Maier didn’t want people to know where she lived, and often lied about her personal history.
From a Tim Burton artist biopic and a documentary about a master forger to the soothing sounds and brushstrokes of Bob Ross, this handy playlist will get you through Thanksgiving and other tough times.
Part of the legal saga surrounding the estate of Vivian Maier is drawing to a close a year and a half after it began.
The nominees for the 2015 Academy Awards are out today, and from Mr. Turner to Finding Vivian Maier, there’s a fair chance of some visual art films taking home gold-plated statuettes and adding Oscar medallions to their DVD cases.
Collector Jeffrey Goldstein has sold the bulk of his Vivian Maier collection to Toronto’s Stephen Bulger Gallery, largely removing himself from the ongoing legal saga surrounding the photographer’s estate.
A little over two weeks ago, the tenuous peace surrounding the production and distribution of artwork by Vivian Maier exploded.
A legal battle has ensued over who has legal rights to an artist’s photographic negatives.
Collector Jeffrey Goldstein agreed to speak with me about some of the concerns raised in my previous post — including the handling of Vivian Maier’s artworks and story, as well as the ethics of making posthumous prints from her original negatives.
Finding Vivian Maier, the documentary about the nanny who’s gained incredible posthumous fame for her previously unseen work as a photographer, was released this past weekend in the UK. But in addition to garnering reviews, it’s also bringing a longstanding but little-covered conflict over Maier’s work and archive to light.
Today, the name “Vivian Maier” is far from unknown. People around the world have seen and read about Maier’s photographs, taken in New York, Chicago, and countless other places during the second half of the 20th century.
Some photographs are best left to be discovered decades after they were first exposed. Much like the work of Vivian Maier — whose images were found years after she said her goodbyes — a recent finding of 22 undeveloped cellulose nitrate negatives from a 1914-1917 Antarctic expedition reignites our wonder at the opportunity to glimpse a past thought lost.
Vivian Maier spent some forty years working as a nanny in Chicago. When she died in 2009 at the age of eighty-three, she left behind well over a hundred thousand photographic negatives, evidence of decades spent wandering the streets of her hometown, as well as others cities and locales around the world.