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Women Who Shaped History

A Smithsonian magazine special report

History | July 9, 2024


MEET VIVIAN MAIER, THE RECLUSIVE NANNY WHO SECRETLY BECAME ONE OF THE BEST
STREET PHOTOGRAPHERS OF THE 20TH CENTURY

The self-taught artist is getting her first museum exhibition in New York City,
where she nurtured her nascent interest in photography


A self-portrait taken in New York by Vivian Maier in 1954 © Estate of Vivian
Maier / Maloof Collection / Howard Greenberg Gallery, NY

Ellen Wexler

Assistant Editor, Humanities



Vivian Maier took more than 150,000 photographs as she scoured the streets of
New York and Chicago. She rarely looked at them; often, she didn’t even develop
the negatives. Without any formal training, she created a sprawling body of work
that demonstrated a wholly original way of looking at the world. Today, she is
considered one of the best street photographers of the 20th century.

Maier’s photos provide audiences with a tantalizing peek behind the curtain into
a remarkable mind. But she never intended to have an audience. A nanny by trade,
she rarely showed anyone her prints. In her final years, she stashed five
decades of work in storage lockers, which she eventually stopped paying for.
Their contents went to auction in 2007.



Many of Maier’s photos ended up with amateur historian John Maloof, who
purchased 30,000 negatives for about $400. In the years that followed, he sought
out other collectors who had purchased boxes from the same lockers. He didn’t
learn the photographer’s identity until 2009, when he found her name scrawled on
an envelope among the negatives. A quick Google search revealed that Maier had
died just a few days earlier. Uncertain of how to proceed, Maloof started
posting her images online.

“I guess my question is, what do I do with this stuff?” he wrote in a Flickr
post. “Is this type of work worthy of exhibitions, a book? Or do bodies of work
like this come up often? Any direction would be great.”

A man with a baby in New York's Central Park on September 26, 1959 © Estate of
Vivian Maier / Maloof Collection / Howard Greenberg Gallery, NY

Maier quickly became a sensation. Everyone wanted to know about the recluse who
had so adeptly captured 20th-century America. Her life and work have since been
the subject of a best-selling book, a documentary and exhibitions around the
world.

Now, the self-taught photographer is headlining her first major American
retrospective. “Vivian Maier: Unseen Work,” which is currently on view at
Fotografiska New York, features some 230 pieces from the 1950s through the
1990s, including black-and-white and color photos, vintage and modern prints,
films, and sound recordings. The show is also billed as the first museum
exhibition in Maier’s hometown, the city where she nurtured her nascent interest
in photography.

--------------------------------------------------------------------------------



Born in New York City in 1926, Maier grew up mostly in France, where she began
experimenting with a Kodak Brownie, an affordable early camera designed for
amateurs. After returning to New York in 1951, she purchased a Rolleiflex, a
high-end camera held at the waist, and began developing her signature style:
images of everyday life framed with a stark humor and intuitive understanding of
human emotion. She started working as a governess, a role that allowed her to
spend hours wandering the city, children in tow, as she snapped away.

She left New York about five years later, when she secured a job as a nanny for
three boys—John, Lane and Matthew Gensburg—in the Chicago suburbs. The family
was devoted to Maier, though they knew very little about her. The boys remember
attending art films and picking wild strawberries as her charges, but they don’t
recall her ever mentioning any family or friends. Their parents knew that Maier
traveled—they would hire a replacement nanny in her absence—but they didn’t know
where she went.

A woman in Chicago on May 16, 1957 © Estate of Vivian Maier / Maloof Collection
/ Howard Greenberg Gallery, NY

“You really wouldn’t ask her about it at all,” Nancy Gensburg, the boys’ mother,
told Chicago magazine in 2010. “I mean, you could, but she was private. Period.”

Despite Maier’s reclusive tendencies, the Gensburgs knew about her photography.
It would have been difficult to hide. After all, she lived with the family and
had a private bathroom, which she used as a darkroom to develop black-and-white
photos herself. The Gensburgs frequently witnessed her taking photos; on rare
occasions, she even showed them her prints.

Maier stayed with the Gensburgs until the early 1970s, when the boys were too
old for a nanny. She spent the next few decades working in other caretaking
roles, though she doesn’t appear to have developed a similar relationship with
these families, who viewed her as a competent caregiver with an eccentric
personality. Most never saw her prints, though they do remember her moving into
their homes with hundreds of boxes of photos in tow.

A little girl in Chicago on May 16, 1957 © Estate of Vivian Maier / Maloof
Collection / Howard Greenberg Gallery, NY


“I once saw her taking a picture inside a refuse can,” talk show host Phil
Donahue, who employed Maier as a nanny for less than a year, told Chicago
magazine. “I never remotely thought that what she was doing would have some
special artistic value.”

Meanwhile, the Gensburgs kept in touch. As Maier grew older, they took care of
her, eventually moving her to a nursing home. They never knew about the storage
lockers. When she died at age 83, a short obituary appeared in the Chicago
Tribune, describing her as a “second mother” to the three boys, a “free and
kindred spirit,” and a “movie critic and photographer extraordinaire.”

--------------------------------------------------------------------------------

Maier’s mysterious backstory is a large part of her present-day appeal. Fans are
captivated by the photos, but they’re also intrigued by the reclusive nanny who
developed her talents in secret. “Vivian Maier the mystery, the discovery and
the work—those three parts together are difficult to separate,” Anne Morin,
curator of the new exhibition, tells CNN.

An untitled photo taken in 1958 © Estate of Vivian Maier / Maloof Collection /
Howard Greenberg Gallery, NY

The show is meant to focus on the work rather than the mystery. As Morin says to
the Art Newspaper, she hopes to avoid “imposing an overexposed interpretation of
her character.” Instead, the exhibition aims to elevate Maier’s name to the
level of other famous street photographers—such as Robert Frank and Diane
Arbus—and take on the daunting task of examining her large oeuvre.



“In ten years, we could do another completely different show,” Morin tells CNN.
“She has more than enough material to bring to the table.”

The subjects of Maier’s street photos ran the gamut, but she often turned her
lens toward “people on the margins of society who weren’t usually photographed
and of whom images were rarely published,” per a statement from Fotografiska New
York. The Gensburg boys recall her taking them all over the city, adamant that
they witness what life was like beyond the confines of their affluent suburb.

The exhibition is organized thematically, with sections devoted to Maier’s
famous street photos, her experimental abstract compositions and her stylized
self-portraits. The self-portraits, which frequently incorporate mirrors and
reflections, amplify her enigmatic qualities, usually showing her with a
deadpan, focused expression. Her voice can be heard in numerous audio
recordings, which play throughout the exhibition. As such, even as the show
focuses on the work, Maier the person is still a frequent presence in it.

Finding Vivian Maier - Official Movie Trailer
Watch on


“The paradox of Vivian Maier is that the lifetime of anonymity that has captured
the public imagination persists in the work,” writes art critic Arthur Lubow for
the New York Times, adding, “An artist uses a camera as a tool of
self-expression. Maier was a supremely gifted chameleon. After immersing myself
in her work, other than detecting a certain wryness, I could not get much sense
of her sensibility.”



The artist undoubtedly possessed a curiosity about her immediate surroundings,
which she photographed with a “lack of self-consciousness,” Sophie Wright, the
New York museum’s director, tells CNN. “There’s no audience in mind.” There is
no evidence that Maier wondered about her viewers—or that she ever imagined
having viewers in the first place. They, however, will never stop wondering
about her.

“Vivian Maier: Unseen Work” is on view at Fotografiska New York through
September 29.

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Ellen Wexler | | READ MORE

Ellen Wexler is Smithsonian magazine’s assistant digital editor, humanities.


Filed Under: Art, Arts, Chicago, Exhibitions, Exhibits, Museums, New York City,
Photographers, Photography, Visual Arts, Women's History


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