![]() That is, her pathological hoarding of things without regard to their usefulness. Perhaps she didn’t want to lose her anonymity, her privacy, and through that also her liberty perhaps she feared disappointment perhaps it was just one more expression of her syllogomania. It’s hard to say why she never published her work. In her free time and during walks with her charges-since she worked her whole life as a nanny. ![]() ![]() Vivian Maier photographed places that she knew well. She had a feeling for the right moment, the one in which all the action before her eyes would accumulate and imprint itself into a single perfect picture. Their architecture people of all sizes, ages, nationalities, and skin tones drunks, accidents, kids’ games, police horses, and charred armchairs her reflection in a shop-window or a mirror shadows, anger, laughter, and emotions of all kinds. Most of Vivian Maier’s pictures offer us a view into 1950s and 1970s street life in New York and Chicago-and in India, Indonesia, Yemen, and Egypt during her trips abroad. Where can we take inspiration from her for our own street photography? She took over 120,000 pictures and left more than 2,000 roll films behind her-and never showed them to anyone. And yet, even though today we rank her alongside Diane Arbus, Robert Doisneau and Helena Levitt, she was completely unknown until 2009. Her pictures inspire with the simplicity and beauty of daily life. Vivian Maier (1926-2009) is one of the 20th century’s strangest photographers. ![]()
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