- Hardcover: 288 pages
- Publisher: CityFiles Press; 1 edition (October 16, 2012)
- Language: English
- ISBN-10: 0978545095
- ISBN-13: 978-0978545093
- Product Dimensions: 9 x 1.3 x 9 inches
- Shipping Weight: 3.5 pounds
- Average Customer Review: 76 customer reviews
- Amazon Best Sellers Rank: #488,140 in Books (See Top 100 in Books)
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Vivian Maier: Out of the Shadows 1st Edition
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*Starred Review* Excitement over the mysterious “nanny photographer” went viral after a selection of Maier’s commanding black-and-white photographs were displayed online shortly after her death in 2009. Her never-before-seen work was discovered after the contents of her storage lockers were auctioned off because she couldn’t pay the bills. Now the brilliant and intrepid photo reclamation and writing team of Cahan and Williams (The Lost Panoramas, 2011) tell Maier’s deeply moving story. They conferred with everyone they could find who knew Maier and chose 300 galvanizing photographs—most unprinted, many undeveloped—from the tens of thousands she shot. We learn that Maier, of French and Austrian descent, was born in New York City in 1926, raised in the French Alps, traveled the world with her camera, and settled in a Chicago suburb in 1956. She lived frugally while working as a nanny and caregiver, continually taking pictures of her young charges and their world and of Chicago’s see-it-all streets, composing urban tableaus of penetrating wit and empathy. Maier was “painfully private,” outspoken, unconventional, gutsy, and compassionate, and her long-secret photographs evince a profound clarity of vision and intent. Cahan and Williams compare Maier to Emily Dickinson, and her life and work do speak to our most cherished sense of what art is and why it matters. --Donna Seaman
"Vivian Maier: Out of the Shadows, in my opinion, presents her work in exactly the correct manner" --Kenneth Tanaka, The Online Photographer
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This would make a nice gift!
It is a lot of fun to see a photographer's career laid out retrospectively all at once, as we have had the privilege with Maier, and shall continue to, as other arrangements of her large and increasingly wide-ranging legacy are published (and at some point, a major public exhibition). All the echoes of Helen Levitt, Garry Winogrand, Arthur Tress, Lisette Model, Walker Evans, even Diane Arbus tease and insist on the questions of how much of these or other photographers' work she knew, how well, and what she thought of it. I'll leave to others the hyperbole and over-excitement that often has surrounded Maier in the three years since the work went public, except to say that it is easy to go there. Vivian Maier (oh, here I go now) is in some real respect a photographic Emily Dickinson (and as tough-minded and funny at points as Dickinson, as well as reclusive and lacking self-confidence). This is a photobook I know I will come to regard ever more highly, among the nearly 150 already in my library, and Maier's 'career' isn't yet over, not for us who have had the almost dumb luck to find her just in time.*
*just in time for us, regrettably not in time for Maier herself. . .