Vivian's Selfies

Reviewed by Kenneth Tanaka

Vivian Maier: Self-Portraits by John Maloof

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By now the legend of Vivian Maier should be familiar to most TOP readers. Maier was a Chicago nanny who also turned out to be an extraordinarily devoted and talented, but intensely secretive, candid "street" photographer. Since her basically posthumous discovery following a series of 2007 abandoned property auctions, Maier has become a de facto patron saint for amateur photographers worldwide. With each batch of newly disclosed work, Maier’s talent emerges as clearly equivalent, and in many cases superior, to many of the most celebrated street photographers of the 20th century.

Two books of Maier's work have been previously published, one each from the collections of John Maloof and Jeffrey Goldstein, the primary holders of Maier's work. Vivian Maier: Self-Portraits is drawn from Maloof's collection and, as the title implies, presents a specific genre of her images.

I jokingly referred to the images in this book as "selfies" (proclaimed this year's word of the year by the Oxford English Dictionary). But none of the book's 89 images actually resemble the look-at-me snapshots that have become mainstays on social sites. Rather, Maier's "self-portraits" appear to be a mixture of carefully composed scenes and inadvertent self-inclusions, with a smattering of images taken by others with Maier's camera.

In her introductory essay, Elizabeth Avedon observed that the images lack hints of emotion. I agree. None have a happy or even a commemorative feeling, although many do appear to have been taken during Maier's travels. Vivian didn't seem to enjoy smiling. Several do convey a slightly narcissistic feeling, particularly those of her that resemble press portraits. But none impress me as images of a lonely person. Rather, they're images of a person alone. Many seem to be experiments in using herself in compositions.

Although a few of the images have been previously published, most will be new to your eyes. This is especially true of the final 30 images which are in color. Apparently Maier enthusiastically adopted color later in her life, after dabbling with it since the 1950s. Judging by the images in the book she had a nice eye for color compositions, too.

The book itself is the same 10x11" squarish layout as Maloof's 2011 book by PowerHouse. But I'm delighted to report that the print quality of images in this book, which is also published by PowerHouse, is exponentially superior to that 2011 book. In fact both the color and B&W plates look about as good as it gets in photobooks today.

(A Kindle edition is scheduled for release on November 26, 2013.)

If you're already hooked on following the discovery of Vivian Maier's work, as I am, buying this book is a no-brainer. But even aside from the contextual lore the plates in this book present an excellent study of possibilities for creative photographic self-representation. I know of no other book of such a study and for that reason alone it's worth the investment for dedicated photographers.

If you're in New York before December 15, 2013 you might want to visit the corresponding "Vivian Maier: Self Portrait" show at the Howard Greenberg Gallery.

Ken

©2013 by Kenneth Tanaka, all rights reserved

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(To see all the comments, click on the "Comments" link below.)
Featured Comments from:

Doug C: "Thanks for the tip. We just got in from seeing the show. Well worthwhile. Beautiful work. I would not have known about it had I not read this post."

Steve Barnett: "Ken writes, 'I know of no other book of such a study and for that reason alone it's worth the investment for dedicated photographers.' There is Lee Friedlander's book Self Portrait. Of course 'selfies' have been made by painters for centuries, so it makes me curious why some people feel uncomfortable about photographers taking it seriously. I think it gave Maier that excuse we all might need from time to time to explore idea's in a freer way, something that can be laughed off, but underneath there is an idea forming."

Mike adds: I was surprised to discover that The 2005 reprint of Lee Friedlander's Self Portrait is still available. Not only that, but Lee has reprised the idea, in a 2011 Yale Art Gallery title.

Comments

[V. Roma]

I felt a little ambiguous towards this book when I first heard about it because, to me, the concept smacked of more capitalization on the Vivian Maier story rather than it being about the photography. I just wasn't sure that these types of shots (reflections, shadow, etc.) merited an entire book (it is not like it is a new concept *at this point in time*). After seeing some of the photos, though, I have to say they are good and often original. I don't think I'll run out to buy the book but I was certainly unfair in my initial assessment.

[Hugh Smith]

Proof that photography does not have to be exhibited to be loved and appreciated. Vivian Maier was the consummate street photographer. (I do wonder how a nanny could afford that Rollei!)
Her work is an anthem (or perhaps requiem) for to the art of taking pictures.
My two pesos.

[cb]

I think this is an issue of copyright as none of the current 'owners' have have express consent of the artist. From my mere understanding the law barely says that mere ownership of -for example a negative- does not convey any right to the copyright in that picture.

[Daniel Stevenson]

I had this on pre-order so my copy arrived the other day. I strongly recommend it and consider it well worth the price.

I too find Vivian's work to be very good and the more I spend time looking at her images the more I am impressed. There are a number of her images that I find very compelling. I believe her introverted nature made her a very good observer, and she was uniquely equipped to capture her observations on film.

[Kevin Purcell]

"with a smattering of images taken by others with Maier's camera."

They rather challenge the title of the book.

I've had a look at the images in the book and it struck me that about five of the images looked like they were taken by someone else. At the very least someone else would have to have set the shutter e.g. the mirror shot with a workman holding the mirror angled off to include Vivian Meyer in the reflection.

This shots are perhaps more important than the "selfies" as the "standard model" for Vivian Meyer is as a loner but clearly some of the time she went out photographing with others (even if they borrowed her camera). Clearly a shot taken by someone else isn't a "selfie" even if you've been loaned the camera. They also make copyright issues around VMs work even more interesting (copyright goes with the shutter push absent any other contract). I'd love to see the contact sheet around these shots for context.

The other thing raised by the book (and talked about in the essay) is the number of different camera types Vivian Meyer used. In addition to the Rolliflex everyone associated with here were at least two Leica's, a Kodak rangefinder and a Zeiss Ikon (and probably some more I've forgotten about!).

[Mahn England]

My comment is OT but may be interesting?

According to the ABC (Australia) the Oxford Dictionary has nominated the term "selfie" as its word of the year.

Here is the story about the first officially recognised use of the word and the image:

http://www.abc.net.au/news/2013-11-19/this-photo-is-worlds-first-selfie/5102568

At the risk of never being forgiven, the holotype image pays "lip service" to self portraiture.

[Mahn England]

My partner was in Budapest this time last year and came across an exhibition of a photographers work.

On returning she described the work and the impression that it made on her but couldn't remember the artists name. Based on her description we quickly nailed it down to Vivian Maier.

Such is the strength and character of Vivian's work.

[Doug C]

I should also add that if you go to this show you might well want to cross the street to see the Emmet Gowan show at Pace MacGill.
Certainly nothing as strong as his early work, but worth checking in on a guy who has a good eye.
Photographs of Andalusia from the air vs. Edith back in the early 1970s.
There might be stuff in the area that is also worthy, but I have to drive home in the morning.

[Eric Rose]

Just saw the movie "Finding Vivian Maier" tonight. Great detective work showing who Vivian Maier really was, as recounted by the people she touched along the way. Go see it if you get a chance.

[g carvajal]

finally something i can afford ($30) on top.
thanks.

[David]

OK, I don't really want to detract from this interesting review, but everyone has their own little pet semantic peeves, and one of mine is "exponential" or "exponentially", as in:

"But I'm delighted to report that the print quality of images in this book, which is also published by PowerHouse, is exponentially superior to that 2011 book."

If the quality of images is increasing exponentially in a series of books, that would mean, for instance, that if the second book is 10 times better than the first, then the third book would be 10 times better than the second; and the fourth ten times better than the third. If you only have two books to compare, there is no way to tell if the quality is increasing exponentially, linearly, logarithmically or in some other fashion. (disregarding the problem of measuring quality . . .)

The factor of 10 is not important; an increase by a factor of 2 with each increment is also an exponential change. For instance, the amount of light passed by a lens changes exponentially with each change in f number (in theory, at least).

Rant finished!

Thanks for your patience,

David

[D B]

I enjoyed reading David's rant.

[Ed Hawco]

Another plug for Maloof's documentary, "Finding Vivian Maier," which I saw last week. I knew I'd enjoy it but it was even better than I had anticipated. Highly recommended.

[Kenneth Tanaka]

@ David: I measured the difference. It's "exponential". Send me money and I'll send you the precise exponent. ;->