BeatRoute Magazine AB Edition - February 2020

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Loving“..a mix of pop, folk andlo-fi with a hint of nostalgiathat Paul McCartneyin his heyday wouldn’thave refused.”“Mellow, folky indie rockwith a twist of psychedelica.”“They strive when it comesto making beautiful,indie rock lullabies.”“Reminiscent of aslightly darker Whitney.Nostalgic and lovely”C 2020 L AST GANG RECORDS INC.If I am onlymy thoughtsTHE DEBUT ALBUM FROM VICTORIA, BRITISH COLUMBIA GROUP LOVINGAVAIL ABLE NOW ON ALL STREAMING SERVICES, AND IN RECORD SHOPS.EXCLUSIVELY FROM L AST GANG RECORDS, WORLD WIDE.
VIVIAN MAIER, MAY 16, 1957 © ESTATE OF VIVIAN MAIER, COURTESY OF MALOOF COLLECTION AND HOWARD GREENBERG GALLERY, NY.YYCTHE MYSTERY OF VIVIAN MAIERGLENBOW SHEDS LIGHT ON AMERICA’S“SENSITIVE EYE” STREET-SHOOTERBy BRAD SIMMThroughout her life, she worked in total obscurity. When she died in2009 at 83, Vivian Maier was discovered by chance then instantlyhailed as one of America’s most treasured street photographers.Maier was reclusive, her history largely unknown other than shesupported herself as a nanny in the suburbs of Chicago’s North Shorefrom the mid 50s into the 90s. When she got older and unable to keepup the payments on a storage space, thousands of her undevelopednegatives along with hundreds of prints, audio recordings and canistersof 8 mm film were auctioned off.John Maloof was one of three collectors who came into possessionof more than 30,000 negatives. After posting some of Maier’s photos onFlickr, her work went viral the same year she passed away.Without question, the mystery behind Vivian Maier is just as intriguingas the body of work she left behind, prompting two film documentariesto investigate her life. Still, little more than an outline of her backgroundhas surfaced. Through her photographs, however, Maier’s curiouscharacter starts to reveal itself.Until the end of May, the Glenbow Museum presents Vivian Maier: InHer Own Hands, an exhibition that features Maier’s career as a wholeand in different areas she explored.Melanie Kjorlien, the Glenbow’s VP, notes, “There’s black and whitephotos from the 50s and 60s and colour work that she got more interestedin during the 70s. There’s short films that she did that are in the same vein asher street photography, and contact sheets which gives you a sense of herworking as a photographer with the range of images she took.”One section of the exhibition is focused on Maier’s self-portraits,which provides a glimpse into who she was. As nanny she took a lot ofphotos of children but also gravitated towards those who were on thelower end of the economic scale, an area that looms large in her work.“There’s speculation,” says Kjorlien, “that she felt an affinity towardsthese people because she too was isolated as an individual and hadfinancials problems most of her life. She had a sensitive eye towardsthose who were more disadvantaged.”Kjorlien adds, “Some photos of people that are more affluent definitelyhave less of a sensitivity. Often times, they are not very flattering imagesand that lends to an interesting insight into her personality.”In addition to her close-up and personal images, Maier captured certainaspects of change and upheaval that America experienced between the1950s and 1970s. Over time she experimented with subject matter —there were fewer people in her photos and more with architecture, wallsof graffiti, random objects and abstract perspectives that concentrated onurban physicalities and the formal aspects of photography rather than theshoot-from-the-hip street style she was known for.Vivian Maier: In Her Own Hands Feb. 8 to May 24 at the Glenbow MuseumCALGARY’S ESSENTIALFEBRUARY HAPPENINGS02.20FEBRUARY 2020 BEATROUTE 35
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