gb Vivian Maier, Thank you for keeping it alive, part three

This translation from Spanish (original text) to English is not professional. I have done it with Google, so there will be linguistic errors that I ask you to know how to hide. Many times I have been asked to read my texts in English, and that is why I decided to do it. In addition to your patience, if you see something that I can correct, and wish to notify me of it, I will be happy to do so. In the meantime, with its lights and shadows, here are the lines that I have written. Hugo Kliczkowski Juritz

second part

1953. Septiembre. NY

It tells the fascinating true story underlying the fascinating life of Vivian Maier.

The nanny photographer, whose work was discovered in a Chicago storage room, captured the world’s imagination with her masterful images and mysterious life. Before she rose posthumously to global fame, she buried her past so deeply that even the families she lived with knew little about her. No one could tell where he was born or raised, if he had parents or siblings, if he enjoyed personal relationships, why he took photographs and why he didn’t share them with others.

Ann Marks, one of the few people to see Vivian’s complete personal records and archive of 140,000 images, chronicles it in “VIVIAN MAIER, DEVELOPED.”

Meticulous research reveals the story of a woman who fled a family with a hidden history of illegitimacy, bigamy, parental rejection, substance abuse, violence and mental illness to live life on her own terms. With a limited ability to reveal feelings and establish relationships, he expressed himself through photography, creating a secret portfolio of images full of emotion, authenticity and humanity. With boundless resilience, she tore down every obstacle in her path, determined to improve her lot and that of others by tirelessly defending the rights of workers, women, Africans, and Native Americans.

She is considered one of the greatest street photographers of the 20th century, along with the likes of Bernice Abbott (1898 – 1991), Lisette Model (1901 – 1983), and Robert Frank (1924 – 2019).

The 368-page book with English text was published by Atria Books/Simon & Schuster, ISBN 9781982166724 in December 2021.

John Maloof, photographs by Vivian Maier. Text by Ann Marks

Street Style

Street photography or street style is a way of telling stories to transmit the experience of everyday life and the vision of the artist through the photos he takes around the world.

Like photojournalism, nothing is staged, posed or planned. It is not based on studio models or lights.

The color work of street photographer Vivian Maier was the subject of an exhibition at the Howard Greenberg Gallery (in New York) held from November 14, 2018 to January 5, 2019. Many of the photographs were exhibited for the first time , to deepen the understanding of her work and her desire to record and present her interpretation of the world around her. “Vivian Maier: The Color Work” dates from the 1950s to the 1980s, captures the street life of Chicago and New York and includes several of her enigmatic self-portraits.

The exhibition has coincided with the publication of Vivian Maier: The Color Work (Harper Design | HarperCollins, November 2018), the first book dedicated to her color images. With a foreword by renowned photographer Joel Meyerowitz (1938) and text by Colin Westerbeck, former curator of photography at the Art Institute of Chicago.

Places of the world

How to read the instructions VM1960W00212-08-MC.

Vivian Maier (VM) 1960 (year) WOO212-08 (catalog) MC (Maloof Collection).

1959. Saigón, Vietnam. VM1959W02685-12-MC
1959. La Esfinge de Giza y la Pirámide de Keops, Egipto. VM1959W04125-08-MC
1956. 22 de agosto. Chicago. VM1956W03431-10-MC
1960. Chicago, Illinois. VM1960W00212-08-MC
Chicago. VM19XXW03132-03-MC
Nueva York. VM19XXW04198-03-MC
Nueva York. VM1954W04201-08-M
1957. Julio. Suburbio Chicago. VM1957W02574-06-MC
1953. Septiembre. NY. VM1953W02853-09-MC
Sin fecha. VM19XXW03074-06-MC
1959. 5 de junio. Tailandia VM1959W02645-03-MC
1959. 5 de junio. Tailandia. VM1959W02645-07-MC
1954.Julio. Nueva York. VM1954W03415-04-MC
1962. 18 de septiembre. VM1962W01125-02-MC
  1. Audrey Hepburn at the premiere of “My Fair Lady” in Chicago at the RKO Palace Theatre. October 23. VM19XXW02129-11-MC

The various cameras of Vivian Maier.

“VIVIAN MAIER LIVING COLOR” exhibition, “VIVIAN MAIER: Color Vivo”, Los Angeles, California, December 1, 2018. (Photo by Harmony Gerber).

Nominations announced for the 87th Academy Awards Beverly Hills, CA on January 15, 2015.

Directors J.J. Abrams and Alfonso Cuarón announce the film “Finding Vivian Maier” as nominated for best documentary at the ceremony, at the AMPAS Samuel Goldwyn Theater. (Photo by Kevin Winter).

Vivian Maier exhibit on September 8, 2014 at the Chicago History Museum on the North Side.(Chris Walker, Chicago Tribune)

A visitor’s legs appear in this Sept. 8, 2014, photo beneath one of Vivian Maier’s photos in the exhibit at the Chicago History Museum on the North Side. (Chris Walker, Chicago Tribune)

A visitor’s legs appear in this Sept. 8, 2014, photo beneath one of Vivian Maier’s photos in the exhibit at the Chicago History Museum on the North Side. (Chris Walker, Chicago Tribune)

1966. 31 de marzo. Chicago

It is perhaps one of the most recognizable facets of his work.

They are present in her work with a certain insistence, with perseverance, she discovers herself in them.

He avoids simple confrontation, his gaze is diverted, interrupted by a reflection, a break, that seems to bounce off something that takes us out of the frame and projects us outside the image, outside itself.

Her shadow, her profile are allusions, her desire to capture her own image is such that even when she portrays other people she reflects herself in some element of the composition, turning her portraits into veiled self-portraits.

Vancouver. Canada

Turin, Italy, February 9, 2022.

Visitors attend the preview of artist Vivian Maier’s Inédita exhibition at the Reali Museum. (Photo by Roberto Serra).

The tour has been conceived as a pleasant walk along a large avenue through which the work of Vivian Maier runs. The visitor will be able to get into her skin, walk like she did and see what her eyes saw.

White, black and gray are the predominant colors in most photography exhibition designs. This is not the case with the exhibition setting, designed by Gabriel Corchero Studio.

The room is full of color, a detail that weaves with the femininity and delicacy of Vivian Maier. Each section is assigned a color that is part of a chromatic progression, in which one of the sections of this exhibition is not included; Precisely the only one that does not need color due to the vast vividness of the tone of its images, the “Color Photographs” section, is located in the vaulted gallery of the room, whose exposed brick walls have been covered with enormous cardboard panels on the that their works are exhibited.

The 9 Super 8 films are distributed and viewed in different spaces of the room, highlighting two large prisms, located in the central area, which house 4 of them. Another of the spaces in the room, where the 13 self-portraits are located, deserves a special mention for the prominence that the reflections acquire, thanks to its octagonal shape and a delicate mirror prism in the center, which give reflections to the self-portraits.

A nod to the practice of the brilliant artist when she photographs herself and used reflective materials to show her figure.

The exhibition catalog with text in English. It was edited by John Maloof, and prefaced by the English writer Geoff Dyer, with images from the exhibition, and others that do not belong to it.

The “Vivian Maier” mural by Eduardo Kobra (1976) is displayed in the Wicker Park neighborhood of Chicago on May 4, 2019. (Photo by Raymond Boyd).

Ends in the fourth part

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