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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250101
DTEND;VALUE=DATE:20280102
DTSTAMP:20251203T225112Z
CREATED:20250317T001947Z
LAST-MODIFIED:20251203T225112Z
UID:10000005-1735689600-1830383999@jamesmaherphotography.com
SUMMARY:New York at its Core: 400 Years of NYC History
DESCRIPTION:“Framed around the key themes of money\, density\, diversity\, and creativity\, New York City’s history and future come alive in this first-of-its-kind exhibition\, through the stories of innovation\, energy\, struggle\, and the vision of generations of immigrants\, politicians\, tycoons\, dreamers\, master builders\, and ordinary New Yorkers. \nNew York at Its Core captures the human energy that drove New York to become a city like no other\, featuring the city’s “big personalities” – among them\, Alexander Hamilton\, Walt Whitman\, Emma Goldman\, JP Morgan\, Fiorello La Guardia\, Jane Jacobs\, and Jay Z. The stories of lesser-known New York personalities\, like Lenape chieftain Penhawitz and Lower East Side denizen Susie Rocco\, also figure prominently in the exhibition\, as do some of the furred and shelled residents who shaped the city’s economic and daily life – among them\, the pig\, the beaver\, and the oyster. \nThrough almost 450 historic objects and images\, many from the Museum’s rich collection\, as well as contemporary video\, photography\, and interactive digital experiences\, we welcome you to dive deep into the city’s past and create your own visions for its future.” \nhttps://www.mcny.org/nyatitscore
URL:https://jamesmaherphotography.com/event/new-york-at-its-core-400-years-of-nyc-history/
LOCATION:Museum of the City of New York\, 1220 5th Avenue\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-4.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260909
DTEND;VALUE=DATE:20261130
DTSTAMP:20260906T163744Z
CREATED:20260906T163744Z
LAST-MODIFIED:20260906T163744Z
UID:10000163-1788912000-1795996799@jamesmaherphotography.com
SUMMARY:New Openings Against Old Surfaces: On Gordon Matta-Clark’s Walls Paper
DESCRIPTION:Printed Matter is pleased to present New Openings Against Old Surfaces: On Gordon Matta-Clark’s Walls Paper\, the first exhibition focused specifically on the publishing output of pioneering artist Gordon Matta-Clark\, with a particular focus on his project Walls Paper. The show offers an in-depth consideration of the 1973 publication\, situating the work as a key experiment within the artist’s diverse and ambitious practice\, and with the artists’ book medium at large. The exhibition is organized with the participation of the Estate of Gordon Matta-Clark\, with materials drawn from its archives\, and the Gordon Matta-Clark collection at the Canadian Centre for Architecture (CCA) in Montreal. On occasion of the exhibition\, Printed Matter will realize two newly-created commissions from contemporary artists in dialogue with the legacy of Matta-Clark. \nNew Openings Against Old Surfaces is presented as part of Printed Matter’s 50th Anniversary programming\, connecting the artist’s experimentation in book form to the radical milieu that characterized the time of PM’s founding—and with contemporary artists’ practice today. \nPublished by Buffalo Press in 1973\, Walls Paper gathers and abstracts a series of photographs by Matta-Clark depicting the crumbling interior walls of half-demolished tenement buildings across the South Bronx and Lower East Side. The images are reproduced in low-contrast black and white\, and overprinted with hazy neons that likely referenced the patchwork of exposed wallpapering he encountered. The publication—Matta-Clark’s most formally inventive and arguably his one true artists’ book—features newsprint pages that have been bound together and horizontally bisected\, effectively creating two distinct booklets in one. Produced at a time of political upheaval and artistic awakening\, Walls Paper shares the structural and conceptual daring of the early architectural interventions that Matta-Clark performed in response to the dire conditions of economic crisis\, systemic neglect\, and widespread urban decay of New York City in the early 1970s. \nhttps://www.printedmatter.org/programs/events/2276
URL:https://jamesmaherphotography.com/event/new-openings-against-old-surfaces-on-gordon-matta-clarks-walls-paper/
LOCATION:Printed Matter\, 231 11th Ave\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/matta-clark-walls-paper-printed-matter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261101
DTSTAMP:20260906T163625Z
CREATED:20260906T163625Z
LAST-MODIFIED:20260906T163625Z
UID:10000162-1788998400-1793491199@jamesmaherphotography.com
SUMMARY:Nature Represented and Reproduced
DESCRIPTION:CLAMP is proud to announce “Nature Represented and Reproduced\,” a group exhibition. \nWork by Aziz + Cucher\, Daniel Handal\, Lori Nix/Kathleen Gerber\, Michael Scandling\, Olaf Otto Becker\, Pia Paulina Guilmoth\, Pipo Nguyen-duy\, Robert Voit\, Stacy Arezou Mehrfar\, and Vija Celmins. \nOpening reception: Thursday\, September 10\, 2026\, 6:00 to 8:00 PM. \nhttps://clampart.com/2026/08/nature-represented-and-reproduced/
URL:https://jamesmaherphotography.com/event/nature-represented-and-reproduced/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/nature-represented-and-reproduced-clamp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260916
DTEND;VALUE=DATE:20261112
DTSTAMP:20260906T163850Z
CREATED:20260906T163850Z
LAST-MODIFIED:20260906T163850Z
UID:10000164-1789516800-1794441599@jamesmaherphotography.com
SUMMARY:Milk Teeth: Allie Tsubota
DESCRIPTION:Milk Teeth takes as its starting point a photograph made in 1870 depicting 75 Chinese boys and young men who were trafficked from California to North Adams\, Massachusetts\, to work as strikebreakers against French Canadian workers. Confined to the factory site under carceral conditions\, they remained in North Adams during the decade preceding the Chinese Exclusion Act of 1882. Using archival and original photographs\, sculptural works\, and an extended fictional text\, Tsubota traces the interconnected histories of race\, immigration\, labor\, extraction\, and photography. \nhttps://www.baxterst.org/all-exhibitions/?schedule=upcoming
URL:https://jamesmaherphotography.com/event/milk-teeth-allie-tsubota/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/milk-teeth-allie-tsubota-baxter-st.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260916
DTEND;VALUE=DATE:20261112
DTSTAMP:20260906T164142Z
CREATED:20260906T164142Z
LAST-MODIFIED:20260906T164142Z
UID:10000165-1789516800-1794441599@jamesmaherphotography.com
SUMMARY:Where To\, From Here: Azikiwe Mohammed
DESCRIPTION:Where To\, From Here brings together 140 photographs drawn from an ongoing series begun in 2023\, which now comprises approximately 280 images. Made primarily with Polaroid film\, the photographs trace Mohammed’s travels across the United States\, documenting people\, places\, and sites of gathering along the way. \nhttps://www.baxterst.org/all-exhibitions/?schedule=upcoming
URL:https://jamesmaherphotography.com/event/where-to-from-here-azikiwe-mohammed/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/where-to-from-here-azikiwe-mohammed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20261108
DTSTAMP:20260906T155220Z
CREATED:20260906T155220Z
LAST-MODIFIED:20260906T155220Z
UID:10000156-1789603200-1794095999@jamesmaherphotography.com
SUMMARY:Sarah Sense: Land\, Line\, Blood\, Memory
DESCRIPTION:Bruce Silverstein Gallery is pleased to announce Land\, Line\, Blood\, Memory\, the gallery’s third solo exhibition of work by Chitimacha/Choctaw artist Sarah Sense (b. 1980)\, who for more than two decades\, has been a defining voice in contemporary photography. Comprising of more than twenty new photo-weavings made from the artist’s contemporary landscape photographs\, archival documents\, historical images\, maps\, printed bamboo and rice papers\, cotton thread\, ribbon\, and hand-prepared rivercane\, the exhibition considers the relationship between Indigenous people and ancestral land and the systems of representation\, ownership\, and erasure that have attempted to sever that connection. \nSense’s practice is grounded equally in inherited knowledge and original research. Her grandmother\, Chile Blanche Stouff\, kept a collection of family baskets that gave Sense her first love of the form\, while summers in her grandfather’s Chitimacha community in Louisiana rooted her in the culture that made them. With the blessing of the Chairman of the Chitimacha Tribe\, Sense began developing her variation of traditional basketry methods while earning her MFA at Parsons the New School for Design. A curator\, writer\, and researcher as well as an artist\, she held a British Library Eccles Centre Fellowship from 2019 to 2022 and is the author of Weaving the Americas. The maps\, records\, and images in her work are primary sources she located through this research\, transforming them into dynamic and beautiful works of art. \nHer latest series\, Land\, Line\, Blood\, Memory\, provides a framework for the intertwined histories embedded throughout the work.  In Sense’s Artist Statement she writes\, “Land\, Line\, Blood\, Memory is about connecting to ancestry through basket weaving and generational healing. Woven photographs intertwine images of land that hold memory\, baskets that hold\, ancestry\, historical photography that tell stories\, and maps that draw lines.” (For the full Statement\, click here.) \nhttps://brucesilverstein.com/exhibitions/241-sarah-sense-land-line-blood-memory/overview/
URL:https://jamesmaherphotography.com/event/sarah-sense-land-line-blood-memory/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/sarah-sense-land-line-blood-memory.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20261108
DTSTAMP:20260803T152715Z
CREATED:20260803T152434Z
LAST-MODIFIED:20260803T152715Z
UID:10000145-1789689600-1794095999@jamesmaherphotography.com
SUMMARY:Gordon Parks: Voices in the Mirror
DESCRIPTION:Jack Shainman Gallery is pleased to announce Voices in the Mirror\, an exhibition that revisits images by Gordon Parks through the reflections of the people and families he photographed. For the very first time\, the families of Muhammad Ali and Malcolm X\, among others\, have reflected on the photographs Parks made and their enduring power. Marking the 20th anniversary of The Gordon Parks Foundation\, Voices in the Mirror—titled after Parks’ final memoir published in 1990—also looks deeply at the collaborative relationship between Parks\, his subjects and their families as he documented the struggle for equality alongside the perseverance of Black excellence. \nReaffirming the importance of Parks’ legacy in the 21st century\, the exhibition provides fresh insight into his work\, as memory and anecdote animate photographs long-since analyzed\, studied and examined\, revealing levels of detail and depth previously unavailable. Written reflections include those from Kathleen Cleaver (The Black Panthers\, 1970)\, Kate Clark Harris (The Doll Test\, 1947)\, Kyle Johnson (The Learning Tree\, 1969) and Cora Taylor (Segregation in the South\, 1956)\, each direct subjects of Parks’ photographs. Additional reflections have been provided by Lonnie Ali\, widow of Muhammad Ali; Qubilah Shabazz\, daughter of Malcolm X; Gloria Vanderbilt’s son\, CNN Anchor Anderson Cooper and Ingrid Bergman’s daughter\, actress Isabella Rossellini. Contributions have also been made by filmmaker Ava DuVernay; Bryan Stevenson\, Founder and Executive Director of the Equal Justice Initiative; Alice Walker\, author of The Color Purple (1982)\, and her daughter\, writer and producer Rebecca Walker; Thelma Golden\, Ford Foundation Director and Chief Curator of the Studio Museum in Harlem; Deborah Willis\, University Professor and Chair of the Department of Photography & Imaging at Tisch School of the Arts\, New York University; artist Hank Willis Thomas; and Ambassador Andrew Young\, who participated in the 1963 March on Washington that Parks photographed. \n“Over the last twenty years\, The Gordon Parks Foundation has built relationships with many of the people that Gordon Parks photographed and got to know personally. We are honored to have so many of their stories brought together in an exhibition at Jack Shainman Gallery\, one that will allow us to continue learning from them\, so that the past may continue to inspire us\,” said Peter W. Kunhardt\, Jr.\, Executive Director of The Gordon Parks Foundation. \nIn 1947\, Kate Clark Harris’ parents\, Dr. Kenneth Clark and Dr. Mamie Clark\, were photographed by Parks as they conducted their ‘doll tests’—groundbreaking experiments that revealed the psychological effects of segregation on African American children. The tests were conducted using several dolls\, all identical except for skin color\, that were put before Black children\, aged 3–7\, who were asked to identify which one they preferred. The majority preferred the white doll\, leading Drs. Clark to conclude that ‘prejudice\, discrimination and segregation’ damaged their self-esteem and caused Black children to develop a sense of inferiority. In Doll Test\, Harlem\, New York (1947)\, Parks’ photograph shows a young boy in the midst of the test and pointing at a white doll held next to a black one. Harris remembered these tests and their psychological toll at length\, concluding with the following sentiment: “One of the things that Gordon was so good at is getting beyond the surface and getting the feelings beneath. And so the pictures convey that\, you can’t ignore it—you can’t.” \nAs one of his many projects for the magazine throughout his life\, in the summer of 1956\, Life sent Parks to Alabama to document the daily realities of Black Americans living under Jim Crow laws in the rural South. Eschewing a journalistic approach that focused on the leaders and momentous events of the struggle for civil rights\, Parks’ empathetic approach instead portrayed the common humanity of his fellow Americans going about daily life in unjust circumstances. In At Segregated Drinking Fountain\, Mobile\, Alabama (1956)\, Parks photographed a young girl being helped up to drink from the ‘colored only’ water fountain in front of a general store\, as two women look on. In excerpts of her full remarks\, one of these women\, Cora Taylor\, remembers the moment and the photograph: “I wondered what was going on\, because you didn’t know who to trust and who not to trust. I let my mother know about the photograph\, in case anything went wrong. A few weeks later I saw the picture in Life magazine\, and I just couldn’t believe it.” \nOne of Parks’ most indelible portraits\, Eldridge Cleaver and His Wife\, Kathleen\, Algiers\, Algeria (1970)\, was made while on assignment for Life to report on the Black Panthers and their leaders. After serving a prison term\, Cleaver was on parole when authorities ordered him back to prison because of his involvement in a Panther-police incident. He subsequently fled the country and moved to Algiers\, where Parks met and interviewed him and his wife Kathleen Cleaver\, who reflected on that time and the power of photography\, excerpted here: “This photograph was taken in a very remote\, isolated place. If you saw where we lived\, it was not that historic. That’s the joy of photography—you isolate what’s important.” \nAccompanying these intimate stories are the insights from those who collaborated or worked with Parks during his life and were able to observe both his working methods and his personal character\, such as Academy Award-winning filmmaker Ava DuVernay\, who worked as a publicist for Parks’ 2000 documentary\, Half Past Autumn. Encapsulating the importance and poignancy of Parks’ work\, DuVernay’s words offer a powerful summation of what the chorus of contributors to Voices in the Mirror articulate in their own singular way: “He did not bring elegance to Black life. He captured the elegance that is Black life.” \n\nAbout The Gordon Parks Foundation \nThe Gordon Parks Foundation supports and produces artistic and educational initiatives that advance the legacy and vision of Gordon Parks—recognized as the most significant American photographer of the 20th century\, as well as a writer\, musician and filmmaker\, who used the arts to further “the common search for a better life and a better world.” The Foundation was co-founded in 2006 by Parks with his longtime friend and editor at Life magazine\, Philip B. Kunhardt\, Jr.\, to preserve his creative work and support the next generation of artists advancing social justice. \nThrough exhibitions\, publications and public programs\, organized in collaboration with institutions internationally and at its exhibition space in Pleasantville\, New York\, the Foundation provides access to and supports understanding of\, the work and contributions of Gordon Parks for artists\, scholars\, students and the public. The Foundation’s archive houses Gordon Parks’s photographs\, negatives\, contact sheets\, publications and a selection of ephemera related to his work in photography\, film\, music and writing. The archive also includes collections by related artists. \nDrawing inspiration from the pivotal role of a fellowship Parks received early in his career\, the Foundation’s educational and grant-making initiatives are core to its mission and year-round activities. Through fellowships\, prizes and scholarships\, the Foundation provides vital support to artists\, writers and students—current and future generations of creatives whose work continues his legacy. These initiatives are made possible through The Gordon Parks Arts and Social Justice Fund\, established by the Foundation in 2019.
URL:https://jamesmaherphotography.com/event/gordon-parks-voices-in-the-mirror/
LOCATION:Jack Shainman\, 46 Lafayette St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/parks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270319
DTSTAMP:20260618T151013Z
CREATED:20260618T143828Z
LAST-MODIFIED:20260618T151013Z
UID:10000138-1789689600-1805414399@jamesmaherphotography.com
SUMMARY:Aperture Loves New York (Inaugural Aperture New York opening show)
DESCRIPTION:It is with tremendous joy that I write to share good news: On September 18\, 2026\, Aperture will open the doors to a permanent home at 380 Columbus Avenue in New York City. \nAlong with my brilliant colleagues and our dedicated board of trustees\, we cannot wait to welcome you to this space for “serious photographers and creative people everywhere\,” as our founders envisioned. Situated on the first two floors of a historic building in a bustling neighborhood on the Upper West Side in Manhattan\, Aperture will be a place to gather\, share ideas\, and engage with photography. From a dynamic program in our gallery and bookstore to a lively calendar of talks and events\, we invite neighbors and visitors alike to kindle a curiosity informed by photography. And we’ll even have a photo booth to commemorate your visit! \nAperture Loves New York is our inaugural installation (curated by yours truly)\, and it will highlight iconic NYC photos alongside beloved Aperture books: from landmark titles by Diane Arbus\, Robert Frank\, Nan Goldin\, and Stephen Shore to more recent favorites featuring Justine Kurland\, Deana Lawson\, Tyler Mitchell\, and Coreen Simpson. If you can’t wait to hear more about it\, we will soon post our recent Aperture PhotoBook Club gathering online\, where an esteemed group of colleagues discuss their most cherished selections from the checklist! \nAperture was conceived in 1952 as a quarterly magazine: a unique forum that has incubated ideas and encouraged urgent conversations for more than seven decades. Our new home builds upon our storied publishing legacy\, anchored—then and now—by the conviction that “creative thinking\, significantly expressed in words and photographs\,” offers vital new perspectives about our world and one another. (The title of my quarterly newsletter is a nod to this quote from an early editorial note.) In our magazine\, books\, public programs\, educational initiatives\, and exhibitions\, we have nurtured young talent\, created frameworks for overlooked achievements\, and offered tools to develop visual literacy\, embracing the complexity and plurality at the heart of the medium. \nI joined Aperture five years ago\, when the need—and the potential—for a permanent home was clear\, but just where this would be and how we would get there were less certain. When you stop by in September\, I’d love to share all I have learned about injection grouting (essentially Botox for old buildings)\, the Department of Vertical Transportation (and our LULA lift)\, and acoustics (just wait until you stand beneath our “StarSilent” ceilings). \nEverything you will encounter in the new space has been made possible thanks to the vision of our talented architects—LEVENBETTS—in partnership with Sciame\, our construction managers\, and the Local Initiative Support Corporation (LISC) who have extended valuable financing. We could not be an independent\, nonprofit publisher nor own this home were it not for the extraordinary generosity of our board of trustees\, a community of individuals and foundations\, and critical support from New York City and New York State. The most significant of these gifts are listed here\, and you can still make a difference with a donation of any amount. \nWe envision Aperture’s new home as a place where the power and democratic spirit of photography will inspire a more curious\, creative\, and equitable world. Whether by contributing to our capital campaign or joining as a member (with special access to our opening events!)\, we would deeply appreciate your help at this critical moment. No matter what\, we hope you will visit us at 380 Columbus Avenue come September. \n-Sarah Meister\, Aperture Executive Director \nhttps://aperture.org/editorial/aperture-welcomes-the-public-to-its-new-home-this-september/
URL:https://jamesmaherphotography.com/event/aperture-loves-new-york-inaugural-aperture-new-york-opening-show/
LOCATION:Aperture\, 380 Columbus Ave\, New York\, NY\, 10024\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/aperture-new-york.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270315
DTSTAMP:20260919T145619Z
CREATED:20260919T145619Z
LAST-MODIFIED:20260919T145619Z
UID:10000168-1789689600-1805068799@jamesmaherphotography.com
SUMMARY:Taryn Simon | Father Country I Do Love You
DESCRIPTION:Taryn Simon | Father Country I Do Love You premieres a monumental body of work by artist Taryn Simon (b. 1975\, New York). Filling the entire rotunda\, the presentation brings together never-before-seen photographs\, text\, videos\, and sculptures into a singular interactive installation. Taryn Simon | Father Country I Do Love You marks the first monographic exhibition by a photography-based artist in the museum’s rotunda and the largest debut of new work ever staged at the Guggenheim. \nNearly a decade in the making\, Father Country I Do Love You (2026) traces the real life of one unnamed federal agent through 42 multipart artworks or “chapters.” The immense project is a labyrinth of stories in which Simon uncovers the ripple effects of her protagonist’s actions and inactions. Through duty\, devotion\, loss\, and happenstance\, the federal agent acted as a middleman\, witnessing events great and small and collecting evidence for someone else to slot into the bigger picture. Stings and entrapments\, traitors and child soldiers\, impeachment and Hollywood\, mass shootings and poison: everything he touched ricocheted to the outer boundaries of nations and lives he’d never know. \nThe federal agent’s narrative is shadowed by the life of Simon’s father\, who lived in Thailand while working for the United States government before ending his career manufacturing and selling arcade games. Simon never got his full story\, and upon his diagnosis of Alzheimer’s disease\, she realized she never would. \nOn view during the 250th anniversary of the United States\, Father Country I Do Love You darts between anxiety\, survival\, empathy\, and play\, shining a shaky spotlight on democracy\, memory\, and the consequences of individual acts. Over and over again\, extraordinary events collide with ordinary lives\, revealing the delicate coexistence of violence and grace\, control and boredom\, responsibility and fantasy\, grief and routine—states difficult to reconcile not because they are disconnected but because they are inseparable. \nhttps://www.guggenheim.org/exhibition/taryn-simon
URL:https://jamesmaherphotography.com/event/taryn-simon-father-country-i-do-love-you/
LOCATION:Solomon R. Guggenheim Museum\, 1071 Fifth Avenue\, New York\, NY\, 10128\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/taryn-simon-father-country-guggenheim.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260920
DTEND;VALUE=DATE:20270503
DTSTAMP:20260812T170027Z
CREATED:20260812T170027Z
LAST-MODIFIED:20260812T170027Z
UID:10000150-1789862400-1809302399@jamesmaherphotography.com
SUMMARY:Taking Back Our Space: Photographic Perspectives
DESCRIPTION:In 1972\, the West German artist Marianne Wex began a visual survey of gendered body language. She picked up her camera and covertly photographed people in her hometown of Hamburg\, observing how men and women were socialized to inhabit space differently. She also rephotographed pictures from advertisements\, newspapers\, magazines\, film\, television\, and art catalogues\, pasting the images onto boards organized into categories like “standing arms\,” “sitting legs\,” “lying down\,” and “possessive holds.” For Wex\, “these mostly unconscious actions” were “essential parts of our communication.” \nPresenting a robust selection\, the exhibition also brings Wex’s watershed feminist project into dialogue with contemporary artists Nona Faustine\, Martine Gutierrez\, K8 Hardy\, Yuki Kihara\, Joiri Minaya\, Paulina Olowska\, and Wendy Red Star. These contemporary practitioners reappraise the relationship of bodies to public space from Black\, queer\, and 21st-century feminist perspectives. In this context\, the notion of “taking back space” resonates as a reclamation of physical territory\, historical narratives\, and the ability to represent oneself. \nhttps://www.moma.org/calendar/exhibitions/5678
URL:https://jamesmaherphotography.com/event/taking-back-our-space-photographic-perspectives/
LOCATION:Museum of Modern Art\, 11 W 53rd St\, New York\, NY\, 10019\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/taking-back-our-space-moma.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20270104
DTSTAMP:20260930T015855Z
CREATED:20260930T015855Z
LAST-MODIFIED:20260930T015855Z
UID:10000169-1790208000-1799020799@jamesmaherphotography.com
SUMMARY:Arthur Jafa: I Am Tony
DESCRIPTION:Spanning two floors of the newly expanded New Museum\, Arthur Jafa: I Am Tony encompasses the practice of one of the most influential artists of his generation. Alongside the premiere of new work\, the exhibition will feature Jafa’s most celebrated works\, including Love is the Message\, The Message is Death (2016) and the Golden Lion-winning The White Album (2019)\, as well as recent paintings\, large-scale video and film installations\, and a range of sculptural and photographic objects. \nOver a nearly forty-year career\, Jafa has sought to find new visual forms to capture the rhythm and realities of Black life in America. Often placing the nation’s growing awareness of the history of institutional violence directed toward the Black community against the backdrop of the ascension of Black culture\, music\, and entertainment in American national identity\, Jafa’s work turns an unflinching eye toward the past while embodying and mirroring our contemporary obsession with masses of images or ‘content’. I Am Tony\, named for the legendary jazz drummer Tony Williams\, will chart Jafa’s work from his earliest films to recent video installations\, mapping the evolution of his filmic language whose syncopations and textures match the aspirations of Black popular music. \nhttps://www.newmuseum.org/exhibition/arthur-jafa-i-am-tony/
URL:https://jamesmaherphotography.com/event/arthur-jafa-i-am-tony/
LOCATION:New Museum\, 235 Bowery\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/arthur-jafa-i-am-tony.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20270105
DTSTAMP:20260812T170024Z
CREATED:20260812T170024Z
LAST-MODIFIED:20260812T170024Z
UID:10000149-1792022400-1799107199@jamesmaherphotography.com
SUMMARY:Laia Abril: On Rape and Institutional Failure
DESCRIPTION:In On Rape and Institutional Failure\, an exhibition centered on the second chapter of her ongoing project A History of Misogyny\, Laia Abril examines different forms of violence against women throughout history. \nWeaving together images\, compiled testimonies\, archival materials\, select objects\, and installations with sound and video\, the exhibition investigates how gender-based stereotypes\, coupled with worldwide prejudices and misconceptions\, have contributed to a systemic rape culture that persists today. \nBy focusing on institutions\, Abril aims to avoid narratives of victim-blaming\, instead addressing the on-going problem of social accountability that has allowed offenders and enablers alike to avoid justice. On Rape and Institutional Failure was first exhibited in 2020 in the wake of the initial\, galvanizing allegations against Harvey Weinstein and other powerful men. While #MeToo has led to few sustained consequences and little systemic change\, Abril offers a meaningful opportunity to address the long history of silencing victims and the transgenerational trauma that has developed as a result. \nhttps://www.icp.org/exhibitions/laia-abril-rape-and-institutional-failure
URL:https://jamesmaherphotography.com/event/laia-abril-on-rape-and-institutional-failure/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/laia-abril-on-rape-icp.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20270112
DTSTAMP:20260812T170020Z
CREATED:20260812T170020Z
LAST-MODIFIED:20260812T170020Z
UID:10000148-1792022400-1799711999@jamesmaherphotography.com
SUMMARY:I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now
DESCRIPTION:I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now reconsiders and expands on the history of Japanese photography through the work twenty-eight intergenerational artists from the 1950s to today. Presented in partnership with Aperture and curated by Pauline Vermare\, Lesley A. Martin\, and Takeuchi Mariko\, the exhibition includes work Fujioka Aya\, Hara Mikiko\, Hiromix\, Ishikawa Mao\, Ishiuchi Miyako\, Katayama Mari\, Kawauchi Rinko\, Komatsu Hiroko\, Kon Michiko\, Nagashima Yurie\, Narahashi Asako\, Ninagawa Mika\, Nishimura Tamiko\, Noguchi Rika\, Nomura Sakiko\, Okabe Momo\, Okanoue Toshiko\, Onodera Yuki\, Sawada Tomoko\, Shiga Lieko\, Sugiura Kunié\, Suzuki Nozomi\, Tawada Yuki\, Tokiwa Toyoko\, Ushioda Tokuko\, Watanabe Hitomi\, Yamazawa Eiko and Yanagi Miwa. \nSpanning photography\, installation\, photobooks\, and printed matter\, the exhibition explores the experiences and perspectives of women in Japan through delicate and blunt observations of everyday life\, critical reflections on the roles inhabited and reshaped by Japanese women\, and approaches that push the boundaries of photography. The exhibition is accompanied by a major publication (Aperture\, 2024) that expands upon content of the show through essays\, historical material\, and a comprehensive bibliography of photobooks made by Japanese women. \nhttps://www.icp.org/exhibitions/im-so-happy-you-are-here-japanese-women-photographers-1950s-now
URL:https://jamesmaherphotography.com/event/im-so-happy-you-are-here-japanese-women-photographers-from-the-1950s-to-now/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/im-so-happy-japanese-women-photographers-icp.jpg
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