![]() ![]() She also would have been able to view another iconic MoMA photography exhibition, 1972’s worldwide-sensation retrospective of Diane Arbus’s work, when it went on tour to the Museum of Contemporary Art Chicago. Looking at the images, we begin to unravel the questions we still have about her work and her life, some of which include who her influences were as a photographer, why she changed her shooting style, what informed her choice of subject, and if factors from her personal life affected the work she made. Selections from these rolls now appear in the first monograph of her color photography, Vivian Maier: The Color Work (2018). ![]() This was largely due to legal disputes raised about copyright ownership between Maloof and her estate, which were settled in 2016, allowing him to process Maier’s color film. But he hadn’t yet processed her color film, of which there were 700 undeveloped rolls as well as 40,000 Ektachrome slides, and which were mostly made during the last 30 years of her life, often considered her most mysterious. Maloof kindled Maier’s posthumous fame and owned the bulk of her archive. ![]() This is the work he showed in Chicago that quickly infiltrated the consciousness of both the art world and mainstream culture-even more so following his Oscar-nominated documentary in 2014, Finding Vivian Maier. ![]()
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