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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
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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: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: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: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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260301
DTEND;VALUE=DATE:20260727
DTSTAMP:20260310T011413Z
CREATED:20260310T011413Z
LAST-MODIFIED:20260310T011413Z
UID:10000125-1772323200-1785110399@jamesmaherphotography.com
SUMMARY:Lillian Bassman Bazaar and Beyond
DESCRIPTION:Can fashion photography be dangerous? Lillian Bassman was told as much when\, in 1950\, she started making photographs so abstract that you could barely see the clothes. Depicting midcentury style for the pages of magazines\, she distilled gowns and girdles to their essential silhouettes; in her photographs\, chance gestures and elegant lines convey the sensations of garments\, as their details dissolve into atmospheric blur. What Bassman did not show she evoked in her expressive prints—products of darkroom distortion\, achieved with tissues\, brushes\, and bleach. \nIn an earlier era\, such an approach might have precluded commercial success. Bassman’s timing\, though\, could not have been better; in 1941\, at age 24\, she took a design job at Harper’s Bazaar\, where a group of artists and editors were then reimagining how the magazine should look. With them\, she helped introduce an avant-garde sensibility to the American newsstand\, advancing new possibilities for photography in print. \nIn works from a remarkable gift to The Met\, Lillian Bassman: Bazaar and Beyond highlights the influence and audacity of her magazine career. The exhibition flips between the New School in Manhattan and the “New Look” in Paris\, charting Bassman’s course from design apprentice to art director and accomplished photographer. Its rare vintage prints\, collages\, and maquettes lay out an unlikely history of modernism\, refashioned for the pages of the popular press. \nhttps://www.metmuseum.org/exhibitions/lillian-bassman-bazaar-and-beyond
URL:https://jamesmaherphotography.com/event/lillian-bassman-bazaar-and-beyond/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/lillian-bassman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260206
DTEND;VALUE=DATE:20260302
DTSTAMP:20260205T174340Z
CREATED:20260205T174340Z
LAST-MODIFIED:20260205T174340Z
UID:10000120-1770336000-1772409599@jamesmaherphotography.com
SUMMARY:Clayton Patterson Photographs 1986-2001
DESCRIPTION:CLAYTON PATTERSON PHOTOGRAPHS 1986-2001\nFeb. 6th – Mar 1st\n47 Chrystie Street NY NY 10002 \nOpening reception Friday Feb 6th\, 6-9pm \nOpen to the public\nGallery will be open Friday – Sunday every week in Feb \nhttps://www.instagram.com/p/DUTfbdhkYXy/
URL:https://jamesmaherphotography.com/event/clayton-patterson-photographs-1986-2001/
LOCATION:47 Christie Street\, 47 Christie Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/02/clayton.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260205
DTEND;VALUE=DATE:20260322
DTSTAMP:20260310T012510Z
CREATED:20260310T012510Z
LAST-MODIFIED:20260310T012510Z
UID:10000129-1770249600-1774137599@jamesmaherphotography.com
SUMMARY:Fragmentary Glimpses:  Alfred Stieglitz and David Vestal in New York
DESCRIPTION:One thing is certain about New York City—it is always changing. We know this on an instinctual level\, but the art of the times is what reveals the city’s shapeshifting energy. As a versatile medium\, photography both documents what a camera views while simultaneously revealing more than what is seen at any given moment. \nRobert Mann Gallery is pleased to present Fragmentary Glimpses: Alfred Stieglitz and David Vestal in New York\, on view starting February 5. This intimate exhibition invites viewers to look at New York through the lens of two photographers who were infatuated with the city’s ever-evolving landscape: Alfred Stieglitz and David Vestal. \nIn the early 1900s\, Alfred Stieglitz hosted modern art exhibitions at his Little Galleries of the Photo-Secession—named after the Pictorialist group he helped found in 1902—and promoted photography as a legitimate art form through the pages of Camera Work. From 1903 to 1917\, this quarterly journal showcased new work by leading artists alongside art criticism and philosophical essays. While the journal primarily featured the work of others\, the October 1911 issue focused on Stieglitz’s own photographic vision and is considered one of the journal’s most important issues. \nFragmentary Glimpses presents the entire collection of images that Stieglitz published for Camera Work\, No. 36 — “snapshots” (as critics called them) of New York at one of its many turning points. Steamboats and locomotives transport people faster and further than ever before\, while airships and newly built skyscrapers usher in an era of reaching new heights. Such iconic works as The Steerage (1907)\, The Terminal (1892)\, and Spring Showers (1900) demonstrate how Stieglitz’s modernist framing and ability to render the city’s changing atmosphere—both natural and man-made—helped initiate a new direction for photography at the turn of the twentieth century. A main figure in and proponent of Pictorialism\, Stieglitz mastered the photogravure technique\, a photomechanical process that allowed for atmospheric and painterly effects while being mass produced. \nDecades later\, David Vestal photographed the city and its people living in modernity’s shadowy aftereffects. Arriving to New York in the late 1940s after studying painting at The Art Institute of Chicago\, Vestal took up photography and joined the renowned Photo League of socialist practitioners. Distinctly more steeped in aesthetic concerns than political ones\, his sensitive compositions and attention to light still skillfully capture the unsettling social realities that lingered like smog in most postwar American cities. \nThe title for this duo show comes from an essay featured in Stieglitz’s October 1911 issue of Camera Work. Referring to New York as “a vision that rises out of the sea\,” the photographer Alvin Langdon Coburn writes how the city “glimmers for a while in the sun…[then] vanishes\, but for fragmentary glimpses….” Both Stieglitz and Vestal knew intimately how their cameras could both capture the city’s insatiable hunger for progress while depicting its illuminous and hazy luster. \nView the exhibition in person and online starting February 5\, 2026. Public visiting hours are Tuesday–Friday\, 10am–6pm\, and Saturday from 11–6pm. For additional hours please make an appointment. For additional information and press materials\, please contact the gallery by email (mail@robertmann.com). \nhttps://robertmann.com/fragmentary-glimpses-stieglitz-and-vestal-in-new-york-press-release
URL:https://jamesmaherphotography.com/event/fragmentary-glimpses-alfred-stieglitz-and-david-vestal-in-new-york/
LOCATION:Robert Mann Gallery\, 508 W 26th St Suite 9F\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/stieglitz.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260204
DTEND;VALUE=DATE:20260409
DTSTAMP:20260310T005301Z
CREATED:20260114T041140Z
LAST-MODIFIED:20260310T005301Z
UID:10000114-1770163200-1775692799@jamesmaherphotography.com
SUMMARY:A litany for past suns: Zainab Aliyu
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to announce A litany for past suns\, a solo exhibition of works by 2025 BAXTER ST Resident\, Zainab Aliyu. On view from February 4 to April 2\, 2026\, this presentation of refigured stereograph images examines the power dynamics inherent to prevailing archival practices\, highlighting the role of technology in the silencing and misreading of lived experience\, particularly within Black communal histories. \nAliyu’s works juxtapose photographs from her familial archive with those from her broader community to create a selection of stereographic pairings\, which will be presented alongside printed matter\, installation\, text and sculpture. Historically tied to early photographic documentation and colonial ways of seeing\, stereoscopy is reworked here as a relational form that links images across place\, time and lineage rather than isolating them as data. Works attend to empathic gaps in collective memory across generational experiences marked by migration and forced displacement\, and trace how systems that organize knowledge are informed by colonial practices designed to classify and control. The stereographic images require viewers to lean in and look closely\, asking for a scale of intimate attention that counters distant and extractive gazes.  \nThis intimacy extends throughout the exhibition\, where material forms and spatial gestures reference the quiet interiors of family life shaped by what is remembered\, what is lost and what is no longer spoken. Within the installation\, domestic objects and architectural cues such as a rug\, curtain rod\, cupboard\, gate fragments\, and jewelry appear in subtle dislocation\, their familiar functions undone. Checkered floor patterns suggest rooms that recall the tiled surfaces of kitchens and bathrooms\, as well as staged West African studio interiors. Fragmented gates bearing Adinkra symbols\, alongside a Yorùbá-inspired paired staff form\, frame access as something that is negotiated. Earth-toned materials mirror the red and blue logic of the anaglyph images\, extending stereoscopy into the gallery and asking viewers to navigate memory by looking through\, around\, and between objects. \nAliyu worked with two bodies of images in parallel: hundreds of photographs scanned from her late grandmother’s home in Nigeria\, and images shared by others through an open invitation. Seeking resonances across these archives\, she initially experimented with code to organize and caption the images\, only to find that these computational processes failed to register their emotional and historical stakes. Machine-generated captions flattened context and misread lived realities\, exposing biases embedded in even the most purportedly neutral systems and reproducing long-standing erasures in the visual record of Black life. These failures are incorporated directly into Aliyu’s stereographs as traces of systems that sort without seeing\, underscoring the fiction of technological objectivity and pointing to the colonial frameworks such systems inherit. Rejecting the authority of computational interpretation\, Aliyu turned instead to a slower\, embodied method: printing each photograph\, laying them side by side on the studio floor\, and forming each pair by hand. Accompanying the images are speculative captions written from memory and oral history\, arranged alongside\, and at times redacting\, machine-generated captions. These texts interfere with one another\, not to correct the record\, but to stage a conflict between ways of knowing. This layered approach affirms that the porous nature of memory exceeds what archives and algorithms can contain. \nPositioned within a lineage of Black feminist archival critique\, A litany for past suns draws on the theoretical frameworks of scholars such as Safiya Noble\, Tina Campt\, and Saidiya Hartman\, who articulate the tensions between machine logic and ancestral memory. The project’s full title\, A litany for past suns labeled rituals / A star lit any and all possible futures\, is a bilateral anagram that mirrors the exhibition’s conceptual structure. Inspired by Nikki Giovanni’s “A Litany for Peppe” (1970) and Audre Lorde’s “A Litany for Survival” (1978)\, Aliyu positions her litany as both remembrance and call to action; it is an invitation for viewers to transform shared histories into shared futures. \nAbout Zainab Aliyu\nZainab “Zai” Aliyu is a Nigerian-American artist\, designer and cultural worker living in Brooklyn\, NY. Her work explores the cybernetic and temporal entanglements within societal dynamics to understand how all sociotechnological systems of control are interconnected\, and how we are all materially implicated through time. She draws upon her body as a corporeal archive and site of ancestral memory to craft counter-narratives through sculptures\, videos\, installations\, virtual environments\, publications\, archives\, and social practice. Zai is a 2025–28 Jerome Hill Artist Fellow\, 2023-24 NYSCA/NYFA Artist Fellow and former co-director of the School for Poetic Computation. Her work has been presented internationally at Gardiner Museum (Toronto\, Canada)\, Vienna Design Week (Vienna\, Austria)\, The Bronx Museum of the Arts (Bronx\, NY)\, Film at Lincoln Center (New York\, NY)\, Museum of Modern Art (New York\, NY)\, Smack Mellon (Brooklyn\, NY)\, Miller ICA (Pittsburgh\, PA)\, Centre for Heritage\, Arts and Textile (Hong Kong\, China)\, among others. She has been awarded residencies at Pioneer Works (New York\, NY)\, MASS MoCA (North Adams\, MA)\, Haystack Mountain School of Crafts (Deer Isle\, ME)\, The Luminary (St. Louis\, MI)\, Casa do Povo (São Paulo\, Brazil)\, and Pocoapoco (Oaxaca\, Mexico)\, among others. \nhttps://www.baxterst.org/events/a-litany-for-past-suns/
URL:https://jamesmaherphotography.com/event/a-litany-for-past-suns-zainab-aliyu/
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/2026/01/baxter-aliyu.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260204
DTEND;VALUE=DATE:20260409
DTSTAMP:20260310T005328Z
CREATED:20260114T041021Z
LAST-MODIFIED:20260310T005328Z
UID:10000113-1770163200-1775692799@jamesmaherphotography.com
SUMMARY:Hard Feelings: Dean Majd
DESCRIPTION:BAXTER ST at the Camera Club of New York is proud to present Hard Feelings\, the debut solo exhibition by Palestinian-American lens-based artist Dean Majd. Curated by Marley Trigg Stewart\, BAXTER ST’s 2025-26 Guest Curatorial Recipient\, the show will be on view February 4 to April 2\, 2026. \nPrompted by a childhood friend’s sudden passing just a week after their reunion\, Majd began documenting the male dynamics within his circle – an insular graffiti crew in his hometown of Queens\, New York. Made largely at night and with point-and-shoot cameras\, the photographs oscillate between moments of revelry and violence\, creating a nuanced portrayal of masculinity\, the cyclical nature of trauma\, and the power of empathy. \nHard Feelings brings together works that offer an unflinching testament to lives deemed invisible yet demand to be seen. Majd’s comprehensive archive of the group’s rituals\, its frictions and intimacies\, began innocently as a record of truth; his lens offered a channel for their collective grief\, the impetus to deepen his burgeoning relationship with the camera.  \nMoving between documentarian and participant\, Majd complicates conventional ideas of distance\, authorship\, and complicity. Over time the boundaries between himself\, his friends\, and his camera dissolved. The tension in the images is palpable\, dominated by the emotional awareness that we as viewers have become privy to things Majd cannot unsee. Wounds cut deep\, psychic or otherwise\, but Majd’s photographs also remind us that scars are signs of healing. \nInvoking the spirituality and tenebrism of Baroque painting through deep shadows and sudden illumination\, as well as a lineage of photographers favoring diaristic intimacy over traditional documentary distance\, Majd has cultivated a visual language that is both formally rigorous and emotionally bare. Without romanticizing their experiences\, the interplay of chroma and contrast form love letters to his collaborators\, to Queens and to New York City itself.  \nPhotographed across the years before and after the COVID-19 pandemic\, Majd mythologizes the stories of lives ravaged by the ever changing nature of New York City. His lens immortalizes the passing of friends\, the chasing of ghosts\, nocturnal quests for ego death\, and masculine rites of passage – trials often faced by the men of color in Majd’s life\, crafting a legacy for those often unseen and unconsidered. Through trust\, his friends – themselves part of a lost generation – bore their cuts and tears to him as affirmations of their existences. \nIn Hard Feelings\, wounds and bruises become tender offerings. The boundary between violence and vulnerability dissipates\, with Majd’s camera insisting on presence – on seeing fully. The photographs become an acknowledgment of pain and spiritual catharsis. His empathetic eye transforms his lens into a mirror that reflects his sitters’ darkest internal conflicts\, and a space for them to face their own shadows; a place to express repressed emotions; a moment of vulnerability for those taught they must be invulnerable to survive. This odyssey resolves as an invitation for hope and healing for all those willing to engage with their hard feelings. \nHard Feelings is presented in dedication to the memory of Subash “Suba” Tamang. \nAbout Dean Majd \nDean Majd (b. 1990) is a self-taught\, lens-based artist born and based in Queens\, New York. Born to Palestinian immigrants\, he studied international relations with a focus on the Middle East at CUNY The City College of New York\, CUNY. Majd began forming his intimate and cinematic visual language after being given his first camera at seven years old by his mother. His diaristic work engages with violence as an imposed center-point of one’s life\, focusing on repressed\, negative emotions within contemporary masculinity in relation to addiction and self-destruction. His work also explores the complexities of the Arab-American dichotomy and the Palestinian diaspora against apartheid\, and how they overlap. \nMajd has been profiled by Aperture\, MATTE Magazine\, AnOther Magazine\, and GQ Middle East. His editorial work has appeared in The New York Times\, Vogue\, and New York Magazine among others. His work has mostly recently been exhibited at the Museum of the City of New York in the exhibition New York Now: Home\, as well as lectured at the International Center of Photography. In fall 2025 he will be an artist-in-residence at the Center for Photography at Woodstock\, and he is one of the recipients of the 2025 En Foco Fellowship Award. He is passionate about cinema\, immensely devoted to his friends (his chosen family)\, and a proud New Yorker. He believes that love\, above all else\, is the driving force behind everything he does. \nAbout Marley Trigg Stewart \nMarley Trigg Stewart (b. Oakland\, CA) is an artist whose practice explores authorship and absence through personal histories. Trigg Stewart’s work has been featured in MATTE Magazine and Musee Magazine\, and his writing has been featured in Aperture. He completed his Bachelor of Fine Arts in Photography at Pratt Institute\, and is currently based in Brooklyn\, New York. \nhttps://www.baxterst.org/events/hard-feelings/
URL:https://jamesmaherphotography.com/event/hard-feelings-dean-majd/
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/2026/01/baxter-majd.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260131
DTEND;VALUE=DATE:20260503
DTSTAMP:20260310T011900Z
CREATED:20260310T011900Z
LAST-MODIFIED:20260310T011900Z
UID:10000127-1769817600-1777766399@jamesmaherphotography.com
SUMMARY:Claudio Perna: Idea como Arte
DESCRIPTION:CURATORS\nOlivia Casa\nClara Prat-Gay\n\n\n\n\n \n\n\n\nThe Institute for Studies on Latin American Art (ISLAA) is pleased to announce Claudio Perna: Idea como Arte\, the first solo exhibition in New York dedicated to the Venezuelan conceptual artist Claudio Perna (1938–1997). Across a complex and prolific practice ranging from photocopies and Polaroids to collaged maps and conceptual photography\, Perna’s work examined the boundary between material record and reality across art and science. Featuring more than forty works from several key series\, this exhibition highlights his exploration of documentation\, authorship\, and national identity\, and experimental approach to artistic production\, between 1968 and the early 1990s. \nBorn in Milan\, Perna moved to Venezuela as a teenager and studied geography\, which informed his explorations of place and nationhood across his work. In his series of collaged maps of Venezuela\, on view in this exhibition\, he challenged the notion of national identity as fixed\, presenting it instead as shaped by personal memory and rooted in lived experience. Starting in the late 1960s\, he launched a series of conceptual experiments with photographic technology\, in which he investigated the media through which information circulates and accumulates. These works included orchestrated photographic scenes in Fotos dirigidas (1967–68)\, photocopied self-portraits and impressions of found objects in Autocopias (1973–75)\, and performative documentation in Fotoinformes (1976–90) and Alineamientos (1976). \nBy tracing Perna’s conception of the “idea as art”—a commonly used term and unifying principle of the diverse strategies of conceptualism—this exhibition positions his work within an international history of conceptualism and foregrounds a moment of radical artistic experimentation in Venezuela\, as artists expanded the languages of abstraction\, embraced experimental media\, and pursued alternative art forms. In doing so\, it highlights Perna’s expansion of artistic production beyond the art object and invites viewers to consider how knowledge is constructed through acts of looking\, recording\, and reinterpreting—concerns that continue to resonate today amid ongoing debates regarding the circulation of information and the authority of images. \nOn view from January 31 to May 2\, 2026\, Claudio Perna: Idea como Arte is curated by Olivia Casa with Clara Prat-Gay. \nImage Caption: Claudio Perna\, Idea como Arte (Idea as Art)\, 1976. © Fundación Claudio Perna \n\n\n\n\n\nhttps://islaa.org/exhibitions/claudio-perna-arte-como-idea/\n\n\n\n 
URL:https://jamesmaherphotography.com/event/claudio-perna-idea-como-arte/
LOCATION:Institute for Studies on Latin American Art (ISLAA)\, 142 Franklin St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/claudio-perna.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20260318T191631Z
CREATED:20251202T050020Z
LAST-MODIFIED:20260318T191631Z
UID:10000106-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:Eugène Atget: The Making of a Reputation
DESCRIPTION:The International Center of Photography presents Eugène Atget: The Making of a Reputation\, curated by ICP’s creative director David Campany. This exhibition takes a new approach to the story of Atget’s career\, drawing particular attention to the role that Berenice Abbott played in shaping Atget’s posthumous rise in influence. \nAbout Eugène Atget \nEugène Atget (1857-1927) was a French photographer best known for his photographs of Paris and its environs. He supplied studies for painters\, architects\, and stage designers\, while also making formally complex pictures. Atget’s subjects included everything from grand buildings to typical street scenes\, storefronts and workers. His photographs\, often taken in the early hours\, are notable for their diffuse light and wide views that give a sense of enigma and mystery. They also document Paris and its rapid changes; many of the areas Atget photographed were soon to be razed as part of widespread modernization projects. \nAtget drew the admiration of a variety of artists\, most notably Man Ray who even used one of Atget’s photographs on the cover of the magazine La Révolution surréaliste. The photographer Berenice Abbott preserved many of Atget’s prints and negatives. She exhibited his work\, wrote about it\, and for decades championed Atget as a forerunner of modern photography. \nhttps://www.icp.org/exhibitions/eugene-atget
URL:https://jamesmaherphotography.com/event/eugene-atget-the-making-of-a-reputation/
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/2025/12/icp-atget.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20251202T045744Z
CREATED:20251202T045744Z
LAST-MODIFIED:20251202T045744Z
UID:10000105-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:Latitudes: Nuits Balnéaires and François-Xavier Gbré
DESCRIPTION:The International Center of Photography presents Latitudes\, an exhibition in partnership with the Fondation d’entreprise Hermès and the Fondation Henri Cartier-Bresson in Paris. In its current iteration\, Latitudes highlights new work by two laureate-artists from Côte d’Ivoire– Nuits Balnéaires and François-Xavier Gbré. \nAbout Latitudes \nLaunched in 2024\, Latitudes is a Fondation d’entreprise Hermès program developed in partnership with the Fondation Henri Cartier-Bresson in Paris and the International Center of Photography (ICP) in New York. \nIt broadens the scope of Immersion\, the former French-American photography commission created in 2014 with the same partners\, a cross-residency between France and the United States. \nThe new program supporting contemporary creation takes its name from a geographical concept\, affirming its ambition to shed light on artists from scenes that are still underrepresented on the international stage. In practice\, the Fondation d’entreprise Hermès\, the Fondation Henri Cartier-Bresson and the ICP select a country from which photographers are invited to submit a project. A jury composed of representatives from the three institutions selects the annual laureate. \nThe chosen photographer receives a grant to produce a new series. The resulting work is exhibited in Paris at the Fondation Henri Cartier-Bresson\, in New York at the ICP\, and finally in the laureate’s home country. \nCôte d’Ivoire is the first country to be honored in the two-year cycle inaugurated in 2024. \nAbout Nuits Balnéaires \nMultidisciplinary artist and poet Nuits Balnéaires was born and raised in Abidjan\, into a family with Akan Agni-Bona and Malinké origins. With intimate connections to both peoples’ traditions\, culture and spirituality\, his work creates a parallel space-time beyond the constraints of geography\, while embracing the universality of oceans as the connective tissue between worlds. \nNuits Balnéaires cultivates powerful ties with the energy of the Gulf of Guinea and  its landscapes\, hence the omnipresence of water in his photographic practice\, films and poetry. Haunted by the duality of life and death\, and the possibility of communication between these states\, his works convey a euphoric sense of tranquillity that feels both classical and contemporary. \nIn 2019\, Nuits Balnéaires settled in Grand-Bassam\, Côte d’Ivoire\, to develop his artistic practice\, drawing on his years as a fashion and conceptual photographer. He secured  a one-year bursary in visual journalism with the World Press Photo Foundation\, and was among the winners of a 2020 call for projects from the Goethe-Institut and the Prince Claus Fund\, which supports cultural and artistic responses to environmental change. Nuits Balnéaires’s work has been exhibited at Art X Lagos\, Paris’s 1-54 Contemporary African Art Fair\, FNB Art Johannesburg\, and in numerous exhibitions across Côte  d’Ivoire\, Canada\, the US\, the UK\, France\, the Netherlands and Australia. \nAbout François-Xavier Gbré \nBorn in 1978 in Lille\, France. François-Xavier Gbré lives and works between La Rochelle (France) and Abidjan (Côte d’Ivoire). \nSteeped in time and geography\, Gbré’s work draws on the language of architecture as a witness to memory and social change. From colonial remains to landscapes redefined by current events\, Gbré explores territories and revisits History. The constant dialogue with his environment leads him to use different scales and exhibition methods\, whether crafting meticulous installations based on thorough investigations of the land\, or using architecture itself to make photography resonate through a physical relationship with the viewer or the public space. \nHis work has been shown in Paris and Abidjan at the Cécile Fakhoury Gallery\, which represents him\, at the Dakar Biennale in Senegal\, the Venice Biennale in Italy\, in Madagascar\, Nigeria\, the United States\, and various European countries. \nHis works are included\, among others\, in the collections of the Centre Pompidou (Paris\, France)\, the Smithsonian Institution (Washington\, USA)\, Tate Modern (London\, UK)\, the Museum of Modern Art (New York\, USA)\, the Walther Collection (Neu-Ulm\, Germany – New York\, USA)\, the Philadelphia Museum of Art (USA)\, the Collection of the Rencontres de la photographie d’Arles (France)\, and the FNAC – Fonds National d’Art Contemporain (France). \nIn 2020\, François-Xavier Gbré was awarded the Louis Roederer Discovery Award at the Rencontres de la photographie d’Arles. In 2024\, he becomes the first laureate of the Fondation d’entreprise Hermès Latitudes program. \nhttps://www.icp.org/exhibitions/latitudes \n 
URL:https://jamesmaherphotography.com/event/latitudes-nuits-balneaires-and-francois-xavier-gbre/
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/2025/12/icpfrancoisxavier.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20251202T045835Z
CREATED:20251202T045106Z
LAST-MODIFIED:20251202T045835Z
UID:10000104-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:HARD COPY New York (curated by Aaron Stern & David Campany)
DESCRIPTION:The International Center of Photography presents HARD COPY NEW YORK\, an expanded iteration of Aaron Stern’s ongoing project exploring the contemporary use of the photocopied image. Following previous iterations\, including a 2025 show in Los Angeles\, the group exhibition uses the visual language of the copy machine to evoke nostalgia for a time of more deliberate picture making. \nIn our current moment when digital images proliferate\, fewer physical copies of images are made or exhibited. Through this show\, curators David Campany and Aaron Stern aim to reassert photography’s inherent power: its ability to offer a profound\, democratic\, and tangible experience. \nAbout Aaron Stern  \nAaron Stern is a Manhattan-based curator\, artist and author working between the Americas and Europe. His photographs\, books\, writing and curatorial projects have appeared in publications and institutions such as RoseGallery\, Webber Gallery\, WSA\, Magenta Plains\, Dashwood Books\, Perrotin\, Photo Saint Germain\, International Center for Photography\, Paris Photo\, Los Angeles Art Book Fair\, Index Art Fair\, Purple Magazine\, The Paris Review\, Vogue\, The New York Times\, Dazed&Confused\, and Interview Magazine.  \nArtists \nDaniel Arnold \nDavid Black \nJohn Divola \nJerry Hsu \nShaniqwa Jarvis \nAri Marcopoulos \nRyan McGinley \nThomas Ruff \nCollier Schorr \nStephen Shore \nhttps://www.icp.org/exhibitions/hard-copy-new-york
URL:https://jamesmaherphotography.com/event/hard-copy-new-york-curated-by-aaron-stern-david-campany/
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/2025/12/Aaron-Stern-David-Campany-ICP-Show.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260204
DTSTAMP:20251203T225521Z
CREATED:20251202T064927Z
LAST-MODIFIED:20251203T225521Z
UID:10000111-1769644800-1770163199@jamesmaherphotography.com
SUMMARY:4th Annual Soho Photo Gallery Exhibition
DESCRIPTION:Mark your calendars! APA New York is proud to announce our 4th Annual Juried Photography Exhibition opening late January 2026 at the new Chelsea location of Soho Photo Gallery. \nFounded in 1971 by New York Times photojournalists and avant-garde artists\, Soho Photo Gallery is the city’s longest-running cooperative photography gallery – a space that continues to champion creativity\, experimentation\, and community. \nThis year’s exhibition will be juried by Amanda Hajjar. Amanda is a curator based in the New York City area with over fifteen years of experience in the art and design field. She currently serves as Project Lead and Curator at the American Federation of Arts\, where she develops and produces traveling exhibitions for museums across the country. Previously\, she was the Founding Artistic Director of Fotografiska New York\, leading the museum’s launch and establishing its exhibition program. Earlier in her career\, she was an Artist Liaison at Gagosian\, collaborating with artists and estates—including the Richard Avedon Foundation—and managed more than fifty exhibitions and contributed to six exhibition catalogues.  \nThe show will feature around 75 works from artists across the country\, spanning genres such as editorial\, fine art\, documentary\, fashion\, landscape\, portraiture\, and experimental photography. Together\, these images will celebrate the depth and diversity of contemporary photographic practice. \nJoin us for the opening reception on January 29\, 2026\, at Soho Photo Gallery\, and discover an inspiring collection of work from some of today’s most talented photographers. \nhttps://ny.apanational.org/events/entry/4th-annual-curated-photography-exhibition-at-soho-photo-gallery/
URL:https://jamesmaherphotography.com/event/4th-annual-soho-photo-gallery-exhibition/
LOCATION:Soho Photo Gallery\, 539 W 23 St\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/soho-photo-gallery.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260122
DTEND;VALUE=DATE:20260329
DTSTAMP:20260310T011239Z
CREATED:20260310T011239Z
LAST-MODIFIED:20260310T011239Z
UID:10000124-1769040000-1774742399@jamesmaherphotography.com
SUMMARY:North Light
DESCRIPTION:https://www.houkgallery.com/exhibitions/140-north-light/works/
URL:https://jamesmaherphotography.com/event/north-light/
LOCATION:Edwynn Houk\, 693 Fifth Avenue\, 6th Floor\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/NorthLight.jpg
END:VEVENT
END:VCALENDAR