There are happy connections. What better place than the Musée de la Photographie « Charles Nègre » in Nice to exhibit some photographs judiciously taken from the works of Vivian Maier. The understanding of images, we will discover, is perfect between these two great discoverers of photography to freeze time, space and the invisibility of emotion and intelligence.
It is in this beautiful Nice setting, dedicated to photography, that the exhibition at the Palais du Luxembourg [Paris] has settle down, the images created by Vivian Maier. The brilliant curatorship, provided by Anne Morin, through its simplicity and choices, is a beautiful tribute to the author’s works. I will not dwell on the stories, bordering on tales, of Vivian’s personal life and her work. A lot of ink and blah blah have been spilled, for a legend that is not a legend. I refer you to the very beautiful film, screened during the exhibition, which, through the eyes and the impressions of those who knew her, projects Vivian as a normal woman, rather a little “square”. This in no way prevents her from being a brilliant creator, in a life of ghostly shadows, who has devoted herself to a multivalent capture of testimonies of psychological significance. A character who is both offbeat, like the majority of recognized authors, but so accurate to leave a trace in the evolution of our inspirations.
This exhibition with its scenography, its curatorial options, remains very professional and sensual. In addition, the very original film makes us live with Vivian and her achievements, without resembling those stupid idolatrous videograms which are becoming commonplace in many exhibitions. There is nothing untoward to say about this event in which images are king.
Vivian Maier’s images, let’s talk about them. Do we forget that this photographer played the role of a naive girl on whom the spirit of light would have fallen, by chance, to allow her to offer us miracles? Self-taught, certainly; but, with her family (French on her mother’s side) gifted in photography and whom she met during her long stay in France. Stay with – already – a camera in her hands and some interesting landscape shots. Finally, our great, so-called, naive woman acquired the “Rolls-Royce” of the time to work with, as tool for her shots, a Rolleiflex, then later a Leica. With her budget, it was certainly not to show off. She also worked in the darkroom which she abandoned, a little too early, due to her lifestyle and other professional constraints. Let’s not be mistaken, this woman was involved in many areas of photography like all the great photographers of this period of the twentieth century. The context is set, what about the images!
Well, there’s still a preamble, in fact, that’s all there is in Vivian’s works. What is presented to us corresponds to images of contact sheets, technically enlarged, of course; but, raw. Raw development. Some were discovered on undeveloped film. Imagine these masterpieces, in the making, printed, under Vivian’s instructions, by a super professional, as did our colleagues who have become “stars” of the image.
The framing, Vivian worked with square medium format cameras. In the composition of her images, it is immediately obvious that she had understood her impossibility (probably financial) to work with her raw material, her exposed films, to bring her work to fruition. She found a way to make the most of her device in judicious and innovative compositions. She optimized her framing by making the most of the available part of the film, with limited borders without leaving the frame. Everyone who has used 6 x 6 monofocals remembers the anticipation required, unless they are squatting in a studio. When you find yourself in the street in front of a monument, it’s already problematic, then in front of one, or more characters, it becomes improbable! Except for a few views which would require valuable reframing, the reading construction is optimal, right down to the points of detail.
The viewing angles are essentially based on ventral aiming almost imposed by the device with its two associated optics (field of vision and focus). Once again, our photographer had perfectly integrated everything she could extract from this observation to benefit from it. Vivian precisely used suitable viewing angles which allowed her to highlight the subjects as she desired. She retained this instinct for framing and angle of view when she acquired a Leica camera, better suited to colorful scenes and at eye level.
It remains the mastery of optics with its diaphragm and its shutter. On the depth of field side, an always she always prepared subtle dosage, depending on the circumstances, impossible to do otherwise in these choices. The high point remains, of course, the trigger perfectly anticipated by the photographer. The alignment of all the parameters, numerous, varied and not very easy, is optimal in almost all of the images presented to us.
A feat when we realize that Vivian Maier did not have access to post-production of her shots. As we mentioned, no contact sheets, no reshoots, no laboratories with a high-performance printer no distribution agencies, etc.
This photographer had a real gift for anticipation, perhaps innate? Still, each work of this creator appeals to us with its multiple facets. The reading of each image of Vivian presents a number of aspects: testimony, interpretation, smile, objectivity, tears, questions, etc.
Vivian Maier is certainly one of the greatest photographers of her time, and even of other periods. It is a shame that this free woman did not have access to the facilities of a large distribution agency and to the efficient professional assistance that her images deserve.
Don’t hesitate for a moment to visit this sincere exhibition, the images presented justify your effort and organize yourself to discover the 83-minute film, with very astonishing editing, which will immerse you in Vivian’s world.
Thierry Maindrault
EXHIBITION
Vivian Maier • Anthology
Musée de la Photographie Charles Nègre
place Pierre Gautier
06000 Nice
from October 19, 2024 untik March 16, 2025,
open everydays except Monday
from 10:00 am to 00:30 pm and from 01:30 pm to 06:00 pm
film begin at 10:30 am, 02:00 pm and 03:45 pm.