Vivian Maier III

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Work Majerova belongs to the genre of street photography of such size as Bresson, Vinogrand and Diane Arbus. Majerova followed their work, according to a private collection of books on photography. Photographers of the genre say that for every man there is a place – that all stories are important. She painted the poor and the rich, clowns or bums. Children and the elderly. Blacks and whites. Vivijanine images are fragments of scenes from life, its indications contained in the details. Spectators bugging me to comprehend what is behind them and cover: a woman in a bright red dress dotted, crossed his hands behind his back, toothless homeless voraciously eat on the sidewalk, dark-eyed little girl smiling from the window of the car. Photography is caught daily life, it seemed as observers note what otherwise we would not have noticed, offering glimpses into the human life that both reveal and conceal. She stole those moments from oblivion of time. They are, as the author herself, and intimate and reserved at the same time. “The Supreme sensibility monitors works Vivian Maier,” says Joel Mejerovic, a New York street photographer. “They show someone with great humanity, a sense of being disciplined during the act of creation of work, and he’s found a way to remain invisible. Brave. Passes through the problematic parts of the city and attend a difficult scenes, standing still and take photographs. They are elegant, perfect timing and well composed. “Her photographs are gentle, inspirational, and sometimes disturbing. The work of someone who, despite the outside impression, I felt a deep connection with the world around them. The heroes of her photographs are sometimes miserable, desperate, but always dignified. Perhaps the most accurate view of Majerova comes from her self-portraits. “She watches through the windows or mirrors his own reflection and standing still with a kind of fearless and unflinching insight open view,” says Mejerovic: “This is a strong and determined person who interprets the world around them and makes serious conclusions about the values of humanity and everyone. “” She’s created works of art for the sake of the desire to be outdoors, and feel the fullness of life in a time when life disappears by the second, there, before her eyes, “says Mejerovic. “This is exactly the meaning of the photo. It relies on these flashes of life that is repeatedly appear and disappear right in front of our eyes. ” There are opposing views on the value Vivijaninog work. Kolin Vesterbek, former curator of photography of the Art Institute of Chicago and one of the leading experts on street photography, Majerovo considered for an interesting case. In his opinion, is not a special Majerova photographer, if you take into account the history of street photography in the fifties and sixties. She believes that her work “lack of irony” bother him so much self-portraits of the staff: “The best artists know how to distance themselves from the subjects observed.” On the other hand, it is an undoubted value attached to the local character of Chicago last century.