Portrait, February 1955
Vivian Maier: Self Portrait, February 1955
 © 2012 Maloof Collection, Ltd



We start everyday reading la lettre de la Photographie. Today we discovered a comprehensive interviw with John Maloof, "the man behind Vivian Maier".

"In 2007, while seeking material for an unrelated project, John Maloof happened upon the photographic oeuvre of Vivian Maier at auction. Said Chicago auction house had acquired 10,000 rolls of her film, 20-30,000 of which were undeveloped, amongst other belongings from Maier’s neglected storage locker. Maloof’s intriguing photographic purchase would morph, unwittingly, into the kind of pivotal discovery that’s the stuff of Ali Baba’s cave: an unearthing of bounty completely undiscovered by the rest of the world.

Having no prior photography background, John Maloof was nonetheless captivated by the images he bought, to the point that it inspired him to test out street photography for himself. He stated on his blog that, when he walked the same Chicago streets that Vivian Maier had, and tried to capture what she had been able to, he “realize[d] how difficult it was to make images of her caliber.” With this realization, Maloof put Vivian Maier’s work online in order to contextualize the images within a more knowledgeable photography community. Though his impetus for making her work public was an amateur’s curiosity, the fervent reactions to Maier’s black and white photographs brought forth a tide of spellbound fans riveted by these images. Maier’s street scenes depict those authentic moments when people unsuspectingly let their guard down, and even her frontal portraits have a feeling of reveal. The subjects range from playful children to dozing elders, hardscrabble drifters to primly elegant ladies, listless young men to toiling workers: all collective participants in the rhythm of the American metropolitan landscape. " Full interview and slide show here.


Related:    Vivian Maier: Discovered

                  View the exhibition, through April 22, 2012


About La Lettre de la Photographie

Tuesday, February 14, 2012

VALENTINE'S DAY 2012

<>New York, 1954
<>
Vivian Maier: New York, 1954
<>Richard and Mildred Loving laughing and watching television in their living room, King and Queen County, Virginia
<>
Grey Villet: Richard and Mildred Loving laughing and watching television in their living room,
King and Queen County, Virginia, 1965

 HBO: The Loving Story Tuesday, February 14 at 9 PM (check local listings)


The New York Times: Scenes From a Marriage That Segregationists Tried to Break Up

Time Light Box: The Loving Story: Loving v. Virginia and the Photographs of Grey Villet

Washington Post: Virginia’s Caroline County, ‘symbolic of Main Street USA’

Slide show:
About 6 percent of Caroline Middle School’s population is multiracial, a statistic that would not be possible without Mildred and Richard Loving, a couple from the school’s county whose Supreme Court case 45 years ago paved the way for mixed-race marriages

Mother Jones: The Loving Story: How One Interracial Couple Changed a Nation

Entertainment Weekly:  A Moving Tale Of Love And Civil Rights

Grey Villet: The Lovings




Related: Happy Valentine's Day 2011

Friday, February 3, 2012

VIVIAN MAIER: DISCOVERED

Pasatiempo, Friday, February 3, 2011
Pasatiempo is the in-print, nationally-acclaimed, arts and culture magazine published by The New Mexican. "Vivian Maier Discovered" is the feature article in today's edition, click to enlarge:.




© 2012 The New Mexican



Santa Fe woke up to a surprise snowfall this morning, and for a while travel was difficult. But, the sun is out and all roads are clear now. Please join us tonight from 5 - 7 as we celebrate the opening of the exhibition "Vivian Maier: Discovered". (And enjoy the skiing later!)

EYE ON THE STREET

Photographer Vivian Maier, showing at Monroe Gallery, was almost never discovered

By Kate McGraw
The Albuquerque Journal North
February 3, 2012
For the Journal

     An international sensation is coming to Santa Fe.


In the past couple of years, the world of photography has been shaken by the discovery of a cache of negatives and undeveloped film rolls shot by a woman named Vivian Maier. The discoverer, a photographer and collector named John Maloof who lives in Chicago, found the trove in a couple of trunks he bought at a 2008 public auction of items from a storage unit.



Curious, he began printing the negatives and realized that they were what is called “street photography;” that is, pictures taken on the Chicago streets in the 1950s and ’60s. But these weren’t just good photographs, Maloof decided, they were great.

Finding her name on a photo-lab envelope, Maloof Googled Vivian Maier and discovered that she was ill. By the time he made up his mind to try to reach her in 2009, she had died at age 83.

He began working with curators and photographic experts, all of whom were as excited by his find as he was. In the past 18 months, Maloof has spread the word about this extraordinary photographer. Her photographs have been shown in the United States and Europe, and published in a book about her and her work, “Vivian Maier: Street Photography” (PowerHouse Books, 2011). An exhibit of 35 photos of her photos opens today at Monroe Gallery of Photography on Don Gaspar Avenue.

The story has spread and been told in The New York Times, National Public Radio, La Republica, TIME magazine, The Wall Street Journal, The Independent, the Guardian, Vanity Fair, CBS News, Smithsonian magazine and elsewhere. “Maier is posthumously being recognized as one of the greatest American street photographers of the 20th
 century,” gallery owner Sidney Monroe said in a written release about the show.

“The story is really fascinating,” Monroe said in a separate interview. “Little is known about her. She was born in New York in 1926 and she worked as a nanny in Chicago all her adult life. When at the end of her life she was very poor, some of the children she’d taken care of banded together and took care of her. She never talked to anybody about her photography and never showed it to anyone.

“John Maloof has spent four years with some of the best photography curators doing research and cataloguing her work, to preserve her legacy. It’s become his full-time avocation. Her work is not only good but shockingly good,” Monroe said. The 35 prints being shown in Santa Fe are a selection by Maloof and Monroe, some of them also seen in the book. Copies of the book will be available at the gallery.

Reportedly, Maier was a quiet, almost aloof person who often was seen on the streets of Chicago with a Rolleiflex camera around her neck. People posed for her willingly, apparently never asking themselves what she was doing with the pictures. She managed to amass more than 2,000 rolls of film, 3,000 prints and 100,000 negatives that she shared with virtually no one during her lifetime.

Her black and white photographs form indelible images of the architecture and mid-century street life of Chicago. She rarely took more than one frame of an image and seemed to concentrate on children, women, the elderly and the indigent.

There are also a series of striking self-portraits and a series of prints from her many travels to Egypt, Bangkok, Italy and the American Southwest.

“Maier’s subject,” Monroe said in his description of her work, “is the interaction of the individual and the city in the 1950s through 1970s. She scouts out solitaries of all ages and frames them in poignant juxtapositions. Her pictures have the tug of effecting urgency.”

Monroe obviously is as infatuated with Maier’s story and work as Maloof and the other curators. “It is hard enough to find this quality and quantity of fresh and moving images in a trained photographer who has benefited from schooling and a community of fellow artists,” the veteran photography enthusiast wrote. “It is astounding to find it in someone with no formal training and no network of peers.

“Yet Vivian Maier is all of these things,” he added. “The photographs are amazing, both for the breadth of the work and for the high quality of the humorous, moving, beautiful and raw images of all facets of city life in America’s post-war golden age.”

John Maloof
Maloof is almost as interesting as the woman whose legacy he has been fighting to rescue. A native Chicagoan, he is a collector and writer who has become a street photographer himself in response to working with Maier’s photographs.

“I guess you can call me a street photographer. I always have my camera with me to document interesting moments or stories I come across in my life. I’m not a commercial photographer and not interested in becoming one. Photography is a personal obsession of mine,” he wrote in a blog on his own website.
 
Maloof also created vivianmaier. com, where he has written about his work on her behalf, always calling her by her first name. After so much work reviving her imagery, it appears, he seems to feel a kinship.

“I acquired Vivian’s negatives while at a furniture and antique auction while researching a history book I was co-authoring on Chicago’s Northwest Side. From what I know, the auction house acquired her belongings from her storage locker that was sold off due to delinquent payments. I didn’t know what ‘street photography’ was when I purchased them,” he blogged.

“It took me days to look through all of her work. It inspired me to pick up photography myself. Little by little, as I progressed as a photographer, I would revisit Vivian’s negatives and I would ‘see’ more in her work,” he wrote. “I bought her same camera and took to the same streets, [only] to realize how difficult it was to make images of her caliber. I discovered the eye she had for photography through my own practice. Needless to say, I am attached to her work.

“After some researching, I have only little information about Vivian. Central Camera (a 110-year-old camera shop in Chicago) encountered Vivian from time to time when she would purchase film while out on the Chicago streets. From what they knew of her, they say she was a very ‘keep your distance from me’ type of person but was also outspoken. She loved foreign films and didn’t care much for American films.

“Some of her photos have pictures of children and oftentimes it was near a beach. I later found out she was a nanny for a family on the North Side whose children these most likely were. One of her obituaries states that she lived in Oak Park, a close Chicago suburb, but I later found that she lived in the Rogers Park neighborhood.

“Out of the more than 100,000 negatives I have in the collection, about 20,000-30,000 negatives were still in rolls, undeveloped from the 1960s-1970s. I have been successfully developing these rolls. I must say, it’s very exciting for me. Most of her negatives that were developed in sleeves have the date and location penciled in French (she had poor penmanship),” he added.

“I found her name written with pencil on a photo-lab envelope. I decided to Google her about a year after I purchased these only to find her obituary placed the day before my search. She passed only a couple of days before that inquiry on her. I wanted to meet her in person long before I found her obituary but the auction house had stated she was ill, so I didn’t want to bother her. So many questions would have been answered if I had,” he wrote sadly.

“Over the course of scanning her work I’ve discovered that Vivian traveled the world in 1959. She visited and photographed places like Egypt, Bangkok, Thailand, Taiwan, Vietnam, France, Italy, Indonesia ... the list goes on. Something also notable is that she traveled alone.”
 
Maloof added that he wanted to thank everyone for their support and encouraging emails.

“There’s a lot of weight on my shoulders and I hope I’m doing the right thing for Vivian’s legacy,” he said.

    If you go
WHAT: “Vivian Maier: Discovered,” posthumous exhibit of street photography
WHEN: Today through April 22; reception 5 to 7 p.m. today
WHERE: Monroe Gallery of Photography, 112 Don Gaspar
CONTACT: (505) 992-0800; monroegallery.com
 
COURTESY OF MONROE GALLERY OF PHOTOGRAPHY

This September 1956 photograph shows a woman standing next to a bus. Titled “Sept., 1956, New York, N.Y.,” it was taken by street photographer Vivian Maier.

COURTESY OF MONROE GALLERY OF PHOTOGRAPHY

This untitled photograph of a man carrying a newspaper was taken by Vivian Maier in Chicago.

“New York, Undated” is a gelatin silver print from a photograph by Vivian Maier.


“June 7, 1956, Chicago” is a gelatin silver print from a photograph by Vivian Maier.


This Aug. 11, 1954, photograph of a boy and a horse was taken by Vivian Maier in New York City.





The gallery is open daily 10 to 5.


Related:

EYE ON THE STREET: Photographer Vivian Maier, showing at Monroe Gallery, was almost never discovered

Everyday People:  Vivian Maier was essentially unknown throughout her lifetime

Sunday, January 29, 2012

Everyday People: Vivian Maier



September 28, 1959, 108th St. East, New York
Vivian Maier: September 28, 1959, East 108th St.,
 New York
©Maloof Collection

The Albuquerque Journal

By
on Sun, Jan 29, 2012

Vivian Maier was essentially unknown throughout her lifetime. But that’s changing very quickly.

Maier, who worked as a nanny in Chicago, is setting the photography and art world on fire with her work in street photography that spanned more than 40 years. But she’ll never see it – which is the way she wanted it – because she died in 2009 at age 83.

“I never imagined that I would find a gem like Vivian,” says John Maloof, of the Maloof Collection based out of Chicago. “I saw her work and immediately worked on making sure she was in the right place in the history books.”

Exhibitions of Maier’s work have been held in New York, Chicago, England, Germany, Denmark and Norway. And it’s coming to Santa Fe.

The exhibit “Vivian Maier: Discovered” will run at Monroe Gallery of Photography in Santa Fe beginning Friday, Feb. 3.

Gallery owner Sidney S. Monroe says the exhibit will have approximately 35 prints, the majority of which have never been seen.

“Vivian’s story is fascinating and it keeps getting better,” he says.

Monroe says the gallery has been working to bring the show to the City Different since September and was thrilled to be one of the first venues to host the exhibition in the United States.

“This is such a huge international story, and it speaks to Vivian’s significance in the art world now,” he says. “Our goal from day one was to bring in top-flight exhibitions. It speaks to Santa Fe and it being a world-class destination for art and photography.”

In 2007, Maloof, a real estate agent and historian, purchased 30,000 negatives on a hunch from an auction house in Chicago. Buried deep in that purchase were the virtuosic street photographs taken by a reclusive nanny in Chicago.

Maloof says he bought the 30,000 prints and negatives from an auction house that had acquired the photographs from a storage locker that had been sold off when Maier was no longer able to pay her fees.

He says after buying the collection in 2007, he acquired more from another buyer at the same auction. He now owns 100,000 to 150,000 negatives, more than 3,000 vintage prints, hundreds of rolls of film, home movies, audio tape interviews, original cameras of Maier’s, documents and other items, representing roughly 90 percent of Maier’s work.

“She has become a fascinating person to me, and I wouldn’t be promoting her work if I didn’t think it was amazing,” he says.

Maloof says he had no idea of his find until he started perusing the negatives.

“I was captivated by what I saw,” he explains. “It’s really a great body of work and no one had seen it. Of course, not all the photos were great, but the ones that are stood out immediately.”

Maloof was credited with the find, and Maier’s profile as a street photographer was born and soon went viral.

“She lived her life in a private way,” he says. “I think that’s what makes it interesting. She was a normal, working-class woman who loved photography. It really could be any one of us.”

Maloof says at 25 Maier moved from France to New York, where she worked in a sweatshop. She later made her way to Chicago in 1956, where she became a nanny.

“Most of the families said Vivian was very private and spent her days off walking and shooting pictures,” he says. “I can just imagine her walking around town with a Rolleiflex around her neck, snapping pictures.”

Maier’s photographs gain interest because of the subjects. She had an eye for fashion as well as capturing the daily lives of people.

“You can see how Vivian lived through the photographs,” Maloof says. “She captured everything that seemed interesting to her.”

Maloof says three years after Maier’s death, he’s surprised at how much interest she has gotten in the past year.

“My initial goal was to get her noticed and for her to take her place in the art world,” he explains. “I know she was a private person, but I believe her photos are a gift to the world that needed to be shared.”

If you go

WHAT: “Vivian Maier: Discovered”
WHEN: 10 a.m.-5 p.m. Daily;  opening reception will be held from 5-7 p.m. Friday, Feb. 3. Continues through April 22
WHERE: Monroe Gallery of Photography, 112 Don Gaspar in Santa Fe
HOW MUCH: Free

Friday, January 27, 2012

Life of Marital Bliss (Segregation Laws Aside)





Mildred and Richard Loving, King and Queen County, Virginia in April 1965
Grey Villet: Mildred and Richard Loving, King and Queen County,
Virginia in April 1965



We have been covering the forthcoming documentary film about Mildren and Richard Loving, an inter-racial couple who made civil-rights history. "The Loving Story" film will premiere on HBO on Valentine's day, February 14. An exhibition of Grey Villet's vintage photographs is currently on exhibition at the International Center of Photography.

Today's New York Times has a review of the exhibit:

"Richard and Mildred Loving, an interracial couple from Virginia whose marriage prompted a benchmark 1967 Supreme Court ruling overturning state miscegenation laws, are portrayed in “The Loving Story: Photographs by Grey Villet” as heroes who fell into history by accident.

 Grey Villet,  a South African photographer who worked for Life magazine, entered the story in 1965 when he traveled to Virginia to photograph the family, by then living together under an unofficial amnesty with their three children. Mr. Villet shot 73 rolls of film, but Life published only 9 images. The photographer then sent 70 prints to the Lovings. The vintage prints in this show are from that collection, as well as from Mr. Villet’s estate.

The images represent the heyday of social documentary, but also the photo-essay format established by magazines like Life and Look. There is the whiff of Walker Evans, Dorothea Lange and other 1930s documentarians, but also of W. Eugene Smith, a revered midcentury photo essayist, and David Goldblatt, a South African chronicler of apartheid"  Full post and photographs here.

Concurrently, Monroe Gallery of Photography is opening the exhibition "Grey Villet: The Lovings" on February 3, concurrent with the exhibition "Vivian Maier: Discovered". The exhibition continues through March 18, and Grey Villet's photographs of the Lovings will be on exhibit during the AIPAD Photography Show March 29 - April 1 at Monroe Gallery, Booth #419. Monroe Gallery of Photography is honored to represent the Estate of Grey Villet.


Friday, January 20, 2012

WEEK IN REVIEW: Selected Photography Stories



Med_indian_canyons_8367-jpg
Supermarket Pickets, New Jersey, 1963 © Steve Schapiro,
Monroe Gallery of Photography, Santa Fe

La Lettre de la Photographie has a wrap-up of the 2012 edition of Photo LA, reported by Jeff Dunus with a slide show of highlights here.


September 28, 1959, 108th St. East, New York
Vivian Maier: September 28, 1959, 108th St. East, New York
©Maloof Collection, Ltd.


 
Art Critic Roberta Smith of The New York Times writes a review of 2 concurrent Vivian Maier exhibitions in New York. The exhibition "Vivian Maier: Discovered" opens at Monroe Gallery of Photography on February 3, and continues through April 22.



Grey Villet: Mildred and Richard Loving

The International Center of Photography opened the exhibition "The Lovings Story: Photographs by Grey Villet".  The Amsterman News has the most recent article about this remarkable collection of photographs, taken by Life magazine photographer Grey Villet:

"Brown v. Board of Education. Plessy v. Ferguson. The list of notable court cases that blazed the trail for civil rights in our nation is long, but there is one case that many have forgotten but is no less important: Loving v. Virginia."

More about the Lovings photographs here.


Raw File Blog covers Tim Mantoani's  new book Behind Photographs: Archiving Photographic Legends. "The Tank Man of Tienanmen Square. Muhammad Ali standing over Sonny Liston in victory. The portrait of the Afghan Girl on the cover of National Geographic. Many of us can automatically recall these photos in our heads, but far fewer can name the photographers who took them. Even fewer know what those photographers look like." We are very proud that several of Monroe gallery's photographers are featured.