Row between collectors over discovery of works by American photographer Vivian Maier


“Why does Maloof present himself as the sole discoverer of Maier’s work?” 

She was known as “Mary Poppins with a camera”, an American nanny who never saw the 150,000 extraordinary photographs she took during her very private lifetime in their full glory as prints.

Vivian Maier led a secretive double life as a street photographer, remaining unknown in her lifetime while chronicling the lives of those around her for four decades from the 1950s - mainly in Chicago, but also in New York, Los Angeles and France, where she spent much of her childhood.

Yet just as a documentary released this weekend brings new audiences to her pictures, it has also fuelled a row between the men whose accidental discovery of her work – one of the greatest photographic collections of the 20th century – led to Maier belatedly coming to the world’s attention and garnering a posthumous reputation on a par with Henri Cartier-Bresson.


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Book Review // Vivian Maier Self-Portraits


Celebrated by The Wall Street JournalVanity FairThe New York TimesAmerican PhotoTown 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 Diane Arbus, Helen Levitt, Lisette Model, Walker Evans, and Weegee among others.

Now, for the first time, 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.