Undated, New York
Vivian Maier. Courtesy of John Maloof
Photographs by Vivian Maier, edited by John Maloof
Published by powerHouse Books
"Celebrated by The Wall Street Journal, Vanity Fair, The New York Times,
American Photo, Town and Country, and countless other publications, the
life’s work of recently discovered street photographer Vivian Maier has
captivated the world and spawned comparisons to photography’s masters
including Helen Levitt, Lisette Model, Walker Evans, and
Weegee among others."
"Now, Vivian Maier:
Self-Portraits reveals the fullest and most intimate portrait of the
artist to date with approximately 60 never-before-seen black-and-white
and four-color self-portraits culled from the extensive Maloof archive,
the preeminent collector of the work of Vivian Maier and editor of the
highly acclaimed Vivian Maier: Street Photographer (powerHouse Books,
2011)—bringing us closer to the reclusive artist than ever before." –powerHouse Books
TIME lightBox: Vivian Maier: Self-Portraits
TIME LightBox: Elizabeth Avedon speaks to historian and collector John Maloof about discovering Vivian Maier’s work and the elements of Maier’s photography that sets her apart. An except from that interview below...
Elizabeth Avedon: There is one particular image of Maier casting a full-length reflection in a window, two women sitting together fall within her shadow. It’s a wonderful layered image. What are your thoughts on this photograph and Maier’s frequent use of her own reflections and shadows?
John Maloof: It seems that Maier was an outsider looking into the lives of others. People weren’t aware of how great she was as an artist but she didn’t need that validation to keep going as a photographer. She could see a moment that was more unobtrusive and intimate yet powerful. As a frugal person, she knew she had to strive to get the shot perfect to not waste film. The women’s legs match up with Maier’s, she’s looking in from the outside at a mother and daughter (presumably), the glow from the light behind the plant inside illuminates Maier’s camera, and there’s a perfect break in the background where there are no buildings or trees blocking the sky so her silhouette can be in the composition. It’s perfect.
John Maloof: It seems that Maier was an outsider looking into the lives of others. People weren’t aware of how great she was as an artist but she didn’t need that validation to keep going as a photographer. She could see a moment that was more unobtrusive and intimate yet powerful. As a frugal person, she knew she had to strive to get the shot perfect to not waste film. The women’s legs match up with Maier’s, she’s looking in from the outside at a mother and daughter (presumably), the glow from the light behind the plant inside illuminates Maier’s camera, and there’s a perfect break in the background where there are no buildings or trees blocking the sky so her silhouette can be in the composition. It’s perfect.
Read the entire interview and view the images on TIME LightBox here
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