Lee Friedlander and Vivian Maier: Two Visions of America

The article reviews two concurrent photography exhibitions in Paris and Tours, examining the legacies of Lee Friedlander and Vivian Maier. Friedlander's retrospective at Galerie Éric Dupont (October 12–November 30, 2013) showcases his iconic images but reveals a fatigue with his signature motifs—shadows, reflections, rearview mirrors, and self-portraits—which have been heavily imitated. However, his pristine American landscapes and sculptural female nudes retain their power. Vivian Maier's exhibition at Les Douches La Galerie (October 15–December 21, 2013) and other venues (Galerie Frédéric Moisan, Paris, November 6–December 7, 2013; Château de Tours, November 9, 2013–June 1, 2014) presents the recently discovered work of a mysterious nanny who produced over 100,000 negatives. Maier's street photography, self-portraits, architectural studies, and portraits of African Americans and children capture class disparities in 1950s-60s America with an ironic, humanist eye, though lacking the intensity of Diane Arbus. The article positions both photographers as chroniclers of a certain America.