The lifetime work of recently discovered street photographer Vivian Maier has captivated the world and spawned comparisons to photography's masters. This text presents an intimate portrait of the artist herself with never-before-seen black-and-white and colour self-portraits culled from the extensive Maloof archive, the preeminent collector of the work of Vivian Maier.

Please note that all blank pages in the book were chosen as part of the design by the publisher.
A good street photographer must be possessed of many talents: an eye for detail, light, and composition; impeccable timing; a populist or humanitarian outlook; and a tireless ability to constantly shoot, shoot, shoot, shoot and never miss a moment. It is hard enough to find these
qualities in trained photographers with the benefit of schooling and mentors and a community of fellow artists and aficionados supporting and rewarding their efforts. It is incredibly rare to find it in someone with no formal training and no network of peers.
Yet Vivian Maier is all of these things, a professional nanny, who from the 1950s until the 1990s took over 100,000 photographs worldwide--from France to New York City to Chicago and dozens of other countries--and yet showed the results to no one. The photos are amazing both for the breadth of the work and for the high quality of the humorous, moving, beautiful, and raw images of all facets of city life in America's post-war golden age.
It wasn't until local historian John Maloof purchased a box of Maier's negatives from a Chicago auction house and began collecting and championing her marvelous work just a few years ago that any of it saw the light of day. Presented here for the first time in print, "Vivian Maier: Street Photographer" collects the best of her incredible, unseen body of work.

Taking selfies is not the exclusive preserve of millennials. In Selfies, the niece of French philosopher Simone Weil, also daughter of one of the most brilliant mathematicians of the 20th c., gives a playful twist to the concept of self-representation: taking her cue from self-portraits by women artists, ranging from the 13th c. through the Renaissance to Frida Kahlo and Vivian Maier, Weil has written a memoir in pieces, that is yet unified. Each picture acts as a portal to a significant moment from Weil's own life (as schoolgirl, writer, daughter and mother) and sparks anecdotes tangentially touching on topical issues (from the Palestinian question to the pain of a mother witnessing her son's psychotic breakdown, to the subtle manifestations of anti-Semitism, to ageism, genetics, and a Jewish dog...). Switching from poignant to light-hearted, with Weil's trademark irony and self-deprecating humour, Selfies is a sophisticated, `delightful read', with heartwrenching tendencies. (Front cover photograph: VIVIAN MAIER, Self-portrait, New York, NY, 1955 copyright Estate of Vivian Maier, Courtesy Maloof Collection and Howard Greenberg Gallery, New York. End page photograph of the author by Marc Riboud, courtesy of Catherine Riboud, Paris.)