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X-WR-CALNAME:New York Photography, Prints, Portraits, Events, Workshops
X-ORIGINAL-URL:https://jamesmaherphotography.com
X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
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TZID:America/New_York
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20260928
DTSTAMP:20260906T155929Z
CREATED:20260906T155929Z
LAST-MODIFIED:20260906T155929Z
UID:10000157-1790208000-1790553599@jamesmaherphotography.com
SUMMARY:The Armory Show 2026
DESCRIPTION:A cornerstone of New York’s cultural landscape since 1994\, The Armory Show opens New York’s fall art season by bringing the world’s leading international contemporary and modern art galleries to the Javits Center each year. The fair emphasizes thoughtful programming\, elevated presentations\, curatorial excellence\, meaningful institutional partnerships\, and engaging public art activations. \nhttps://www.thearmoryshow.com/
URL:https://jamesmaherphotography.com/event/the-armory-show-2026/
LOCATION:Jacob K. Javits Convention Center\, 429 11th Avenue\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/the-armory-show-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20260928
DTSTAMP:20260310T001739Z
CREATED:20260310T001739Z
LAST-MODIFIED:20260310T001739Z
UID:10000121-1790208000-1790553599@jamesmaherphotography.com
SUMMARY:Printed Matter NY Art Book Fair
DESCRIPTION:The 2026 NY Art Book Fair\nSeptember 24–27\, 2026\nat MoMA PS1
URL:https://jamesmaherphotography.com/event/printed-matter-ny-art-book-fair/
LOCATION:MoMA PS1\, 22-25 Jackson Ave\, Queens\, NY\, 11101\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/NYABF26_4_5_1080x1350_final.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20260921
DTSTAMP:20260910T001732Z
CREATED:20260910T001732Z
LAST-MODIFIED:20260910T001732Z
UID:10000166-1789689600-1789948799@jamesmaherphotography.com
SUMMARY:What Holds Us
DESCRIPTION:Alex Prager\, Jack Davison\, Jimmy Chin \nPhotography exhibition featuring original work by three acclaimed artists\, all shot on iPhone 18 Pro. Curated by Kathy Ryan. \nAdmission is free. Capacity is limited\, sign-up on the event page. Public hours: September 18\, 10 a.m.–8 p.m.; September 19\, 10 a.m.–6 p.m.; September 20\, 10 a.m.–6 p.m. \nhttps://events.apple.com/ms/bnGjzDiDJ210QV1Ke0qattq8m-TSK5y3Wd-m_c8On8exkKh-YoIpxiozRtTbPGMBgY6uoilUor22SX4wucZ41dRmubEHIpHQNlroAj7Be3X2YglnraS5xI7qq-EOC_5T7QM5OONkUSxCBI8xxA/registration
URL:https://jamesmaherphotography.com/event/what-holds-us/
LOCATION:Petzel Gallery\, 456 West 18th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/what-holds-us-apple.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261018
DTSTAMP:20260906T154329Z
CREATED:20260906T154329Z
LAST-MODIFIED:20260906T154329Z
UID:10000154-1788998400-1792281599@jamesmaherphotography.com
SUMMARY:Manuel Álvarez Bravo
DESCRIPTION:Yancey Richardson is pleased to announce Manuel Álvarez Bravo\, featuring a selection of iconic photographs by the legendary Mexican artist and coinciding with RAGE™\, the gallery’s exhibition of new work by Tania Franco Klein. Considered one of the most important photographers in the history of the medium\, Manuel Álvarez Bravo (1902-2002) is regarded as a towering ﬁgure both in Mexico and in the history of Modernism in Latin America more broadly. With photographs that range from nudes\, still lifes and quiet street scenes to portraits and records of political violence\, Álvarez Bravo used photography to explore the subtle mysteries laying just beneath the surface of the perceptible.  \n Initially self-taught\, Álvarez Bravo’s photography developed through his study of foreign and local photography journals\, where he ﬁrst encountered the work of Edward Weston and Tina Modotti\, both of whom came to Mexico in 1923. Modotti became a close colleague and supporter of Álvarez Bravo\, introducing him to the artists of Mexico’s avant-garde\, including Diego Rivera and Frida Kahlo. Mexico was a cultural hub for many in the international avant-garde in these years\, such as André Breton\, who included Álvarez Bravo in the Paris exhibition Mexique in 1939 and then the Exposition of Surrealism in 1940 in Mexico City. Although Álvarez Bravo downplayed the relationship of his work to Surrealism (his work also appeared in the Surrealist magazine Minotaure)\, the association has endured to this day. \nThe photographs in the exhibition explore the way Álvarez Bravo transformed scenes of quiet and solitude into powerful forms of metaphor and suggestion. In La Buena Fama Durmiendo (Good Reputation Sleeping) and El Sonador (The Dreamer)\, subjects are shown lost in slumber\, while in El ensueño (The Daydream) a young woman is caught up in the transportive act of daydreaming. Each of these ﬁgures are etched into their speciﬁc material settings while at the same time they are led elsewhere by their imagination and Álvarez Bravo’s framing and treatment of light. In other images\, such as Retrato de lo Eterno (Portrait of the Eternal) and Los agachandos (The Crouched Ones)\, Álvarez Bravo uses light and deep shadow to completely alter otherwise commonplace moments\, showing how the photographic image can introduce a mode of perception that not only expands our understanding of the world\, but also complicates—even unsettles—the presumption of its familiarity. \n Manuel Álvarez Bravo (1902-2002) was one of the founders of modern photography on an international level and is regarded as the leading representative of twentieth-century Latin American photography. During his life\, Álvarez Bravo presented more than 150 solo exhibitions and participated in more than 200 collective exhibitions. \nhttps://www.yanceyrichardson.com/exhibitions/manuel-alvarez-bravo
URL:https://jamesmaherphotography.com/event/manuel-alvarez-bravo-2/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/manuel-alvarez-bravo-yancey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261018
DTSTAMP:20260906T154234Z
CREATED:20260906T154234Z
LAST-MODIFIED:20260906T154234Z
UID:10000153-1788998400-1792281599@jamesmaherphotography.com
SUMMARY:Tania Franco Klein: RAGE™
DESCRIPTION:Yancey Richardson is pleased to announce RAGE™\, an exhibition of new work by Tania Franco Klein\, the artist’s debut solo exhibition with the gallery. Continuing her examination of the anxieties\, stresses and types of psychological response that present-day history elicits\, Franco Klein has taken rage to be the talismanic emotion of our time\, something widely felt in response to world events just as it is manufactured\, manipulated and even deliberately produced by both media and political elites. In her new photographic series\, Franco Klein considers the multivalent nature of rage—as collective action\, personal choice and cultural fabrication—through images that cite advertising and news reporting\, cinema and photography\, while at the same time remaining suffused with an emotion that\, while referential\, is still tangibly\, even urgently\, felt. The exhibition will be on view from September 10 through October 17\, 2026. An opening reception will be held on Thursday\, September 10 from 6–8PM. \n Franco Klein is known for her visually evocative and conceptually intricate photographic series that explore emotion\, psychology and subjectivity as social constructions rather than personal realities. Through her multidisciplinary immersive installations that combine photographs\, murals and videos\, Franco Klein considers how each individual psychological landscape is formed through experience with the world at large\, and is as much a site of collective experience as it is a solitary one. In her constructed images female subjects are regularly depicted in states of tension and ambiguity. Key details and important objects within each composition are imbued with the visceral charge of light and color inside open-ended narratives that function as cinematic fragments as much as they do self-contained worlds. \n In RAGE™\, emotion and psychology form the structure of each picture as Franco Klein examines the contradictions of rage: its creative potential and capacity for destruction\, its perceived irrationality and absolute necessity\, its tendency to be genuinely felt even when deliberately stoked. Key for Franco Klein is the way that rage is manufactured and weaponized by political and cultural forces alike\, a process she invokes by applying the trademark to the exhibition title. Rather than understand it simplistically\, Franco Klein understands rage dialectically\, as both an appropriate response by ordinary people to the conditions of contemporary life and also as an emotional state that those in news and advertising ﬁnd desirable for the way it drives engagement and activity. In her photographs and video works\, Franco Klein represents this two-sided phenomenon rather than sidestepping entirely.   \nEach work appropriates a different representational and symbolic language from the history of art and mass media\, from canonical paintings to iconic advertising campaigns. Through their referentiality\, the images reinforce one of Franco Klein’s core beliefs that the emotions we feel deeply\, or the thoughts we mull intently\, are ones we absorb rather than generate ourselves. Alongside her characteristically surreal and evocative photographs are works that confront the challenges posed by Artiﬁcial Intelligence to representation and interpretation. In other works Franco Klein examines the role that subtitling plays in recontextualizing—at times even manipulating—the meaning of images that might otherwise carry with them clear and incisive emotions. Whether using photography or video\, Franco Klein shows how rage can be a circular experience that consumes itself just as it remains full of political possibility.  \n Born in 1990 in Mexico\, Tania Franco Klein received her BA in Architecture from Centro Diseño\, Cine y Televisión in Mexico City and her MA in Photography from the University of Arts London. Her work is in the collections of the Museum of Modern Art\, New York\, NY; Getty Center\, Los Angeles\, CA; San Francisco Museum of Modern Art\, CA; Museum of Fine Arts\, Houston\, TX; Nelson-Atkins Museum of Art\, Kansas City\, MO; Museum of Contemporary Art San Diego\, CA; Santa Barbara Museum of Art\, CA; and the Norton Museum of Art\, West Palm Beach\, FL. Her ﬁrst publication\, Positive Disintegration (2019)\, was nominated for the Paris Photo Aperture Foundation First Book Award. Franco Klein lives and works in Mexico City. \nhttps://www.yanceyrichardson.com/exhibitions/tania-franco-klein2
URL:https://jamesmaherphotography.com/event/tania-franco-klein-rage/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/tania-franco-klein-rage.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261004
DTSTAMP:20260918T164215Z
CREATED:20260918T164215Z
LAST-MODIFIED:20260918T164215Z
UID:10000167-1788998400-1791071999@jamesmaherphotography.com
SUMMARY:Jerry Hsu: How About Never
DESCRIPTION:This will be Jerry’s first solo exhibition in NYC and will feature 20 large scale limited edition prints of selected images from the book. For inquiries please email : rectangleemail@gmail.com \n“How About Never” was recently featured in The New Yorker in a piece by Hua Hsu. \nJerry Hsu is a Taiwanese-American artist and the owner/operator of the Sci-Fi Fantasy Corporation. \n“Bringing together photographs Jerry Hsu has made in Los Angeles since 2011\, How About Never is occupied with the almost sentient character of the city. Hsu’s photographs are sensitively attuned to the contradictions of the place\, entangling allusions to hope and despair\, beauty and pain in an atmospheric and uncanny sequence. Images of disfigured fences and physical injuries are interwoven with spontaneous compositions: a discarded toilet\, a blood-stained mattress\, crashed cars\, a bank ominously aflame. Portraits seek an intimacy with their subjects among the disrepair and cruelty of the urban environment. These disparate and dissonant strands reach a beguiling harmony\, together looking to destruction as a potential source of change and rebirth.” – from the publisher MACK \nExhibition & Book Launch. Opening Reception & Signing: Thursday September 10\, 6 – 9. \nhttps://www.rectangleroom.com/pages/nyc-space
URL:https://jamesmaherphotography.com/event/jerry-hsu-how-about-never/
LOCATION:Rectangle Room\, 113 Eldridge St\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/jerry-hsu-how-about-never-rectangle-room.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260801
DTEND;VALUE=DATE:20260905
DTSTAMP:20260803T154325Z
CREATED:20260803T154325Z
LAST-MODIFIED:20260803T154325Z
UID:10000146-1785542400-1788566399@jamesmaherphotography.com
SUMMARY:seeing-eye engine (featuring: Parker Conrad and Guy Grabowsky)
DESCRIPTION:Curated by Milly Cai \nFrisson Gallery presents seeing-eye engine\, a two-person exhibition featuring Parker Conrad and Guy Grabowsky\, marking the artists’ first exhibition at the gallery. Though working in ostensibly distinct mediums\, Conrad in painting and Grabowsky in photography\, both artists share a preoccupation with the image as a constructed\, unstable object rather than a transparent window onto the world. \nGrabowsky’s works\, built through a hybrid of analogue and digital processes including darkroom\, Xerox\, and flatbed scanner\, aim to rupture the moment of eye-camera-lens-subject encounter by exposing the mechanics and materiality of the photographic image itself. Conrad arrives at a parallel rupture from the opposite direction\, sourcing imagery from personal photographs\, online archives\, and text-to-image generation; they use composite digital blueprints as a scaffold for paintings that render speculative\, almost-familiar anatomies like bodies caught between the organic and the mechanical\, the unmediated and the synthetic. \nPlaced together\, the two bodies of work suggest that photography and painting\, however divergent their tools\, are converging on the same set of questions: what happens to an image and to the body or subject it purports to depict once it has passed through multiple layers of technological apparatus? In an image-saturated visual culture where the line between captured and generated\, analogue and algorithmic\, continues to blur\, Parker Conrad and Guy Grabowsky each stage a version of the image on the verge of dissolving into its own process. seeing-eye engine invites viewers to consider not just what these images show\, but what they reveal about how images are produced and reproduced today.
URL:https://jamesmaherphotography.com/event/seeing-eye-engine-featuring-parker-conrad-and-guy-grabowsky/
LOCATION:Frisson Gallery\, 141 Attorney Street\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/guy-grabowsky.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260730
DTEND;VALUE=DATE:20260830
DTSTAMP:20260724T192737Z
CREATED:20260724T192737Z
LAST-MODIFIED:20260724T192737Z
UID:10000144-1785369600-1788047999@jamesmaherphotography.com
SUMMARY:Sixteen Corners: Gus Powell
DESCRIPTION:July 30 – August 29 Opening Thursday\, July 30\, 6-9\nRectangle Room at Primary Photographic 113 Eldridge St NY NY 10002  Gus Powell @dirtywhitebucks (NYC\, 1974) attended Oberlin College where he majored in comparative religion. His work has been exhibited internationally\, including a solo show at The Museum of The City of New York and group exhibitions at The Art Institute of Chicago\, Museum of Fine Arts Houston and FOAM\, NL. His photographs have been published in Aperture\, Harpers\, Vogue\, M le mag – Le Monde\, Wired\, Fortune\, W\, and The New Yorker. He is a member of the international street photographers’ collective UP and is on the faculty of the MFA Photography\, Video and Related Media Department at the School of Visual Arts\, NY. \nRectangle Room @rectangle.room is an exhibition space and book store run by Tim Barber @timobarber focusing on contemporary photography. \nPrimary Photographic @primaryphotographic is a full-service film lab offering processing\, scanning\, retouching\, printing\, and darkroom services. \nhttps://www.instagram.com/p/DbLIvGqRkKG
URL:https://jamesmaherphotography.com/event/sixteen-corners-gus-powell/
LOCATION:Rectangle Room\, 113 Eldridge St\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/powell.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260716
DTEND;VALUE=DATE:20260829
DTSTAMP:20260813T222021Z
CREATED:20260813T222021Z
LAST-MODIFIED:20260813T222021Z
UID:10000151-1784160000-1787961599@jamesmaherphotography.com
SUMMARY:On the Road
DESCRIPTION:Inspired by Jack Kerouac’s seminal 1957 novel\, this group photography exhibition conveys stories of everyday life through the unique physical and metaphorical lens of each artist.   \nThe exhibition features Edward Burtynsky’s historic work Breezewood\, Pennsylvania (2008)\, which was showcased in his 2025 solo show The Great Acceleration at the International Center of Photography in New York. Also on view are images by Karen Knorr in collaboration with artist Anna Fox from their series and book U.S. Route 1 (After Berenice Abbott)\, which features 150 photographs taken in small towns from Key West\, Florida\, to Fort Kent\, Maine\, between 2016 and 2025.  \nAlongside are celebrated photographs by gallery artists Steve McCurry and Sebastião Salgado. Los Angeles–based visual artist and actor Toby Huss presents images from across his series of photographs documenting the overlooked visual vernacular of the American landscape and the textures of ordinary life that bind it together. \nhttps://www.sundaramtagore.com/exhibitions/on-the-road
URL:https://jamesmaherphotography.com/event/on-the-road/
LOCATION:Sundaram Tagore Gallery\, 542 W 26th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/on-the-road-sundaram-tagore.jpg
GEO:40.7502775;-74.0047639
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Sundaram Tagore Gallery 542 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=542 W 26th Street:geo:-74.0047639,40.7502775
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260708
DTEND;VALUE=DATE:20260808
DTSTAMP:20260715T150456Z
CREATED:20260715T150405Z
LAST-MODIFIED:20260715T150456Z
UID:10000143-1783468800-1786147199@jamesmaherphotography.com
SUMMARY:Manifest and Sublime
DESCRIPTION:Yancey Richardson is pleased to announce Manifest and Sublime\, an exhibition that considers the ever-evolving relationship between photography and the American landscape. To explore how photography has represented the landscape in ways that have changed as dramatically as the country itself\, the exhibition brings together works that span the medium’s history\, from mammoth plate albumen prints made by Carleton Watkins in Yosemite National Park to contemporary daguerreotypes made by Binh Danh in the very same place. Whether surveying the immensity of nature or lamenting the scale of change being inflicted upon it\, the images in Manifest and Sublime return time and again to a landscape no less beautiful for the way it has been remade by human intervention. Featuring work by Ansel Adams\, Robert Adams\, Diane Arbus\, Binh Danh\, Mitch Epstein\, Terry Evans\, David Hilliard\, Sky Hopinka\, William Henry Jackson\, Lisa Kereszi\, An-My Lê\, Richard Misrach\, Andrew Moore\, Victoria Sambunaris\, Tseng Kwong Chi\, Carleton Watkins and Charles Leander Weed. The exhibition will be on view from July 8 through August 7\, 2026. An opening reception will be held on Wednesday\, July 8 from 6–8PM. \nWorks by 19th-century photographers William Henry Jackson and Carleton Watkins show how\, from its very inception\, photography was used to ‘discover’ and document vast swaths of the American landscape. In these now-canonical images\, the landscape is pictured as pristine\, limitless\, sublime and\, ultimately\, available for settlement. Where humans are present in these pictures it is often as bystanders to the great drama before them\, one defined by mountain ranges and prairies\, by waterfalls and dense forests. \nThe landscape that was depicted in the work of Jackson and Watkins was shown to be awe-inspiring\, overwhelming and untameable. Working throughout the middle of the 20th-century\, Ansel Adams took a different approach\, one that removed explicit traces of human presence in order to present the landscape as spiritually moving as it was beautifully described. The sharp focus and long tonal range in his photographs were used to create pictures that Adams hoped would persuade the public and their elected officials to protect the landscape from being degraded and destroyed. Where Ansel Adams sought to make photographs that idealized the landscape while obscuring the real effects of human society\, the work of Robert Adams looked both soberly and with sorrow at how urbanization and rampant construction throughout the American west had spoiled its fields\, plains and prairies. Though often mourning what had been lost\, Robert Adams did so by creating scenes that were full of natural splendour and possibility\, all the better to remind us of what we still stand to lose. \n\n\nWhere Ansel Adams glorified the landscape and Robert Adams struck something of a plaintive tone\, the work of more recent photographers reflects how the American landscape has gone from being understood as an untouched Eden to a space of commodification. Richard Misrach’s Outdoor Dining\, Bonneville Salt Flats (1992) and David Hilliard’s Final Destination (2013) each highlight the process of commercializing nature\, while Sky Hopinka’s What am I but half asleep daydreaming those teachings (2023) and Mitch Epstein’s Mount Rushmore National Monument\, Six Grandfathers\, South Dakota (2018) reflect on how our ideas of the American landscape are built upon legacies of violence and forced removal. What is retained in each of these images—regardless of tone or emphasis—is a belief in the landscape as a site of beauty\, connection and even spiritual awakening\, as expressed by An-My Lê’s Pleiades Cluster in Taurus\, Joshua Tree National Park\, California\, from Way Station (2025). In these photographs nature can still enrich our lives and\, in the case of Terry Evans’ Fent’s Prairie\, near Salina\, Kansas\, May 28 & 29 (2018)\, remind us that the landscape\, and our experience with it\, is inseparable from the images we have made and the ways we have constructed meaning out of them. \nhttps://www.yanceyrichardson.com/exhibitions/manifest-and-sublime
URL:https://jamesmaherphotography.com/event/manifest-and-sublime/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/yancey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260707
DTEND;VALUE=DATE:20261004
DTSTAMP:20260906T162211Z
CREATED:20260906T162211Z
LAST-MODIFIED:20260906T162211Z
UID:10000160-1783382400-1791071999@jamesmaherphotography.com
SUMMARY:Dakota Mace: Sǫʼ Baa Hane’ 2023-2025
DESCRIPTION:Higher Pictures presents Sǫʼ Baa Hane’\, the gallery’s first exhibition with Diné artist Dakota Mace. The exhibition brings together nine works made between 2023 and 2025 from two series\, Sǫʼ and Distorted Landscapes. \nMace combines traditional and cameraless photographic methods\, including cyanotype\, chemigram\, and natural dyes such as cochineal and Osage orange\, with hand-applied glass beadwork drawn from motifs in Diné weaving and silversmithing. Working across these process-intensive\, labor-dense materials\, she translates Diné cosmology and oral history into a visual language in which design itself functions as a carrier of narrative. In both series\, land operates not as a pictorial subject but as an archive. Land is a repository of ancestral memory and kinship that\, in Mace’s framing\, resists the proprietary logic of Western land ownership and instead figures place as an extension of the self and a site of intergenerational continuity. \nIn Sǫʼ\, Mace honors the tradition of Diné storytelling\, told by campfire beneath the night sky and passed on only at specific times of year\, especially in winter. Created through cyanotype with cochineal and chemical dyes\, each work is unique but tied together\, a reflection of the Diné philosophy that all things are connected even as each carries its own texture and design. Drawing on designs passed down through weaving\, silversmithing\, and the ancestors who came before\, Mace offers a way for a younger generation to understand what it means to remain connected to their stories. \nhttps://higherpictures.com/exhibitions/dakota-mace-s%C7%AB%CA%BC-baa-hane-story-of-the-stars/
URL:https://jamesmaherphotography.com/event/dakota-mace-s%c7%ab%ca%bc-baa-hane-2023-2025/
LOCATION:Higher Pictures\, 45 Main Street #723\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/dakota-mace-higher-pictures.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260618
DTEND;VALUE=DATE:20260725
DTSTAMP:20260714T055154Z
CREATED:20260714T055154Z
LAST-MODIFIED:20260714T055154Z
UID:10000142-1781740800-1784937599@jamesmaherphotography.com
SUMMARY:Ernest Cole: Black America Unseen
DESCRIPTION:Rediscovered Vintage Prints from a South African in Exile \nGoodman Gallery New York is pleased to present a remarkable group of rare vintage prints by the late South African photographer Ernest Cole\, which resurfaced after more than four decades. Together\, these works offer an extraordinary new perspective on Cole’s years documenting Black life in the United States during the late 1960s and early 1970s. The prints\, preserved within the Hasselblad collection for over 40 years\, were recently returned to the Ernest Cole Family Trust. While a number of vintage prints from Cole’s American body of work are held in institutional collections\, including the Museum of Modern Art\, this group offers a new opportunity to encounter works that have remained largely inaccessible for decades. Following the publication of several of these photographs in The True America – the first book dedicated to Cole’s photographs of Black life in the United States – the exhibition reunites a significant body of vintage prints\, many of which have been scarcely exhibited\, offering an exceptionally unusual insight into a pivotal yet underexamined period of his career.Goodman Gallery New York is pleased to present a remarkable group of rare vintage prints by the late South African photographer Ernest Cole\, which resurfaced after more than four decades. Together\, these works offer an extraordinary new perspective on Cole’s years documenting Black life in the United States during the late 1960s and early 1970s. \nThe prints\, preserved within the Hasselblad collection for over 40 years\, were recently returned to the Ernest Cole Family Trust. While a number of vintage prints from Cole’s American body of work are held in institutional collections\, including the Museum of Modern Art\, this group offers a new opportunity to encounter works that have remained largely inaccessible for decades. Following the publication of several of these photographs in The True America – the first book dedicated to Cole’s photographs of Black life in the United States – the exhibition reunites a significant body of vintage prints\, many of which have been scarcely exhibited\, offering an exceptionally unusual insight into a pivotal yet underexamined period of his career. \n\n\n\n\n\n“You try to make peace with exile – its cruel crutches; the exhausting regrets for things left behind – bodies and souls. The experiences\, feelings\, senses\, odors disappear\, with the ever-growing certainty that you will never get back to your roots.” – Raoul Peck\, An Idea of Exile.\n\nhttps://goodman-gallery.com/exhibitions/black-america-unseen-ernest-cole
URL:https://jamesmaherphotography.com/event/ernest-cole-black-america-unseen/
LOCATION:Goodman Gallery\, 23 East 67th Street\, 2nd Floor\,\, New York\, NY\, 10065\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/ernestcole.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260615
DTEND;VALUE=DATE:20260815
DTSTAMP:20260805T023018Z
CREATED:20260805T023018Z
LAST-MODIFIED:20260805T023018Z
UID:10000147-1781481600-1786751999@jamesmaherphotography.com
SUMMARY:Frank Paulin: Unseen Color
DESCRIPTION:Bruce Silverstein Gallery is pleased to present Frank Paulin: Unseen Color\, 1956 – 2008\, the gallery’s fourth exhibition of work by Frank Paulin (1926–2016) and the first devoted exclusively to the artist’s color photographs. Featuring twenty works spanning more than five decades\, from 1956 to 2008\, this exhibition reveals a body of work that remained virtually unknown during the artist’s lifetime. Shot on color film beginning in the mid-1950s\, these photographs were not printed until late in the artist’s career\, making this presentation a unique opportunity to reconsider the history of early color street photography in America. \nPaulin is widely recognized for his black-and-white street photographs of New York City\, work that earned admiring reviews in the New York Times and the Village Voice when it was first exhibited at Helen Gee’s pioneering Limelight Gallery in 1957. What has remained largely hidden is that Paulin was simultaneously working in color\, producing images of remarkable visual complexity on the streets of Times Square\, Fifth Avenue\, Central Park\, and beyond. These color photographs\, made two full decades before William Eggleston’s landmark 1976 exhibition at the Museum of Modern Art that established color as a legitimate fine art medium\, place Paulin among the earliest practitioners of color street photography in the United States\, alongside contemporaries Saul Leiter\, Ernst Haas\, and Ruth Orkin. \nBorn in Pittsburgh in 1926\, Paulin grew up in New York and Chicago. His education in the arts began at the age of sixteen as an apprentice in fashion illustration and photography at the Whitaker-Christiansen Studio in Chicago. In 1944\, he joined the Army and spent two years in the Signal Corps in Europe\, where he developed his documentary eye by photographing the devastation of German cities. After the war\, Paulin enrolled under the GI Bill at the Institute of Design in Chicago\, arriving on the same day Harry Callahan began teaching there. The Institute of Design\, the newly established American successor to the German Bauhaus\, required photography of all students as part of a utopian curriculum that sought to teach students to think in new and experimental ways. Under the direction of László Moholy-Nagy\, Harry Callahan\, and Arthur Siegel\, Paulin refined his documentary skills and absorbed the school’s emphasis on experimentation with light\, form\, and visual structure. \nBy the end of the 1950s\, Paulin’s education also included studies at the New School under the legendary art director Alexey Brodovitch\, whose Design Laboratory classes shaped an entire generation of photographers and designers\, among them Richard Avedon\, Irving Penn\, Art Kane\, and Hiro. The notoriously demanding Brodovitch described Paulin’s Ferry Boat (1957)\, an image of silhouetted figures flanked by the Statue of Liberty seen through geometric reflections of glass\, in a single word: “Monumental.” \nThe color photographs in this exhibition reveal the full expression of these influences. Paulin’s training as a fashion illustrator gave him an instinct for style\, gesture\, and the urban chaos of New York City and the people that inhabit it. His Bauhaus education gave him the tools to see the city as a field of overlapping planes\, reflections\, and collisions of text and image. The result is a body of color work that operates as visual montage: shop windows become screens through which the street is layered against interior displays; neon signage bleeds into the faces of passersby; revolving doors compress the city into kaleidoscopic fragments. The Los Angeles Times\, reviewing the first exhibition of Paulin’s color photographs in 2009\, described them as “vibrant work… layered assemblages of motion\, reflection\, and signage\, the choreography of the city stilled for a brief\, dynamic moment.” \nIn images such as 5th Ave Window Reflection (1956)\, pedestrians on a crowded sidewalk are superimposed against reflections of buildings and sky\, creating a double exposure effect achieved entirely in the camera. Banker Trust and Yellow Cab (1958) compresses the urban landscape through a revolving door into a single swirling frame of glass\, chrome\, marble\, and motion. Window Reflection (1967)\, depicting an advertisement for fever thermometers overlaid with a ghostly street scene\, layers commerce\, the body\, and the city into a single image that reads as both documentation and abstraction. These are not snapshots colored in. They are photographs that could only exist in color\, where the orange of a balloon against an overcast Central Park sky\, the red blur of a Cadillac seen through plate glass\, or the yellow of a taxi dissolving into a chrome door become the structural elements of the image itself. \nThe exhibition also extends beyond midcentury Manhattan. East Hampton 3 Sunz (1997) captures a child and a sunset through layered reflections of a porch window\, and Corn Field (2000) frames a luminous agricultural landscape at the end of a dark motel corridor\, an image that belongs as much to the tradition of American color photography associated with William Eggleston and Stephen Shore as to Paulin’s New York street work. The latest image in the exhibition\, Street Vender & Bunny (2008)\, proves that Paulin never stopped looking at the absurd theater of the American street. \nFrank Paulin’s work is held in over fifty museum and institutional collections\, including the Museum of Modern Art\, Whitney Museum of American Art\, National Gallery of Art\, Smithsonian American Art Museum\, National Museum of American History\, Museum of Fine Arts Houston\, Yale University Art Gallery\, Harry Ransom Center at the University of Texas\, and Center for Creative Photography at The University of Arizona. His only monograph\, Frank Paulin: Out of the Limelight (Silverstein Publishing\, 2007)\, features an introduction by Max Kozloff and was designed by Massimo Vignelli. \nhttps://brucesilverstein.com/exhibitions/240-frank-paulin-unseen-color-1956-2008/overview/
URL:https://jamesmaherphotography.com/event/frank-paulin-unseen-color/
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/2026/08/paulin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260929
DTSTAMP:20260618T140441Z
CREATED:20260618T140441Z
LAST-MODIFIED:20260618T140441Z
UID:10000135-1781136000-1790639999@jamesmaherphotography.com
SUMMARY:Photobooks USA 2000–25
DESCRIPTION:Photobooks USA 2000–25 explores how the photobook has emerged as a powerful tool for artists to respond to the forces shaping contemporary life in the United States. Over the past 25 years\, this evolution is reflected in the growing number of publications\, a wider range of publishers\, bold experimentation in design\, and greater inclusivity. \nFeaturing over 50 photobooks—from out-of-print titles to more recent landmark publications—the exhibition presents a cross section of creators\, themes\, forms\, and subjects\, examining how artists have used the photobook to present and circulate their work in powerful and innovative ways.  \nRather than defining a canon or focusing on bestselling or award-winning titles\, the exhibition brings together books that explore different aspects of the United States. Taken as a whole\, they reflect the artistic\, social\, cultural\, political\, environmental and economic conversations shaping the twenty-first century. \nCurated by ICP’s Creative Director David Campany\, Associate Director of Exhibitions Sara Ickow\, and Curatorial Assistant malaika newsome. \nhttps://www.icp.org/exhibitions/photobooks-usa-2000-25
URL:https://jamesmaherphotography.com/event/photobooks-usa-2000-25/
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/2026/06/photobook-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260929
DTSTAMP:20260618T140228Z
CREATED:20260618T140228Z
LAST-MODIFIED:20260618T140228Z
UID:10000134-1781136000-1790639999@jamesmaherphotography.com
SUMMARY:Yves Saint Laurent and Photography
DESCRIPTION:Yves Saint Laurent and Photography explores the powerful relationship Yves Saint Laurent forged between fashion and photography over four decades\, revealing how photography functioned not only as a tool for promotion but also as a creative force that helped define a legacy. Organized in collaboration with the Musée Yves Saint Laurent Paris and the Fondation Pierre Bergé–Yves Saint Laurent\, it brings together nearly 300 iconic photographs and archival objects. \nFeaturing work by celebrated artists such as Richard Avedon\, Cecil Beaton\, Guy Bourdin\, Robert Doisneau\, Horst P. Horst\, William Klein\, Annie Leibovitz\, Steven Meisel\, Duane Michals\, Helmut Newton\, Irving Penn\, David Seidner\, Andy Warhol\, and others\, the exhibition pairs these photographs with contact sheets\, campaign materials\, magazines\, and personal images. Together\, they reveal how Yves Saint Laurent established a blueprint for the way the fashion world is visualized and understood today. \nCurated by Simon Baker\, Guest Curator and photography historian; Nastasia Alberti\, Deputy Head of Collections and Head Archivist; and Clémentine Cuinet\, Head of Photographic Collections\, both of the Musée Yves Saint Laurent Paris. \nAbout Yves Saint Laurent \nYves Mathieu-Saint-Laurent (b. 1936\, Oran\, Algeria) began his career in Paris in 1955 as an assistant to renowned couturier Christian Dior. Following Dior’s sudden death in 1957\, Yves Saint Laurent was appointed artistic director of the Musée Yves Saint Laurent Paris and his designs quickly gained critical acclaim. Dismissed from Dior in 1960 after military service and a subsequent hospitalization for depression\, he founded his own couture house in partnership with Pierre Bergé\, whom he had met in 1958. The first collection was presented in 1962 and the house became known for reinterpreting traditionally masculine garments like pantsuits and trench coats into bold\, feminine looks that redefined the wardrobe of the modern woman.  \nIn 1966\, he launched SAINT LAURENT rive gauche\, a ready-to-wear line with stores opened internationally. Influenced by different cultures\, Yves Saint Laurent’s designs paid tribute to artists including Mondrian\, Picasso and Van Gogh and drew inspiration from faraway places––most notably Marrakech. This prolific output spanned thirty years and was the subject of numerous awards and exhibitions across the globe. Yves Saint Laurent retired and closed the couture house in 2002\, at which point the newly-formed Fondation Pierre Bergé–Yves Saint Laurent assumed responsibility for advancing and safeguarding his work. Yves Saint Laurent died at his Paris home on June 1\, 2008\, at the age of seventy-one. \nIn 2017\, the Fondation Pierre Bergé–Yves Saint Laurent was re-envisioned with the opening of two museums in Paris and Marrakech. These institutions preserve and celebrate one of the twentieth century’s most defining creative legacies. \nAbout Musée Yves Saint Laurent Paris \nThe Musée Yves Saint Laurent Paris\, chaired by Madison Cox\, is the first museum dedicated to one of the greatest couturiers of the twentieth century to open in the capital of fashion. It opened its doors on October 3\, 2017\, fifteen years after the closing of the haute couture house and obtained the designation ‘Musée de France.’ It occupies the historic hôtel particulier at 5 Avenue Marceau where for nearly thirty years\, from 1974 to 2002\, Yves Saint Laurent’s creative genius held sway. The museum’s vast collection includes 12\,000 garments\, including 8\,300 haute couture pieces more than 100\,000 graphic artworks\, including 55\,000 fashion sketches by the couturier and 194\,000 photographs comprising of diapositives\, negatives and vintage and modern prints\, as well as an archive of more than 4\,000 magazines and 60\,000 documents\, including correspondence\, audiovisual materials and personal objects\, completing the collection. This ensemble is the result of the pioneering and systematic archival work initiated by Yves Saint Laurent and Pierre Bergé. The Musée Yves Saint Laurent Paris is temporarily closed for renovations. It is scheduled to reopen in the fall of 2027. \nHeader image: Ensemble worn by Edia Vairelli\, Haute Couture Spring/Summer 1982 collection\, 5 Avenue Marceau\, Paris\, January 1982. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent; Tailored suit worn by Anna Karin\, Haute Couture Autumn/Winter 1991 collection\, 5 Avenue Marceau\, Paris\, July 1991. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent \nhttps://www.icp.org/exhibitions/yves-saint-laurent-and-photography
URL:https://jamesmaherphotography.com/event/yves-saint-laurent-and-photography/
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/2026/06/yves-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260914
DTSTAMP:20260618T140738Z
CREATED:20260618T140738Z
LAST-MODIFIED:20260618T140738Z
UID:10000136-1781136000-1789343999@jamesmaherphotography.com
SUMMARY:Andrea Hernández Briceño: Fire Becomes Spirit (ICP Incubator Space)
DESCRIPTION:ICP’s Incubator is located on ICP’s ground floor. The space is free and open to the public during café and museum hours.   \nPhotographer and ICP alum Andrea Hernández Briceño has been documenting the indigenous Huöttöja people in the Amazon basin since 2024. Many members of the Huöttöja community feel the pull of the mining industry\, which promises to make them rich but threatens to dilute their culture. Hernández Briceño was invited to document their traditions and ancestral knowledge as a way to preserve them\, but also set herself the goal to avoid being another outsider that left them feeling exploited. She aims to create a body of work that reflects the Huöttöja worldview and spirituality by nurturing a long term relationship with the community and its main goal: to show us that humans are not separate from nature\, but an extension of it.   \nAbout The Artist \nAndrea Hernández Briceño is a Venezuelan journalist\, visual storyteller\, Magnum Foundation fellow\, TEDx speaker and National Geographic explorer based in Caracas. She tells representative stories about gender\, environment and social phenomena that put the dignity of participants in the center of the narrative while using different formats and a perceptive approach to magic. She was awarded the Women Photograph grant in 2024\, three POY Latams (2023 and 2025) and has been shortlisted for the Marilyn Stafford Award twice.  \nHernández Briceño co-founded the all women collectives Ayün Fotógrafas and Solunar. She teaches the Ojo Pelao and MiraVzla free workshops\, making photography education more accessible in her country. She believes in the importance of creating alliances with communities through horizontal practices that combine education\, community building and storytelling initiatives. Her work explores narratives that search for humanity in the space between seemingly opposing ideas as a result of growing up\, documenting and resisting in Venezuela\, a place of deep contradictions.  \nAs part of a team effort she published a book called Mango Season that looks into food insecurity and the resolve to live a dignified life in Venezuela with Raya Editorial and El Archivo. Hernández Briceño collaborates with The Washington Post\, The Guardian\, El País and other international outlets. Her work has been exhibited in New York\, Paris\, Mexico City and Venezuela.  \nAbout the ICP Incubator Space \nICP’s Incubator Space is a new exhibition program designed to highlight the work of emerging photographers who are responding in real time to the world around us. ICP will present a rotating selection of projects by imagemakers experimenting with and pushing boundaries around the documentary tradition. ICP’s Incubator Space is curated by Sara Ickow\, Associate Director of Exhibitions at ICP.  \nHeader image: A light shines upon the tip of the Huöttöja communal home “churuata” in the Amazonas state\, Venezuela\, on April 21\, 2025. In the indigenous Huöttöja people’s worldview\, this branch functions as an antenna connecting the earth with the spiritual realm. The “churuata” is the place where shaman Jattupa tells the stories that conform the Huöttöja way of life\, viewing humans not as separate from nature but as an extension of it. \nhttps://www.icp.org/exhibitions/icp-incubator-space-andrea-hernandez-brice%C3%B1o-fire-becomes-spirit
URL:https://jamesmaherphotography.com/event/andrea-hernandez-briceno-fire-becomes-spirit-icp-incubator-space/
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/2026/06/Briceno-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260605
DTEND;VALUE=DATE:20260725
DTSTAMP:20260713T151200Z
CREATED:20260713T151200Z
LAST-MODIFIED:20260713T151200Z
UID:10000141-1780617600-1784937599@jamesmaherphotography.com
SUMMARY:Manuel Álvarez Bravo
DESCRIPTION:New York Life Gallery is pleased to present Manuel Álvarez Bravo (1902–2002)\, curated by Johann Mergenthaler in collaboration with the Estate of Manuel Álvarez Bravo and the Archivo Manuel Álvarez Bravo. This marks the first presentation of this group of photographs in the Americas\, following its initial exhibition at Galerie Carole Lambert\, Paris (November 11–December 18\, 2025). Expanding on the earlier presentation in Paris\, the exhibition includes several works that have never before been exhibited or published.\n\n\n\n“There is time…” Manuel Álvarez Bravo liked to say. Graciela Iturbide\, his protégée and now a legend of Mexican photography in her own right\, described watching her mentor at work\, stopping with his camera\, waiting for something to happen. Looking\, lingering\, passing the time. Álvarez Bravo\, she says\, taught her about life\, and it would seem few people understood life—including its mysteries and shapeshifting surfaces\, its very resistance to understanding—as well as he did. \nBorn in 1902\, he lived a hundred years\, during which he witnessed the violence of revolution\, the rise of a global avant-garde\, and the transformation and modernization of his country; in an interview from the 1990s\, he lamented that even the light in Mexico City had changed. Although introduced to photography as a child\, his first forays into the working world were jobs at a textile factory\, the Mexican Treasury department\, and for the head of a utilities company—a role that\, by happenstance\, placed him in contact with a selection of international photography magazines\, rekindling that early interest in the medium. Pictorialism still held sway in early 1920s and Álvarez Bravo initially followed suit\, studying the techniques that gave photographs an affected\, painterly look\, before disowning the style (and destroying his early work) in favor of clarity and directness—an approach championed by his friends Edward Weston and Paul Strand. Even so\, for Álvarez Bravo things are never straightforward description. \nHe understood that the camera offered the capacity to bear witness\, to transmit social strife. He famously made a bloody image of a murdered striking sugar worker named Resendo in the 1930s. But he tended to be drawn to the subtle dramas of the everyday: stretched light\, creeping shadows\, obscured figures rendered\, despite the sun’s incandescent intensity\, with delicate\, dreamlike softness. The world as he found it was abstract and strange\, waking life its own phantasmagoria. European influences mingled with the ancient and pre-Colombian. Álvarez Bravo created an indelible record of form and ritual in Mexico: angular patterning decorating a ruin in Oaxaca\, mannequins frozen mid-laughter in a shop window\, the austere geometry of a dense cacti forest\, religious iconography\, folk festivals and celebrations\, portraits of Indigenous communities. He photographed gravesites\, funerals\, toy skulls\, reflecting a culture steeped in the connectedness of life and death. The small altars he constructed in his home\, built with small stones and other detritus\, suggest that he believed everything\, even the most seemingly mundane\, was worthy of elevation through attention. \nIn 1939\, André Breton featured Álvarez Bravo in an exhibition called “Mexique” and he appeared in Minotaure\, the unofficial organ of the Surrealist movement. Even though his photography is often interpreted in relation to Surrealism\, he wasn’t entirely fond of the term\, even if there is a bit of automatism\, of the subconscious at play\, in his description of his process. “It is part of my life to take photographs\, to develop\,” he said. “It is like eating. It is a spontaneous thing.” He was out on the streets\, moving about the countryside\, among the physical world making images that not only described but transformed reality. He often cited the influence of Eugène Atget\, whose chronicle of a changing fin de siècle Paris was also celebrated by the Surrealists. Both Atget and Álvarez Bravo observed fading architecture\, commercial storefronts\, eerily empty streets. Locations bound by their historical moment but somehow out of time. Álvarez Bravo credits Atget with shaping his way of looking. “He made me gaze differently. He made me conscious of where I walked and what I saw.” Today\, Álvarez Bravo’s gaze does the same for us; it is a reminder of the possibility of revelation close to home. \n–Michael Famighetti \nManuel Álvarez Bravo’s work has been the subject of numerous solo exhibitions\, beginning with Galería Posada\, Mexico City\, MX (1932)\, following his inclusion in the First Salón Mexicano de la Fotografía (1928). His career went on to include over 150 solo exhibitions and participation in more than 200 group exhibitions. Notable presentations include exhibitions at the Palacio de Bellas Artes\, Mexico City\, MX (including a 1935 exhibition alongside Henri Cartier-Bresson with catalogue texts by Langston Hughes and Luis Cardoza y Aragón\, and a retrospective in 1968); the Pasadena Art Museum and the Museum of Modern Art\, New York\, NY (1971); the Corcoran Gallery of Art\, Washington\, DC (1978); the National Library of Spain\, Madrid\, ES (1985); and the J. Paul Getty Museum\, Los Angeles\, CA (2001). His work was included in André Breton’s surrealist exhibition at Galería Inés Amor (1940)\, Twenty Centuries of Mexican Art (1940) at the Museum of Modern Art\, New York\, NY\, and Edward Steichen’s The Family of Man (1955)\, which traveled\ninternationally. \nWorks by the artist are held in major public collections worldwide\, including the Museum of Modern Art\, New York\, NY; Metropolitan Museum of Art\, New York\, NY; Instituto Nacional de Bellas Artes (Museo de Arte Moderno)\, Mexico City\, MX; Fundación Televisa\, Mexico City\, MX; Fomento Cultural Banamex\, Mexico City\, MX; Bibliothèque nationale de France\, Paris\, FR; Musée d’Art Moderne de la Ville de Paris\, FR; Fonds national d’art contemporain\, Paris\, FR; Hasselblad Foundation\, Gothenburg\, SE; Art Institute of Chicago\, IL; George Eastman Museum\, Rochester\, NY; Museo de Arte Moderno\, Caracas\, VE; National Museum of Modern Art\, Kyoto\, JP; J. Paul Getty Museum\, Los Angeles\, CA; Victoria and Albert Museum\, London\, UK; Philadelphia Museum of Art\, Philadelphia\, PA; New Orleans Museum of Art\, New Orleans\, LA. \nhttps://www.newyorklifegallery.com/exhibitions/19-manuel-alvarez-bravo-19022002/press_release_text/
URL:https://jamesmaherphotography.com/event/manuel-alvarez-bravo/
LOCATION:New York Life Gallery\, 167 Canal St Fl 5\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/manuel.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260604
DTEND;VALUE=DATE:20260913
DTSTAMP:20260618T135657Z
CREATED:20260618T135657Z
LAST-MODIFIED:20260618T135657Z
UID:10000133-1780531200-1789257599@jamesmaherphotography.com
SUMMARY:Allen Ginsberg & Vivian Maier: Notes from the Margins
DESCRIPTION:Howard Greenberg Gallery will present Notes from the Margins: Allen Ginsberg and Vivian Maier\, a new exhibition marking the centennial of two singular artists born in 1926\, whose work emerged from the cultural periphery and came to leave a lasting mark on the visual and literary imagination of the 20th century. On view from June 4 through September 12\, 2026\, Notes from the Margins offers a timely reconsideration of two distinct yet unexpectedly resonant artistic legacies. Bringing together Ginsberg’s poetic and photographic sensibility with Maier’s extraordinary street photography\, the exhibition explores how each transformed everyday experience into a powerful record of memory\, observation\, and human presence. \nThe legacies of Allen Ginsberg and Vivian Maier endure. For Ginsberg\, poetry and photography became a vehicle for radical openness – documenting queer identity\, political unrest\, spiritual searching\, and the emotional intensity of postwar America. Maier\, who spent much of her life working as a nanny while privately producing an immense body of photographs\, only discovered by chance after her death\, transformed ordinary city life into an imperishable and deeply human visual archive. Neither artist fit comfortably within institutional frameworks during much of their lives\, yet both produced work that continues to challenge ideas of visibility\, authorship and belonging. \nGinsberg (1926 – 1997) is primarily known as a great American poet\, the figurehead of the Beat Movement (the post-World War ll American literary and social movement centered in New York and San Franciso). But from the early 1950s to about 1964\, he regularly used an inexpensive camera to take snapshots of his now famous friends\, including the writers Jack Kerouac\, William Burroughs\, Gregory Corso\, and Neal Cassady. Almost all are affectionate\, straightforward portraits. Many have a subtly playful spirit\, and some carry Ginsberg’s annotations handwritten on prints. Soon after making these pictures\, Ginsberg lost the camera he’d been using\, and it would be another 20 years before he would return to photography. \nMaier (1926 – 2009) was an American street photographer whose massive\, unseen body of work came to light when it was purchased from an auction in Chicago in 2007. Maier worked in Chicago for most of her life. In her leisure time\, she ventured into the art of photography. Consistently taking photographs over the course of five decades\, she would ultimately leave behind over 100\,000 negatives. While her photographs have compelled viewers around the world since being brought to the public eye\, there is much that remains unknown about the enigmatic woman behind the lens. \nNotes from the Margins features approximately 80 modern and vintage prints\, along with Maier’s experimental film footage and a film of Ginsberg reciting his poem “Howl.” Self-portraits and the urban landscape are a recurring thread through the exhibition. Together\, Ginsberg’s and Maier’s work reveals two singular modes of looking: one public and outspoken\, the other private and elusive. \nEach artist used the camera—and\, in Ginsberg’s case\, language as well—to record fleeting moments\, overlooked people\, and the textures of modern city life. By placing these works in conversation\, the exhibition highlights themes of observation\, self-fashioning\, solitude\, marginality\, and the enduring power of artists who worked beyond conventional expectations of fame\, audience\, and recognition. It considers the margin not simply as a place of absence\, but as a generative space – one where alternative histories\, identities and visual languages take shape. In many ways\, the margin functions as a site of invention. \nNotes from the Margins: Allen Ginsberg and Vivian Maier is part of an extensive series of events happening throughout the year marking the Ginsberg centennial. \nhttps://www.howardgreenberg.com/exhibitions/198-allen-ginsberg-and-vivian-maier-notes-from-the-margins/
URL:https://jamesmaherphotography.com/event/allen-ginsberg-vivian-maier-notes-from-the-margins/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/Howard.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260529
DTEND;VALUE=DATE:20260703
DTSTAMP:20260618T135040Z
CREATED:20260618T135040Z
LAST-MODIFIED:20260618T135040Z
UID:10000132-1780012800-1783036799@jamesmaherphotography.com
SUMMARY:Victoria Sambunaris: Fall Line
DESCRIPTION:Yancey Richardson is pleased to present Fall Line\, an exhibition of new work by Victoria Sambunaris that continues her ongoing project of examining changes to the landscape of the American West resulting from human intervention. Featuring seven large-scale photographs taken over several years with a large format\, ﬁve-by-seven wooden ﬁeld camera\, this exhibition investigates the complex topography of waterﬂows\, their cultural signiﬁcance and their current precarity\, particularly that of the vast Colorado River system with its seven-state reach and many of its tributaries and drainage systems now diminished or dry. Highly detailed and dramatically composed\, Sambunaris’ topographic portraits convey a deeply layered sense of place and our complex relationship to a post-colonial West. The exhibition will be on view from May 29 through July 2\, 2026. An opening reception will be held on Friday\, May 29 from 6–8PM. \nFall Line builds upon Sambunaris’ 2023 exhibition with the gallery\, High and Dry\, which explored the California desert from the reservoir at Lake Mead in Nevada to the All-American Canal\, a marvel of engineering that delivers water to California’s Imperial Valley. Following the heavy rains of Hurricane Hilary in August of that year\, Sambunaris took a detour to Death Valley’s Badwater Basin\, the lowest point in North America\, which had transformed into an ephemeral lake—a six-mile wide\, one-foot-deep body of water that appears only rarely\, then evaporates. From there\, she shifted emphasis to the Colorado River’s broader geography. Over several trips made between 2023-2025\, covering northeast Colorado down to the Mexican border of California and Arizona\, Sambunaris made images not only of the river but of the monumental terrains shaped by its presence and its absence.  \nCaptivated by the primordial landscapes that now serve as sites for agriculture\, industry and recreation\, and inspired by the intrepid 19th-century photographers whose historic work helped to form an earlier understanding of the region\, Sambunaris has embarked on extended\, solitary road trips each year since 1999\, creating her own unique form of cultural landscape photography\, which details the ever-changing ways humans inhabit the landscape. The awesome perspectives in her photographs—each of which she achieves with a restrained and methodical approach\, traversing the terrain on foot and waiting sometimes hours for the precise light to appear—are troubled by the subtle traces of powerlines\, housing developments\, railways and people themselves\, reduced as they often are to nearly microscopic proportions. Though nature remains sublime in Sambunaris’ work\, it is ever tempered by civilization’s steady march. \nEven where human subjects are absent\, evidence of their activity disrupts otherwise placid views\, highlighting the long-term effects of rapacious development of the land for extractive purposes. In her photographs\, Sambunaris effectively situates competing and oftentimes contradictory concerns of different communities—ranchers\, oil workers\, miners and urban populations who look on from afar—within the deep time scale of geological history. As water depletion continues to impact the Colorado River and in turn shape the broader region\, Sambunaris’ photographs remind us of the urgency of this crisis while also vividly depicting the abiding beauty of the landscape\, showing us what can still be lost.  \n\n\nCopies of Victoria Sambunaris: Transformation of a Landscape\, published by Radius Books in 2024\, will be available at the gallery. Her ﬁrst book in over ten years\, Transformation of a Landscape shares the nuance and majesty of Sambunaris’ practice in a large-scale book format that features archival documentation of experiences and observations on the road\, such as snapshots\, maps\, road logs\, journals\, geology and history books\, mineral specimens artifacts and an essay by Angie Keefer.  \nVictoria Sambunaris was born in Lancaster\, Pennsylvania in 1964\, and currently lives and works in New York. She received a BA from Mount Vernon College in 1986 and an MFA from Yale University School of Art in 1999. She has held teaching positions at Yale University and Sarah Lawrence College\, and is currently Guest Critic at Yale School of Architecture.  \nHer work has been widely exhibited in museums and galleries throughout the United States including National Gallery of Art\, Washington\, DC; Museum of Modern Art\, New York; San Francisco Museum of Modern Art; Albright-Knox Art Gallery\, Buffalo; Museum of Contemporary Photography\, Chicago; Contemporary Arts Museum Houston; and New Mexico Museum of Art\, Santa Fe. Her work can be seen in numerous collections throughout the United States\, including those of the Albright-Knox Art Gallery\, Buffalo; Lannan Foundation\, Santa Fe; Museum of Fine Arts\, Houston; The Museum of Modern Art\, New York; the National Gallery of Art\, Washington\, DC; San Francisco Museum of Modern Art; and Whitney Museum of American Art\, New York. \nSambunaris has received numerous awards\, including the John Simon Guggenheim Memorial Foundation Fellowship (2021); Charles Red Fellowship in Western American Studies\, Brigham Young University (2015); Aaron Siskind Foundation Individual Photographer’s Fellowship (2010); and the Anonymous Was a Woman Award (2010). A monograph of her work\, Taxonomy of a Landscape: Victoria Sambunaris\, was published by Radius Books in 2013. \nhttps://www.yanceyrichardson.com/exhibitions/victoria-sambunaris6
URL:https://jamesmaherphotography.com/event/victoria-sambunaris-fall-line/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/Yancey.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260516
DTEND;VALUE=DATE:20260531
DTSTAMP:20251125T175523Z
CREATED:20251125T175523Z
LAST-MODIFIED:20251125T175523Z
UID:10000100-1778889600-1780185599@jamesmaherphotography.com
SUMMARY:Photoville 2026
DESCRIPTION:SUBMIT YOUR WORK! Photoville Festival 2026\n  \nCelebrating 15 Years of Photoville!\nWe are gearing up for our 15th anniversary festival in 2026\, and we cannot wait to see what you will bring. With the steadfast support of our longtime partners — Brooklyn Bridge Park\, NYC Parks\, and a vibrant network of cultural institutions and public spaces across the city — Photoville remains a platform for photographers\, educators\, and curators from around the world to share powerful visual stories that connect and inspire. \nSubmit a Proposal Today!\nOur Photo Village will be returning to Brooklyn Bridge Park – with additional open-air exhibitions in NYC Parks\, and other NYC cultural institutions and public spaces throughout the five boroughs.
URL:https://jamesmaherphotography.com/event/photoville-2026/
LOCATION:Photoville\, 17 Water St\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/photoville.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260512
DTEND;VALUE=DATE:20260702
DTSTAMP:20260618T161919Z
CREATED:20260618T161919Z
LAST-MODIFIED:20260618T161919Z
UID:10000139-1778544000-1782950399@jamesmaherphotography.com
SUMMARY:Nobuyoshi Araki and Roe Ethridge
DESCRIPTION:Anton Kern Gallery presents Nobuyoshi Araki and Roe Ethridge\, a photography exhibition selected and sequenced by Ethridge\, that brings together two series from Araki’s archive alongside works by Ethridge\, both new and revisited. \nFor the exhibition\, Ethridge has created new prints for his series Floral Arrangements (1995–1997/2026): pinhole photographs of carnations\, daisies\, and other flowers bought in bulk and arranged in thrift store vases that he painted\, against floral textile fabrics. For each image\, he worked directly onto the textiles using acrylic paint\, editing their existing patterns—filling in visual “noise\,” establishing a palette\, and reconfiguring the ground before introducing the vase and selecting the flowers. Suburban decorative codes and memories of his mother’s floral arrangement calendars are reframed through flattened pictorial space. His use of the pinhole lens softens detail and disperses focus\, giving the images a kind of “Pop Pictorialism”: a synthesis of the flat affect of pop with the dreamy impressionistic intentions of the late 19th and 20th-century photography movement. \nFor Ethridge\, his Floral Arrangements are in an unintended dialogue with Nobuyoshi Araki’s Painted Flowers (2004)\, in which bouquets and foliage were dripped with Liquitex before being photographed. Though not included in the exhibition\, the memory of Painted Flowers sparked Ethridge’s decision to reengage the pinhole flower images for Nobuyoshi Araki and Roe Ethridge. In both series\, painterly intervention is integral\, and the photograph becomes not an objective record but a site of layered construction. \nFrom Araki’s archive\, the exhibition includes works from Flower Cemetery (2017)—cut flower bouquets arranged with plastic figurines like dinosaurs and action figures\, and other uncanny objects—and Tokyo Nude (1989)\, which pairs female nudes with mundane views of the city. In both series\, meaning emerges through juxtaposition: Tokyo’s backstreets—its “naked” face—are set against the naked female body\, collapsing private and public experiences within a single work. In Flower Cemetery\, the bouquets read less as still lifes than as psychological assemblages\, animated by the residual charge of their embedded figures and disrupting any straightforward notion of beauty. \nTwo of Ethridge’s new works on view\, Romantic Hand with Goossens Crystal Flowers and Egyptian Funerary Mask and Me\, were part of a 2025 commissioned series of still life images for the inaugural issue of Chanel Arts & Culture Magazine. In these tableaux\, Ethridge combines materials from Chanel’s historical archives\, as well as artifacts and objects from Gabrielle Chanel’s apartment at 31 rue Cambon with set design elements. Also on view is Sculptures on a Shelf\, 1st Floor\, Joel Shapiro Studio\, September 2025\, 2026\, made in the late sculptor’s studio\, which presents a wooden shelf holding painted objects\, irregular blocks and forms in pastels\, black\, and white\, that register as provisional sculpture. Together\, the works trace the afterlives of objects and the formal connections to works in the exhibition by both Araki and Ethridge. \nLanding in Tokyo\, 2026\, an image made with Ethridge’s iPhone upon his arrival in Japan (for his exhibition Fugue at 31 rue Cambon)\, recalls the diaristic\, spontaneous mode Araki has long practiced and theorized as “I-photography” (shi-shashin): the camera as a record of presence\, before the image has time to become deliberate. Simultaneously\, it invokes a more universal\, contemporary gesture that we almost all participate in: the taking of a picture out of an airplane window. In Ethridge’s version\, the blue clouds and Tokyo Bay appear in a monochrome\, with Mount Fuji floating in the distance; the scene both ordinary and sublime. The image connects to the diaristic sensibility of the Tokyo Nudes as well as the atmospheric and Pictorialist qualities of the pinhole flowers. \nhttps://www.antonkerngallery.com/exhibitions/521-nobuyoshi-araki-and-roe-ethridge/
URL:https://jamesmaherphotography.com/event/nobuyoshi-araki-and-roe-ethridge/
LOCATION:Anton Kern Gallery\, 16 E 55th St\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/araki-anton.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260508
DTEND;VALUE=DATE:20260511
DTSTAMP:20251202T064018Z
CREATED:20251202T063941Z
LAST-MODIFIED:20251202T064018Z
UID:10000109-1778198400-1778457599@jamesmaherphotography.com
SUMMARY:ICP Photobook Fest 2026
DESCRIPTION:The ICP Photobook Fest presents leading photobook publishers\, independent and small presses\, artist book makers\, and photographers showcasing and celebrating their latest image-based books. The three day event also hosts in-person book signings\, conversations\, workshops and more\, spanning the entire building at the International Center of Photography located on the Lower East Side in New York City. \nhttps://www.icp.org/content/icp-photobook-fest-2026
URL:https://jamesmaherphotography.com/event/icp-photobook-fest-2026/
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/2025/05/icpphotobookfestival-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20261020
DTSTAMP:20260906T152623Z
CREATED:20260906T152623Z
LAST-MODIFIED:20260906T152623Z
UID:10000152-1777507200-1792454399@jamesmaherphotography.com
SUMMARY:Andy Warhol Family Album
DESCRIPTION:Few American artists have shaped modern visual culture as profoundly as Andy Warhol (1928–1987)\, whose experimentation with mass media helped define what it means to be an artist in an image-saturated age. Photography was central to Warhol’s philosophy and his obsession with self-representation. He carried a camera with him wherever he went\, taking hundreds of thousands of photographs during his career. Warhol purchased his first Polaroid in the mid-1960s\, and by the early 1970s\, it would become his tool of choice: both the Big Shot model\, ideal for close-ups with its fixed lens and bright flash\, and the more versatile\, portable SX-70. This technology was instrumental to his process—forming the first stages of his commissioned silkscreen portraits and a mode through which he could document compulsively\, treating his own life as material.  \nAndy Warhol Family Album presents a collection of Polaroids from 1972 to 1973 that captures Warhol’s immediate world of collaborators\, celebrities\, and friends. These photographs come from one of six Holson albums containing hundreds of snapshots Warhol maintained as a personal archive and named for the brand’s generic product type: the “family album.” Together the images—ranging from posed portraits and candid shots of guests visiting his home in Montauk\, Long Island\, to documentation of his travels to Europe and even pictures of his dog Archie—offer a varied glimpse into Warhol’s day-to-day life. \nhttps://whitney.org/exhibitions/andy-warhol-family-album
URL:https://jamesmaherphotography.com/event/andy-warhol-family-album/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort St\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/WMAA68946_WMAA68946_2014_29_536_cropped-CBjwvM.jpe
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260423
DTEND;VALUE=DATE:20260803
DTSTAMP:20260629T034555Z
CREATED:20260629T034555Z
LAST-MODIFIED:20260629T034555Z
UID:10000140-1776902400-1785715199@jamesmaherphotography.com
SUMMARY:Sophie Rivera: Double Exposures
DESCRIPTION:El Museo del Barrio is proud to present Sophie Rivera: Double Exposures\, the first museum survey dedicated to the groundbreaking photographer Sophie Rivera (1938–2021). Opening April 23\, 2026\, the exhibition offers a long-overdue reevaluation of Rivera’s contributions to photography and Nuyorican visual culture\, while celebrating her deep\, historic connection to El Museo—where she organized exhibitions and held her first solo show in the 1980s. \nThe exhibition title\, Double Exposures\, references both the photographic technique of layering multiple images and Rivera’s exploration of multiplicity and identity. Her work reflects the complexity of her intersectional positionality as a woman\, feminist artist of Puerto Rican descent in New York during the 1970s–1990s\, contesting and expanding traditional histories of portraiture and representation. \nFeaturing portraits\, documentary images\, experimental self-portraits\, and photographs of New York’s subway and graffiti scenes of the late 1970s\, Double Exposures brings together vintage prints and never-before-seen materials from Rivera’s archive. \nAn accompanying publication co-published by El Museo del Barrio and Aperture will mark the occasion\, serving as the first comprehensive monograph on the artist. The book includes more than 125 images\, selections from Rivera’s writings\, and newly commissioned essays. \nAs Latine cultural production continues to shape the American experience\, Sophie Rivera: Double Exposures marks an institutional milestone for El Museo del Barrio—revisiting essential moments in Nuyorican history and celebrating an artist whose vision powerfully underscores the central place of Puerto Rican and Latine voices in the story of American art. \nABOUT THE ARTIST \nSophie Rivera (1938–2021) was a pioneering photographer whose work emerged in the 1970s amid a generation of artists challenging the misrepresentation of Latines in American media\, art\, and culture. As one of the few women photographers associated with En Foco\, the Bronx-based photography collective established in the context of the Nuyorican Movement\, Rivera played a critical role in advancing the collective’s mission of self-representation. Her celebrated Latino Portrait series celebrates everyday Puerto Ricans and were later exhibited at large scale in the New York City subway system—bringing\, in Rivera’s words\, “portraits of people like themselves” to the public. \nDeeply engaged with her community and committed to the politics of visibility\, Rivera’s practice blended formal experimentation with social consciousness. Her work continues to resonate as a powerful reflection of identity\, resilience\, and belonging in the urban landscape. \nSPONSORS \nWe extend special recognition to the Luce Foundation\, the Mellon Foundation\, and the Ford Foundation for their generous support and for making this retrospective exhibition possible. We thank the New York City Department of Cultural Affairs\, the New York State Council on the Arts\, and other public agencies for their steadfast commitment to our museum. We are also deeply grateful to Aperture for their partnership on this project. \n\n\n\n\nhttps://elmuseo.org/exhibition/sophie-rivera-double-exposures/
URL:https://jamesmaherphotography.com/event/sophie-rivera-double-exposures/
LOCATION:El Museo del Barrio\, 1230 5th Ave\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/SophieRivera-self-portrait.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260422
DTEND;VALUE=DATE:20260427
DTSTAMP:20251125T173635Z
CREATED:20251125T173635Z
LAST-MODIFIED:20251125T173635Z
UID:10000093-1776816000-1777247999@jamesmaherphotography.com
SUMMARY:AIPAD 2026
DESCRIPTION:The Association of International Photography Art Dealers encourages public support of fine art photography by acting as a collective voice for the dealers in fine art photography and through communication and education that enhances the confidence of the public\, museums\, institutions and others in responsible fine art photography dealing.
URL:https://jamesmaherphotography.com/event/aipad-2026/
LOCATION:Park Avenue Armory\, 643 Park Ave\, New York\, NY\, 10065\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-2.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260416
DTEND;VALUE=DATE:20260607
DTSTAMP:20260416T135207Z
CREATED:20260416T135207Z
LAST-MODIFIED:20260416T135207Z
UID:10000131-1776297600-1780790399@jamesmaherphotography.com
SUMMARY:Mao Ishikawa: ROGUE
DESCRIPTION:“Human beings have an ugly face and a beautiful face. They tell you lies\, and they tell you truth. They are sweet\, and they are violent. All of these things make a person. I want to see everything. Therefore\, I always take photos of people standing right in front of them. I never hide myself when I take photos.”  – Mao Ishikawa \nAlison Bradley Projects is pleased to present  Mao Ishikawa: ROGUE\, the Okinawan photographer’s first solo exhibition in the United States\,  bringing together over 30 vintage prints from four of her major series: Red Flower (Akabanaa) (1975–1977)\, Life in Philly (1986)\, A Port Town Elegy (1983–1986)\, and My Family (2001–2005). Spanning three decades\, the exhibition highlights Ishikawa’s distinctive approach to photography—one grounded in closeness\, participation\, and long-term relationships with her subjects. The exhibition opens on April 16th\, 2026\, with a reception from 6:00–8:00 p.m.\, and remains on view through June 6th\, 2026.  \nIshikawa’s early work emerged in the aftermath of Okinawa’s 1972 reversion to Japan\, a moment that left intact the extensive network of U.S. military bases on the island. Produced in Koza City and Kin Town\, Red Flower centers on the social worlds surrounding Camp Hansen\, where Okinawan women working in bars formed relationships with African American U.S. servicemen. Rather than adopting a distanced or explanatory framework\, Ishikawa embedded herself in these environments\, working alongside her subjects and photographing the rhythms of daily life: late nights\, shared interiors\, and moments of collective ease. \nHer approach collapses the boundary between observer and participant. The resulting images function as both document and personal record\, shaped by relationships built over time. Rather than reducing Okinawa to a narrative of occupation\, Ishikawa foregrounds a complex network of connection\, care\, and mutual recognition formed within these conditions. This relational method extends into Life in Philly\, produced during her time in Philadelphia\, visiting a former serviceman\, Myron Carr\, whom she had met in Okinawa. There\, her attention shifts to scenes of domestic and communal life\, capturing moments of revelry and friendship\, intimacy and love\, and everyday movement through the city\, tracing continuities between lives shaped across different geographies.  \nIn A Port Town Elegy\, Ishikawa turns to another marginal community in Naha\, photographing port workers and day laborers she came to know through her own bar. The series continues her long-term\, immersive approach\, capturing a social world defined by both precarity and community. Later\, in My Family\, Ishikawa directs the camera toward herself. Produced following major surgeries\, these self-portraits extend her practice inward\, confronting the body with the same directness and refusal of distance that defines her earlier work. \nAcross her practice\, Ishikawa resists fixed narratives\, insisting instead on the density of lived experience within conditions of militarization\, marginalization\, and historical entanglement. Her photographs remain attentive to the ways relationships—however fragile or fleeting—take shape within these structures. \nIshikawa is currently included in the Whitney Biennial 2026\, marking a significant moment of recognition in the United States. Seen in this context\, her work articulates a perspective shaped from within Okinawa’s ongoing geopolitical position—one that continues to resonate across generations and borders. \nOn the occasion of Mao Ishikawa: ROGUE\, the gallery will present the video “2 OR 3 THINGS I KNOW ABOUT MAO ISHIKAWA”\, directed by Hiroshi Sunairi\, for the duration of the exhibition. \nComposed from two films—From Okinawa with Love and Okinawa Philadelphia—and re-edited for gallery presentation\, the single-channel work traces Ishikawa’s life and practice across Okinawa and Philadelphia. Moving between archival material and retrospective narration\, the video follows the artist’s early years photographing within the social world of African American GIs stationed in Okinawa\, and her later work documenting the life of Myron Carr in Philadelphia. \nPresented continuously in the gallery\, the work offers an expanded view of Ishikawa’s trajectory\, situating the photographs on view within broader histories of intimacy\, exchange\, and representation. \nhttps://www.alisonbradleyprojects.com/exhibitions/26-mao-ishikawa-rogue/overview/
URL:https://jamesmaherphotography.com/event/mao-ishikawa-rogue/
LOCATION:Alison Bradley Projects\, 526 W 26th St #814\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/04/mao.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260409
DTEND;VALUE=DATE:20260615
DTSTAMP:20260310T010839Z
CREATED:20260310T010839Z
LAST-MODIFIED:20260310T010839Z
UID:10000122-1775692800-1781481599@jamesmaherphotography.com
SUMMARY:Martha Cooper: A Retrospective
DESCRIPTION:Opening Reception: Thursday\, April 9\, 6:30-9 PM\nOn View: April 9 – June 14\, 2026\nBDC Annex\, 364 E. 151st St\, Bronx \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/upcoming-exhibits/
URL:https://jamesmaherphotography.com/event/martha-cooper-a-retrospective/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/martha-cooper.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260318
DTEND;VALUE=DATE:20260323
DTSTAMP:20251202T064410Z
CREATED:20251202T064410Z
LAST-MODIFIED:20251202T064410Z
UID:10000110-1773792000-1774223999@jamesmaherphotography.com
SUMMARY:Affordable Art Fair
DESCRIPTION:Affordable Art Fair New York will return in March 2026\, showcasing original contemporary artworks ranging between $100 to $12\,000. Welcoming local\, national and international exhibitors\, our spectacular Spring edition will be sure to put a spring in your step! \nhttps://affordableartfair.com/fairs/new-york-spring/
URL:https://jamesmaherphotography.com/event/affordable-art-fair/
LOCATION:Starrett-Lehigh Building\, 601 West 26th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/affordable-art-fair.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260312
DTEND;VALUE=DATE:20260426
DTSTAMP:20260310T011012Z
CREATED:20260310T011012Z
LAST-MODIFIED:20260310T011012Z
UID:10000123-1773273600-1777161599@jamesmaherphotography.com
SUMMARY:Emmet Gowin: Baldwin Street: Photographs 1966-1994
DESCRIPTION:Pace will present an exhibition of photographs by Emmet Gowin\, most of which have never before been seen\, at its 508 West 25th Street gallery in New York from March 12 through April 25. The presentation of works from Gowin’s Baldwin Street: Photographs 1966–1994 series will coincide with the release of a new book on the same subject from Princeton University Press\, available for purchase onsite during the show. It will also run concurrently with AIPAD’s The Photography Show\, on view in New York from April 22 to 26.\nThe exhibition will spotlight a selection from Baldwin Street: Photographs 1966–1994\, a body of intimate portraits by Gowin of his wife Edith Morris and her extended family taken in Danville\, Virginia. Named after the dead-end street where many of Edith’s family members—including her mother\, Reva Booher Morris—lived\, the series bears witness to the lives and relationships that shaped this family over time and sheds light on Gowin’s artistic development across his career\, which spans more than six decades. \nGowin unearthed the photographs on view in the show—most of which have never been published and were printed for the first time in 2020–2022—from his archive\, looking back at and revisiting a subject that drew his attention during different stages of his life. “I never lost interest in the gestures or the faces of this dearest of families\,” he writes in a statement on Baldwin Street. “It was here that I came of age and found my first true subject.”\nThrough Gowin’s lens\, images of Edith in her bedroom or on a ladder in the yard\, of Reva and her sisters\, children playing\, family lounging outside\, and funeral onlookers\, are captured with tangible care and compassion\, reflecting the artist’s close relationships with these subjects. “Through Edith and her family\, Baldwin Street became the center of my spiritual universe\,” he writes. “For over fifty years\, those houses and yards\, along with Reva’s garden on Baldwin Street\, all the children\, the aunts and uncles\, that small but intensely vivid and inspiring world\, was in my mind the true center of the world.” \nGowin’s work—which will be the subject of a forthcoming exhibition at the Virginia Museum of Fine Arts—is held in numerous public collections worldwide including The Art Institute of Chicago; Cleveland Museum of Art\, Ohio; Los Angeles County Museum of Art; Maison Européenne de la Photographie\, Paris; Museum of Modern Art\, New York; and National Gallery of Canada\, Ottawa. In 2024\, the Princeton University Art Museum acquired the artist’s archive\, which will continue to grow as he produces new work. \nhttps://www.pacegallery.com/exhibitions/emmet-gowin-baldwin-street-photographs-1966-1994/
URL:https://jamesmaherphotography.com/event/emmet-gowin-baldwin-street-photographs-1966-1994/
LOCATION:Pace\, 508 West 25th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/Emmet-gowin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260306
DTEND;VALUE=DATE:20260508
DTSTAMP:20260310T012219Z
CREATED:20260310T012219Z
LAST-MODIFIED:20260310T012219Z
UID:10000128-1772755200-1778198399@jamesmaherphotography.com
SUMMARY:Arlene Gottfried | Young & Old
DESCRIPTION:CLAMP is pleased to present “Young & Old\,” the gallery’s first solo exhibition devoted to the late New York photographer Arlene Gottfried (1950–2017). Drawn from the artist’s archive\, “Young & Old” brings together portraits that treat age not as a fixed category\, but something elastic—where youth can carry striking wisdom and advanced age can still be full of play. \nIn Gottfried’s Westbeth studio\, decades of work were stored in archival portfolio boxes. One was simply labeled “Young & Old.” The photographs found inside were portraits of children and people of advanced years—sometimes together in the same frame. But they also reflected Gottfried’s curiosity about specific individuals and their embodiment of youthfulness and maturity. \nGottfried’s photographs are often described as acts of encounter—images made not from distance but proximity and trust. As she put it: “My photographs were like souvenirs; I liked to collect moments and remembrances.” Her portraits offer those “moments” as shared space: people meeting the camera head-on\, asserting style\, vulnerability\, humor\, and self-possession in equal measure. \n“Young & Old” sits within the broader arc of Gottfried’s practice\, increasingly recognized as essential to the visual history of late 20th-century New York. A recent solo exhibition at The New York Historical—”Picture Stories: Photographs by Arlene Gottfried”—highlighted her ability to capture the city’s communities with candor and empathy. CLAMP’s exhibition extends that legacy through a resonant theme\, emphasizing the artist’s sensitivity to the ways time registers—on faces\, in posture\, in the friction between public performance and private interiority. \nOver the course of her career\, Gottfried published five books—The Eternal Light (1999)\, Midnight (2003)\, Sometimes Overwhelming (2008)\, Bacalaitos & Fireworks (2011)\, and Mommie (2015). Together the publications form a portrait of New York’s social worlds and the photographer’s own life moving through them. \nThe artist’s work is represented in many prestigious public collections\, including the New York Historical\, Brooklyn Museum\, New York Public Library\, Virginia Museum of Fine Arts\, North Carolina Museum of Art\, Southeast Museum of Photography\, Tang Teaching Museum and Art Gallery at Skidmore College\, Haverford College\, Lehigh University\, Bibliothèque nationale de France\, Maison Européenne de la Photographie\, Maison Valdôtaine de la Photographie di Aosta\, Musée Arthur Batut\, and Museum Folkwang\, among others. \n\n\n\n\n\n\nhttps://clampart.com/2026/02/young-old/
URL:https://jamesmaherphotography.com/event/arlene-gottfried-young-old/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/arlene-gottfried.jpg
END:VEVENT
END:VCALENDAR