BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//New York Photography, Prints, Portraits, Events, Workshops - ECPv6.18.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:New York Photography, Prints, Portraits, Events, Workshops
X-ORIGINAL-URL:https://jamesmaherphotography.com
X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20280312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20281105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20290311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20291104T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250101
DTEND;VALUE=DATE:20280102
DTSTAMP:20251203T225112Z
CREATED:20250317T001947Z
LAST-MODIFIED:20251203T225112Z
UID:10000005-1735689600-1830383999@jamesmaherphotography.com
SUMMARY:New York at its Core: 400 Years of NYC History
DESCRIPTION:“Framed around the key themes of money\, density\, diversity\, and creativity\, New York City’s history and future come alive in this first-of-its-kind exhibition\, through the stories of innovation\, energy\, struggle\, and the vision of generations of immigrants\, politicians\, tycoons\, dreamers\, master builders\, and ordinary New Yorkers. \nNew York at Its Core captures the human energy that drove New York to become a city like no other\, featuring the city’s “big personalities” – among them\, Alexander Hamilton\, Walt Whitman\, Emma Goldman\, JP Morgan\, Fiorello La Guardia\, Jane Jacobs\, and Jay Z. The stories of lesser-known New York personalities\, like Lenape chieftain Penhawitz and Lower East Side denizen Susie Rocco\, also figure prominently in the exhibition\, as do some of the furred and shelled residents who shaped the city’s economic and daily life – among them\, the pig\, the beaver\, and the oyster. \nThrough almost 450 historic objects and images\, many from the Museum’s rich collection\, as well as contemporary video\, photography\, and interactive digital experiences\, we welcome you to dive deep into the city’s past and create your own visions for its future.” \nhttps://www.mcny.org/nyatitscore
URL:https://jamesmaherphotography.com/event/new-york-at-its-core-400-years-of-nyc-history/
LOCATION:Museum of the City of New York\, 1220 5th Avenue\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-4.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260909
DTEND;VALUE=DATE:20261130
DTSTAMP:20260906T163744Z
CREATED:20260906T163744Z
LAST-MODIFIED:20260906T163744Z
UID:10000163-1788912000-1795996799@jamesmaherphotography.com
SUMMARY:New Openings Against Old Surfaces: On Gordon Matta-Clark’s Walls Paper
DESCRIPTION:Printed Matter is pleased to present New Openings Against Old Surfaces: On Gordon Matta-Clark’s Walls Paper\, the first exhibition focused specifically on the publishing output of pioneering artist Gordon Matta-Clark\, with a particular focus on his project Walls Paper. The show offers an in-depth consideration of the 1973 publication\, situating the work as a key experiment within the artist’s diverse and ambitious practice\, and with the artists’ book medium at large. The exhibition is organized with the participation of the Estate of Gordon Matta-Clark\, with materials drawn from its archives\, and the Gordon Matta-Clark collection at the Canadian Centre for Architecture (CCA) in Montreal. On occasion of the exhibition\, Printed Matter will realize two newly-created commissions from contemporary artists in dialogue with the legacy of Matta-Clark. \nNew Openings Against Old Surfaces is presented as part of Printed Matter’s 50th Anniversary programming\, connecting the artist’s experimentation in book form to the radical milieu that characterized the time of PM’s founding—and with contemporary artists’ practice today. \nPublished by Buffalo Press in 1973\, Walls Paper gathers and abstracts a series of photographs by Matta-Clark depicting the crumbling interior walls of half-demolished tenement buildings across the South Bronx and Lower East Side. The images are reproduced in low-contrast black and white\, and overprinted with hazy neons that likely referenced the patchwork of exposed wallpapering he encountered. The publication—Matta-Clark’s most formally inventive and arguably his one true artists’ book—features newsprint pages that have been bound together and horizontally bisected\, effectively creating two distinct booklets in one. Produced at a time of political upheaval and artistic awakening\, Walls Paper shares the structural and conceptual daring of the early architectural interventions that Matta-Clark performed in response to the dire conditions of economic crisis\, systemic neglect\, and widespread urban decay of New York City in the early 1970s. \nhttps://www.printedmatter.org/programs/events/2276
URL:https://jamesmaherphotography.com/event/new-openings-against-old-surfaces-on-gordon-matta-clarks-walls-paper/
LOCATION:Printed Matter\, 231 11th Ave\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/matta-clark-walls-paper-printed-matter.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260912
DTEND;VALUE=DATE:20270221
DTSTAMP:20261105T181921Z
CREATED:20261105T181921Z
LAST-MODIFIED:20261105T181921Z
UID:10000182-1789171200-1803167999@jamesmaherphotography.com
SUMMARY:Andrea Modica: Italian Story
DESCRIPTION:Italian Story presents a selection of photographs made using an 8 × 10–inch large-format camera and Kodak Tri-X film. Each image is meticulously hand-printed in platinum-palladium\, a process known for its tonal depth\, permanence\, and luminous surface. Modica’s commitment to traditional photographic techniques underscores her careful\, intimate approach to image-making\, resulting in photographs that are both materially rich and emotionally resonant. \nThrough this body of work\, Modica continues her exploration of time\, memory\, and human connection\, offering viewers a contemplative and enduring photographic experience. \nhttps://aliceausten.org/italian_story/
URL:https://jamesmaherphotography.com/event/andrea-modica-italian-story/
LOCATION:Alice Austen House\, 2 Hylan Blvd\, Staten Island\, NY\, 10305\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/andrea-modica-italian-story.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260916
DTEND;VALUE=DATE:20261111
DTSTAMP:20261105T185106Z
CREATED:20261105T185106Z
LAST-MODIFIED:20261105T185106Z
UID:10000164-1789516800-1794355199@jamesmaherphotography.com
SUMMARY:Milk Teeth: Allie Tsubota
DESCRIPTION:Milk Teeth takes as its starting point a photograph made in 1870 depicting 75 Chinese boys and young men who were trafficked from California to North Adams\, Massachusetts\, to work as strikebreakers against French Canadian workers. Confined to the factory site under carceral conditions\, they remained in North Adams during the decade preceding the Chinese Exclusion Act of 1882. Using archival and original photographs\, sculptural works\, and an extended fictional text\, Tsubota traces the interconnected histories of race\, immigration\, labor\, extraction\, and photography. \nhttps://www.baxterst.org/all-exhibitions/?schedule=upcoming
URL:https://jamesmaherphotography.com/event/milk-teeth-allie-tsubota/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/milk-teeth-allie-tsubota-baxter-st.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260916
DTEND;VALUE=DATE:20261111
DTSTAMP:20261105T185112Z
CREATED:20261105T185112Z
LAST-MODIFIED:20261105T185112Z
UID:10000165-1789516800-1794355199@jamesmaherphotography.com
SUMMARY:Where To\, From Here: Azikiwe Mohammed
DESCRIPTION:Where To\, From Here brings together 140 photographs drawn from an ongoing series begun in 2023\, which now comprises approximately 280 images. Made primarily with Polaroid film\, the photographs trace Mohammed’s travels across the United States\, documenting people\, places\, and sites of gathering along the way. \nhttps://www.baxterst.org/all-exhibitions/?schedule=upcoming
URL:https://jamesmaherphotography.com/event/where-to-from-here-azikiwe-mohammed/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/where-to-from-here-azikiwe-mohammed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20261112
DTSTAMP:20261105T181120Z
CREATED:20261105T181120Z
LAST-MODIFIED:20261105T181120Z
UID:10000171-1789603200-1794441599@jamesmaherphotography.com
SUMMARY:Baldwin Lee: New York (1975–1979)
DESCRIPTION:Howard Greenberg Gallery presents Baldwin Lee: New York (1975–1979)\, an exhibition of large-scale black-and-white photographs. The exhibition brings together photographs Lee made between 1975 and 1979\, a formative period in his career\, and marks the first time they have been on view. \nRaised in New York’s Chinatown\, Lee studied photography with Minor White at the Massachusetts Institute of Technology and later with Walker Evans at Yale University\, where he received his MFA in 1975. In the years that followed\, he returned repeatedly to New York with a 4 × 5 view camera\, photographing the city in the early morning\, often in winter\, when its streets were nearly empty. \nLee approached Manhattan not as a collection of architectural subjects\, but as a place shaped by human presence. Human figures rarely appear\, yet their presence remains legible in the worn surfaces of streets and buildings\, storefronts\, and parked cars. \nhttps://www.howardgreenberg.com/exhibitions/199-baldwin-lee-new-york-1975-1979/
URL:https://jamesmaherphotography.com/event/baldwin-lee-new-york-1975-1979/
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/2026/11/baldwin-lee-new-york.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20261122
DTSTAMP:20261105T185100Z
CREATED:20261105T185100Z
LAST-MODIFIED:20261105T185100Z
UID:10000156-1789603200-1795305599@jamesmaherphotography.com
SUMMARY:Sarah Sense: Land\, Line\, Blood\, Memory
DESCRIPTION:Bruce Silverstein Gallery is pleased to announce Land\, Line\, Blood\, Memory\, the gallery’s third solo exhibition of work by Chitimacha/Choctaw artist Sarah Sense (b. 1980)\, who for more than two decades\, has been a defining voice in contemporary photography. Comprising of more than twenty new photo-weavings made from the artist’s contemporary landscape photographs\, archival documents\, historical images\, maps\, printed bamboo and rice papers\, cotton thread\, ribbon\, and hand-prepared rivercane\, the exhibition considers the relationship between Indigenous people and ancestral land and the systems of representation\, ownership\, and erasure that have attempted to sever that connection. \nSense’s practice is grounded equally in inherited knowledge and original research. Her grandmother\, Chile Blanche Stouff\, kept a collection of family baskets that gave Sense her first love of the form\, while summers in her grandfather’s Chitimacha community in Louisiana rooted her in the culture that made them. With the blessing of the Chairman of the Chitimacha Tribe\, Sense began developing her variation of traditional basketry methods while earning her MFA at Parsons the New School for Design. A curator\, writer\, and researcher as well as an artist\, she held a British Library Eccles Centre Fellowship from 2019 to 2022 and is the author of Weaving the Americas. The maps\, records\, and images in her work are primary sources she located through this research\, transforming them into dynamic and beautiful works of art. \nHer latest series\, Land\, Line\, Blood\, Memory\, provides a framework for the intertwined histories embedded throughout the work.  In Sense’s Artist Statement she writes\, “Land\, Line\, Blood\, Memory is about connecting to ancestry through basket weaving and generational healing. Woven photographs intertwine images of land that hold memory\, baskets that hold\, ancestry\, historical photography that tell stories\, and maps that draw lines.” (For the full Statement\, click here.) \nhttps://brucesilverstein.com/exhibitions/241-sarah-sense-land-line-blood-memory/overview/
URL:https://jamesmaherphotography.com/event/sarah-sense-land-line-blood-memory/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/sarah-sense-land-line-blood-memory.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20270401
DTSTAMP:20261105T185837Z
CREATED:20261105T185837Z
LAST-MODIFIED:20261105T185837Z
UID:10000189-1789603200-1806537599@jamesmaherphotography.com
SUMMARY:Lines of Survival: Living\, Adapting\, Imagining Tomorrow
DESCRIPTION:What does it mean to live\, adapt\, and imagine tomorrow when the world around you is changing? \nAcross Africa\, climate change is reshaping landscapes\, livelihoods\, and the everyday decisions people make to survive. Yet these experiences cannot be reduced to a single image or story. \nLines of Survival: Living\, Adapting\, Imagining Tomorrow brings together the work of the winner and finalists of the 2026 Africa Soft Power Climate Change Storytelling Fellowship & Photo Essay prize\, an initiative supporting a new generation of African and diaspora visual storytellers. \nhttps://theafricacenter.org/event-detail-page/details/208/Lines-of-Survival
URL:https://jamesmaherphotography.com/event/lines-of-survival-living-adapting-imagining-tomorrow/
LOCATION:The Africa Center\, 1280 5th Ave\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/lines-of-survival-africa-center.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20261122
DTSTAMP:20261105T182213Z
CREATED:20261105T182213Z
LAST-MODIFIED:20261105T182213Z
UID:10000185-1789689600-1795305599@jamesmaherphotography.com
SUMMARY:Justine Kurland: A Retrospective
DESCRIPTION:OSMOS is pleased to announce Justine Kurland: A Retrospective\, the first ever survey exhibition of Justine Kurland’s work\, spanning three decades. Justine Kurland’s work reflects an idyllic yet wild America through a queer feminist lens. This is the first ever retrospective exhibition for the artist and her first solo show with OSMOS in New York City. The photographs and collages on view are a curation of selected work from disparate series which presents a constellation of enduring themes. \nhttps://www.osmos.online/
URL:https://jamesmaherphotography.com/event/justine-kurland-a-retrospective/
LOCATION:OSMOS\, 50 E 1st Street\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/justine-kurland-retrospective.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270315
DTSTAMP:20260919T145619Z
CREATED:20260919T145619Z
LAST-MODIFIED:20260919T145619Z
UID:10000168-1789689600-1805068799@jamesmaherphotography.com
SUMMARY:Taryn Simon | Father Country I Do Love You
DESCRIPTION:Taryn Simon | Father Country I Do Love You premieres a monumental body of work by artist Taryn Simon (b. 1975\, New York). Filling the entire rotunda\, the presentation brings together never-before-seen photographs\, text\, videos\, and sculptures into a singular interactive installation. Taryn Simon | Father Country I Do Love You marks the first monographic exhibition by a photography-based artist in the museum’s rotunda and the largest debut of new work ever staged at the Guggenheim. \nNearly a decade in the making\, Father Country I Do Love You (2026) traces the real life of one unnamed federal agent through 42 multipart artworks or “chapters.” The immense project is a labyrinth of stories in which Simon uncovers the ripple effects of her protagonist’s actions and inactions. Through duty\, devotion\, loss\, and happenstance\, the federal agent acted as a middleman\, witnessing events great and small and collecting evidence for someone else to slot into the bigger picture. Stings and entrapments\, traitors and child soldiers\, impeachment and Hollywood\, mass shootings and poison: everything he touched ricocheted to the outer boundaries of nations and lives he’d never know. \nThe federal agent’s narrative is shadowed by the life of Simon’s father\, who lived in Thailand while working for the United States government before ending his career manufacturing and selling arcade games. Simon never got his full story\, and upon his diagnosis of Alzheimer’s disease\, she realized she never would. \nOn view during the 250th anniversary of the United States\, Father Country I Do Love You darts between anxiety\, survival\, empathy\, and play\, shining a shaky spotlight on democracy\, memory\, and the consequences of individual acts. Over and over again\, extraordinary events collide with ordinary lives\, revealing the delicate coexistence of violence and grace\, control and boredom\, responsibility and fantasy\, grief and routine—states difficult to reconcile not because they are disconnected but because they are inseparable. \nhttps://www.guggenheim.org/exhibition/taryn-simon
URL:https://jamesmaherphotography.com/event/taryn-simon-father-country-i-do-love-you/
LOCATION:Solomon R. Guggenheim Museum\, 1071 Fifth Avenue\, New York\, NY\, 10128\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/taryn-simon-father-country-guggenheim.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260920
DTEND;VALUE=DATE:20270503
DTSTAMP:20260812T170027Z
CREATED:20260812T170027Z
LAST-MODIFIED:20260812T170027Z
UID:10000150-1789862400-1809302399@jamesmaherphotography.com
SUMMARY:Taking Back Our Space: Photographic Perspectives
DESCRIPTION:In 1972\, the West German artist Marianne Wex began a visual survey of gendered body language. She picked up her camera and covertly photographed people in her hometown of Hamburg\, observing how men and women were socialized to inhabit space differently. She also rephotographed pictures from advertisements\, newspapers\, magazines\, film\, television\, and art catalogues\, pasting the images onto boards organized into categories like “standing arms\,” “sitting legs\,” “lying down\,” and “possessive holds.” For Wex\, “these mostly unconscious actions” were “essential parts of our communication.” \nPresenting a robust selection\, the exhibition also brings Wex’s watershed feminist project into dialogue with contemporary artists Nona Faustine\, Martine Gutierrez\, K8 Hardy\, Yuki Kihara\, Joiri Minaya\, Paulina Olowska\, and Wendy Red Star. These contemporary practitioners reappraise the relationship of bodies to public space from Black\, queer\, and 21st-century feminist perspectives. In this context\, the notion of “taking back space” resonates as a reclamation of physical territory\, historical narratives\, and the ability to represent oneself. \nhttps://www.moma.org/calendar/exhibitions/5678
URL:https://jamesmaherphotography.com/event/taking-back-our-space-photographic-perspectives/
LOCATION:Museum of Modern Art\, 11 W 53rd St\, New York\, NY\, 10019\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/taking-back-our-space-moma.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20261126
DTSTAMP:20261105T181241Z
CREATED:20261105T181241Z
LAST-MODIFIED:20261105T181241Z
UID:10000173-1790208000-1795651199@jamesmaherphotography.com
SUMMARY:Marta Soul: Love After Love
DESCRIPTION:What remains of love after love? \nRenowned Spanish artist Marta Soul explores female desire and the artifice of romantic relationships in her first solo exhibition in New York. \nBenrubi Gallery is thrilled to present Love After Love\, curated by Ângela Berlinde\, on view from September 24 to November 30\, 2026. Bringing together pictures and photographic installations of works from Idilios\, End of Love\, Minerva is not a Roman godess and Love me tender series\, specifically works never exhibited before. \nThe exhibition draws on more than fifteen years of sustained inquiry into female identity\, desire\, and the cultural narratives that shape our emotional lives. Soul’s protagonists desire\, choose\, and construct their own fictions while negotiating the roles and expectations placed upon women. \nhttps://www.benrubigallery.com/exhibitions/marta-soul-love-after-love
URL:https://jamesmaherphotography.com/event/marta-soul-love-after-love/
LOCATION:Benrubi Gallery\, 529 West 20th street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/marta-soul-love-after-love.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20270104
DTSTAMP:20260930T015855Z
CREATED:20260930T015855Z
LAST-MODIFIED:20260930T015855Z
UID:10000169-1790208000-1799020799@jamesmaherphotography.com
SUMMARY:Arthur Jafa: I Am Tony
DESCRIPTION:Spanning two floors of the newly expanded New Museum\, Arthur Jafa: I Am Tony encompasses the practice of one of the most influential artists of his generation. Alongside the premiere of new work\, the exhibition will feature Jafa’s most celebrated works\, including Love is the Message\, The Message is Death (2016) and the Golden Lion-winning The White Album (2019)\, as well as recent paintings\, large-scale video and film installations\, and a range of sculptural and photographic objects. \nOver a nearly forty-year career\, Jafa has sought to find new visual forms to capture the rhythm and realities of Black life in America. Often placing the nation’s growing awareness of the history of institutional violence directed toward the Black community against the backdrop of the ascension of Black culture\, music\, and entertainment in American national identity\, Jafa’s work turns an unflinching eye toward the past while embodying and mirroring our contemporary obsession with masses of images or ‘content’. I Am Tony\, named for the legendary jazz drummer Tony Williams\, will chart Jafa’s work from his earliest films to recent video installations\, mapping the evolution of his filmic language whose syncopations and textures match the aspirations of Black popular music. \nhttps://www.newmuseum.org/exhibition/arthur-jafa-i-am-tony/
URL:https://jamesmaherphotography.com/event/arthur-jafa-i-am-tony/
LOCATION:New Museum\, 235 Bowery\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/arthur-jafa-i-am-tony.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261001
DTEND;VALUE=DATE:20270117
DTSTAMP:20261105T181737Z
CREATED:20261105T181737Z
LAST-MODIFIED:20261105T181737Z
UID:10000179-1790812800-1800143999@jamesmaherphotography.com
SUMMARY:Lucien Clergue: A Life Through the Lens
DESCRIPTION:New York—Throckmorton Fine Art presents Lucien Clergue: A Life Through the Lens\, featuring rare vintage gelatin silver prints by renowned French photographer Lucien Clergue (1934–2014). On view October 1\, 2026\, through January 16\, 2027\, the exhibition opens October 1 with a reception from 5 to 8 p.m. and a talk by Clergue’s daughter\, Anne Clergue\, an Arles-based gallery owner and curator. \nLucien Clergue: A Life Through the Lens brings together 44 vintage prints\, from his iconic Nus de la mer (Nudes in the Sea) series to poetic studies of the Camargue marshes\, bullfighting motifs\, and surrealist compositions. Printed soon after the negatives were exposed\, the images showcase Clergue’s command of high-contrast chiaroscuro and rich\, tactile tones. Sensual\, serene\, and timeless\, they evoke the Mediterranean and a quieter past while marking the emergence of modern European figurative photography. \nBorn in Arles\, France\, Clergue devoted his long photographic career to the interplay between nature and the human form\, particularly the female figure. Working mainly in Southern France\, he used the region’s intense light to striking effect. He was close to Jean Cocteau and Pablo Picasso\, whom he photographed often. A leading advocate for photography as a fine art in France\, Clergue co-founded the celebrated Rencontres d’Arles festival in 1970. It has since become a major international photography event\, attracting more than 100\,000 visitors each summer. \nhttps://throckmorton-nyc.com/project/lucien-clergue-exhibit-a-life-through-the-lens/
URL:https://jamesmaherphotography.com/event/lucien-clergue-a-life-through-the-lens/
LOCATION:Throckmorton\, 145 E 57th St\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/lucien-clergue-life-through-the-lens.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261007
DTEND;VALUE=DATE:20261202
DTSTAMP:20261105T182258Z
CREATED:20261105T182258Z
LAST-MODIFIED:20261105T182258Z
UID:10000186-1791331200-1796169599@jamesmaherphotography.com
SUMMARY:Frank Meadow Sutcliffe: The Village People
DESCRIPTION:https://www.keithdelellisgallery.com/exhibitions/frank-meadow-sutcliffe
URL:https://jamesmaherphotography.com/event/frank-meadow-sutcliffe-the-village-people/
LOCATION:Keith de Lellis Gallery\, 41 East 57th Street\, Suite 703\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/frank-meadow-sutcliffe-village-people.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20261216
DTSTAMP:20261105T182342Z
CREATED:20261105T182342Z
LAST-MODIFIED:20261105T182342Z
UID:10000187-1792022400-1797379199@jamesmaherphotography.com
SUMMARY:Yuji Watanabe: Yōkai and Landscapes
DESCRIPTION:In Japanese folklore\, the familiar world is never entirely separate from the supernatural. A figure encountered along a road\, an animal glimpsed in the dark\, or an object left undisturbed for years might reveal itself to be something else. These are the yōkai\, beings whose forms and stories have been reshaped across generations. \nYuji Watanabe brings their haunting presence into dialogue with landscapes marked by legends and personal memories. Working with 8 × 10 Polaroid and ONE INSTANT peel-apart film\, Watanabe embraces the material qualities of analog photography: its distinctive textures\, subtle imperfections\, and the unpredictability of the developing image. The physical process leaves its own traces on the photographs\, lending them a quality that seems both immediate and strangely removed from time. \nHis images invite us to look beyond what the camera records\, toward the stories and fears that shape what we imagine in seemingly empty places. \nhttps://www.pictony.com/yuji-watanabe-yokai-and-landscapes
URL:https://jamesmaherphotography.com/event/yuji-watanabe-yokai-and-landscapes/
LOCATION:Picto New York\, 77 Washington Avenue\, 3rd Floor\, Brooklyn\, NY\, 11205\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/yuji-watanabe-yokai-and-landscapes.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20270112
DTSTAMP:20260812T170020Z
CREATED:20260812T170020Z
LAST-MODIFIED:20260812T170020Z
UID:10000148-1792022400-1799711999@jamesmaherphotography.com
SUMMARY:I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now
DESCRIPTION:I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now reconsiders and expands on the history of Japanese photography through the work twenty-eight intergenerational artists from the 1950s to today. Presented in partnership with Aperture and curated by Pauline Vermare\, Lesley A. Martin\, and Takeuchi Mariko\, the exhibition includes work Fujioka Aya\, Hara Mikiko\, Hiromix\, Ishikawa Mao\, Ishiuchi Miyako\, Katayama Mari\, Kawauchi Rinko\, Komatsu Hiroko\, Kon Michiko\, Nagashima Yurie\, Narahashi Asako\, Ninagawa Mika\, Nishimura Tamiko\, Noguchi Rika\, Nomura Sakiko\, Okabe Momo\, Okanoue Toshiko\, Onodera Yuki\, Sawada Tomoko\, Shiga Lieko\, Sugiura Kunié\, Suzuki Nozomi\, Tawada Yuki\, Tokiwa Toyoko\, Ushioda Tokuko\, Watanabe Hitomi\, Yamazawa Eiko and Yanagi Miwa. \nSpanning photography\, installation\, photobooks\, and printed matter\, the exhibition explores the experiences and perspectives of women in Japan through delicate and blunt observations of everyday life\, critical reflections on the roles inhabited and reshaped by Japanese women\, and approaches that push the boundaries of photography. The exhibition is accompanied by a major publication (Aperture\, 2024) that expands upon content of the show through essays\, historical material\, and a comprehensive bibliography of photobooks made by Japanese women. \nhttps://www.icp.org/exhibitions/im-so-happy-you-are-here-japanese-women-photographers-1950s-now
URL:https://jamesmaherphotography.com/event/im-so-happy-you-are-here-japanese-women-photographers-from-the-1950s-to-now/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/im-so-happy-japanese-women-photographers-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20270112
DTSTAMP:20261105T185052Z
CREATED:20261105T185052Z
LAST-MODIFIED:20261105T185052Z
UID:10000149-1792022400-1799711999@jamesmaherphotography.com
SUMMARY:Laia Abril: On Rape and Institutional Failure
DESCRIPTION:In On Rape and Institutional Failure\, an exhibition centered on the second chapter of her ongoing project A History of Misogyny\, Laia Abril examines different forms of violence against women throughout history. \nWeaving together images\, compiled testimonies\, archival materials\, select objects\, and installations with sound and video\, the exhibition investigates how gender-based stereotypes\, coupled with worldwide prejudices and misconceptions\, have contributed to a systemic rape culture that persists today. \nBy focusing on institutions\, Abril aims to avoid narratives of victim-blaming\, instead addressing the on-going problem of social accountability that has allowed offenders and enablers alike to avoid justice. On Rape and Institutional Failure was first exhibited in 2020 in the wake of the initial\, galvanizing allegations against Harvey Weinstein and other powerful men. While #MeToo has led to few sustained consequences and little systemic change\, Abril offers a meaningful opportunity to address the long history of silencing victims and the transgenerational trauma that has developed as a result. \nhttps://www.icp.org/exhibitions/laia-abril-rape-and-institutional-failure
URL:https://jamesmaherphotography.com/event/laia-abril-on-rape-and-institutional-failure/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/laia-abril-on-rape-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261021
DTEND;VALUE=DATE:20261213
DTSTAMP:20261105T181436Z
CREATED:20261105T181436Z
LAST-MODIFIED:20261105T181436Z
UID:10000175-1792540800-1797119999@jamesmaherphotography.com
SUMMARY:Curran Hatleberg: River’s Dream\, 2010–2020
DESCRIPTION:Higher Pictures presents River’s Dream 2010-2020 by Curran Hatleberg\, the artist’s fourth solo exhibition with the gallery. For the first time\, the complete opus of sixty-five photographs is on view. Emerging from the photographer’s sustained presence in the South-Eastern United States\, River’s Dream narrates the turbulent and unresolved coexistence of human and non-human life; the encroachment of heat\, water\, and vegetation on the built environment; economic precarity; and a possibility of connection across political and social differences. \nInstalled together\, the photographs allow these themes to accumulate and echo across the gallery walls. An encounter with a reptile in one frame finds its counterpart in a figure at rest in another\, while recurring motifs of water\, overgrowth\, and decay link people\, animals\, and place into a single ecosystem. The scale of the presentation mirrors the scale of Hatleberg’s commitment\, a project built over a decade of return visits and personal relationships. \nThese rural\, out-of-the-way places are often overlooked until an election rolls around\, when politicians weaponize a region’s economic insecurity\, racial and ethnic demographics\, and attitudes towards gender and sexuality to win votes. Rather than constructing a sociological portrait of a region\, Hatleberg reaches for something deeper\, a personal connection\, a mutual exchange: “I believe photographing people forces an interest in lives other than our own\, allowing an opportunity to see ourselves reflected in someone else. Biases\, judgements\, and stereotypes fall away in the face of vivid experience.” \nhttps://higherpictures.com/exhibitions/curran-hatleberg-rivers-dream/
URL:https://jamesmaherphotography.com/event/curran-hatleberg-rivers-dream-2010-2020/
LOCATION:Higher Pictures\, 45 Main Street #723\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/curran-hatleberg-rivers-dream.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261022
DTEND;VALUE=DATE:20270112
DTSTAMP:20261105T181642Z
CREATED:20261105T181642Z
LAST-MODIFIED:20261105T181642Z
UID:10000178-1792627200-1799711999@jamesmaherphotography.com
SUMMARY:Melissa Ann Pinney: “What’s Ms. Pinney Doing Here?”
DESCRIPTION:Since 2018\, photographer Melissa Ann Pinney has documented Chicago Public School students as part of an artist residency. As the students began to invite her into their world\, the project became a document of identity\, community and urgent social issues. Pinney’s thoughtful portraits of young people navigating the transformations of adolescence contain all of the triumph\, grief\, humor\, and tenderness of growing up. \nhttps://www.icp.org/exhibitions/icp-incubator-space-melissa-ann-pinney-what%E2%80%99s-ms-pinney-doing-here
URL:https://jamesmaherphotography.com/event/melissa-ann-pinney-whats-ms-pinney-doing-here/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/melissa-ann-pinney-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261029
DTEND;VALUE=DATE:20261213
DTSTAMP:20261105T181325Z
CREATED:20261105T181325Z
LAST-MODIFIED:20261105T181325Z
UID:10000174-1793232000-1797119999@jamesmaherphotography.com
SUMMARY:Jeff Brouws: Silent Monoliths
DESCRIPTION:Robert Mann Gallery is pleased to announce Jeff Brouws: Silent Monoliths\, an exhibition by American photographer Jeff Brouws (b. 1955) that showcases his landmark series documenting the architectural remnants of America’s railroad history\, featured in his critically acclaimed book Silent Monoliths: The Coaling Tower Project (MIT Press). Acting as a “visual anthropologist\,” Brouws utilizes a precise\, deadpan typological approach to capture these industrial monuments left behind by technological shifts across the United States. \nBetween 1907 and 1956\, the country’s rapidly growing railway industry constructed hundreds of massive reinforced-concrete structures designed to hold several hundred tons of coal used to fuel steam locomotives. As the industry transitioned from steam to diesel throughout the 1950s\, these behemoth structures eventually became obsolete. Although some were torn down\, many have remained in place\, acting as abandoned witnesses to the rise and fall of American railroading. \nOver five years and covering more than 20\,000 miles\, Brouws systematically documented these dormant\, sculptural artifacts: photographing each towering structure under flat\, overcast light\, he presents these silent monoliths as imposing\, monumental testaments to the perplexing contradictions of modern industrialization. \nhttps://robertmann.com/jeff-brouws
URL:https://jamesmaherphotography.com/event/jeff-brouws-silent-monoliths/
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/2026/11/jeff-brouws-silent-monoliths.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261030
DTEND;VALUE=DATE:20261216
DTSTAMP:20261015T150426Z
CREATED:20261015T150426Z
LAST-MODIFIED:20261015T150426Z
UID:10000170-1793318400-1797379199@jamesmaherphotography.com
SUMMARY:Stacy Kranitz: Ain’t No Grave Gonna Hold My Body Down
DESCRIPTION:Ain’t No Grave Gonna Hold My Body Down is drawn from a body of work by Stacy Kranitz that examines visual depictions of Appalachia from the invention of photography to the present day\, tracing how the region has been constructed\, challenged\, and reimagined over time. \nThe exhibition follows a chronology that begins with the first photographs produced in the region\, and shows how image-making was already a tool for shaping perceptions. A family portrait of the infamous Hatfield clan from 1888\, for example\, includes a young boy holding a revolver across his chest. The sections follow key moments in Appalachian history\, including the arrival of the FSA photographers and the War on Poverty\, and show how each moment corresponds to developments in photo technology. \nKranitz pairs a selection of the historical images with her own photographs\, which center on a decade-long friendship with Pat Greene\, a man living in a former coal town in West Virginia. Seen side-by-side\, the images invite comparisons: A creek baptism photo from 1940 is situated above an image of Greene holding a beer can and floating in an innertube. Are the two photos paired because he is enacting another kind of baptism\, with Kranitz noticing how people continue to use water as a gathering place? Or does the juxtaposition speak to the devolving state of spirituality? Or does it reflect how pollution has affected our ideas of water as a purifying source? Photography has always been an open story\, and its capacity for reevaluation is a large part of what makes it such an enduring medium. \nInterspersed throughout the exhibition’s photographs are pages from texts written by Harry Caudill and JD Vance\, two influential figures whose accounts of Appalachia placed blame on the Appalachian people themselves. Kranitz’s corresponding essay film\, on view here for the first time in New York\, adds a sensory dimension to the exhibition. You can hear the drawling Southern accents of the mountaineers\, watch how deftly they finger-pick a banjo for their family\, and listen in as Caudill says\, “This is truly a pitiful spectacle. … This is a reproof to the country.” \n— Laura Hutson Hunter\, Exhibition Curator \nhttps://wp.nyu.edu/gallatingalleries/stacy-kranitz-aint-no-grave-gonna-hold-my-body-down/
URL:https://jamesmaherphotography.com/event/stacy-kranitz-aint-no-grave-gonna-hold-my-body-down/
LOCATION:The Gallatin Galleries (NYU)\, 1 Washington Place\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/10/stacy-kranitz-aint-no-grave-gallatin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261104
DTEND;VALUE=DATE:20261116
DTSTAMP:20261105T181203Z
CREATED:20261105T181203Z
LAST-MODIFIED:20261105T181203Z
UID:10000172-1793750400-1794787199@jamesmaherphotography.com
SUMMARY:Splendido\, As Seen by Chris Rhodes
DESCRIPTION:Perched on a hilltop above the gulf of Portofino\, Belmond’s Hotel Splendido has long been one of the most celebrated addresses on the Italian Riviera. \nThis installation presents twenty-seven photographs by Chris Rhodes\, commissioned by the luxury hospitality group Belmond in 2025 as part of an ongoing series that invites contemporary photographers to interpret the company’s historic properties through their own visual languages. Through his images\, Rhodes captures the hotel’s personality and accumulated life. At Splendido\, he drifts between the picturesque and the everyday\, documenting fleeting moments that reflect the playful\, scenic\, and offbeat character of Splendido’s interiors\, landscape\, staff\, and guests. \nPresented at Aperture’s gallery at 380 Columbus Avenue\, the installation is on view November 4–15\, 2026. The accompanying book of Rhodes’s photographs\, along with titles from the As Seen By series published by RVB Books\, will be available for purchase in the Aperture bookstore. \nhttps://aperture.org/exhibitions/splendido-as-seen-by-chris-rhodes/
URL:https://jamesmaherphotography.com/event/splendido-as-seen-by-chris-rhodes/
LOCATION:Aperture\, 380 Columbus Ave\, New York\, NY\, 10024\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/splendido-chris-rhodes.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261105
DTEND;VALUE=DATE:20270316
DTSTAMP:20261105T182002Z
CREATED:20261105T182002Z
LAST-MODIFIED:20261105T182002Z
UID:10000183-1793836800-1805155199@jamesmaherphotography.com
SUMMARY:Masao Gozu: Windows and Bars
DESCRIPTION:The first US museum exhibition to highlight the singular practice of Masao Gozu (Japanese\, b. 1946)\, Windows and Bars presents a focused selection of his photographs dating from the 1970s through today. The exhibition highlights key works from Gozu’s Windows and Harry’s Bar series\, opening apertures onto the city’s past and offering a quiet rumination on the sweep of time. Born in Nagano Prefecture\, Japan\, Gozu emigrated to New York City in 1971. Walking the city streets\, he began to photograph the city’s inhabitants through the windows of tenement buildings\, from Bay Ridge to Little Italy. An extended architectural study\, the series suggests the window as a proscenium through which to glimpse the theater of everyday life. Gozu’s subjects rarely meet the gaze of the camera; ambiguous protagonists\, they watch scenes unfolding outside of the frame. Gozu continued this series until 2004\, taking thousands of images. He recently began returning to these locations to photograph them anew\, capturing dramatic shifts and\, in some cases\, surprising continuity in the city’s built landscape. \nhttps://www.momaps1.org/en/programs/799-masao-gozu-windows-and-bars
URL:https://jamesmaherphotography.com/event/masao-gozu-windows-and-bars/
LOCATION:MoMA PS1\, 22-25 Jackson Ave\, Queens\, NY\, 11101\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/masao-gozu-windows-and-bars.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261106
DTEND;VALUE=DATE:20261218
DTSTAMP:20261105T181514Z
CREATED:20261105T181514Z
LAST-MODIFIED:20261105T181514Z
UID:10000176-1793923200-1797551999@jamesmaherphotography.com
SUMMARY:Katsu Naito: West Side Rendezvous
DESCRIPTION:New York Life Gallery is pleased to present West Side Rendezvous\, an exhibition of 27 black-and-white photographs by Katsu Naito\, curated by Joseph Akel. \nWest Side Rendezvous\, Katsu Naito’s black-and-white photographic series\, is a singular body of work depicting the Meatpacking District’s community of sex workers\, many of whom identified as queer and trans\, in the early 1990s. At the time the images were taken\, the Meatpacking District was a liminal space\, a neighborhood of derelict\, crumbling buildings and warehouses owned by the city’s meat distributors. Naito’s subjects\, many of them recurring throughout the series—Porsche\, Everlyn\, Egyptt\, Toni\, China Doll\, among them—appear on streets familiar to many of us today as high-end\, luxury destinations: West 14th\, Gansevoort\, Washington. \nWhen he first began taking photographs of the Meatpacking District’s sex workers\, Naito didn’t set out to make history; he set out to make contact\, though he sensed even then that this world would disappear. Like Robert Frank\, the Swiss émigré whose 1958 photo book The Americans portrayed post-war American society with verity and rawness\, Naito was an outsider. When he arrived in New York in 1983 from Maebashi\, a regional city in Japan\, he was on a three-year contract to work in a Japanese restaurant. With only limited English\, Naito purchased a camera as “a way of communicating with New York.” One afternoon\, walking west along 16th Street toward Tenth Avenue\, Naito glimpsed figures who\, from a distance\, appeared to be dancing. As he got closer\, Naito realized they were women working the street. Snapping a series of images\, later that evening he developed the negatives. In the words of Naito: “That was the beginning of everything.” \nhttps://www.newyorklifegallery.com/exhibitions/22-katsu-naito-west-side-rendezvous/
URL:https://jamesmaherphotography.com/event/katsu-naito-west-side-rendezvous/
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/2026/11/katsu-naito-west-side-rendezvous.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261106
DTEND;VALUE=DATE:20270315
DTSTAMP:20260906T162518Z
CREATED:20260906T162518Z
LAST-MODIFIED:20260906T162518Z
UID:10000161-1793923200-1805068799@jamesmaherphotography.com
SUMMARY:PROPS: Eikoh Hosoe and Jason Wee
DESCRIPTION:Curated by Yasufumi Nakamori. \nhttps://leslielohman.org/exhibitions/props-two-works-with-jason-wee-and-eikoh-hosoe
URL:https://jamesmaherphotography.com/event/props-eikoh-hosoe-and-jason-wee/
LOCATION:Leslie-Lohman Museum of Art\, 26 Wooster St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/props-hosoe-wee-leslie-lohman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261112
DTEND;VALUE=DATE:20270503
DTSTAMP:20261105T182051Z
CREATED:20261105T182051Z
LAST-MODIFIED:20261105T182051Z
UID:10000184-1794441600-1809302399@jamesmaherphotography.com
SUMMARY:A Long Shadow: Postwar Japan Through the Lens
DESCRIPTION:In the decades after World War II\, Japanese photographers turned their lenses toward a country in transition. The period of United States military occupation following Japan’s defeat after the war was a time of profound political\, economic\, and social upheaval. The Okinawa Islands—an archipelago occupied by the United States until 1972\, and still home to the majority of American military personnel stationed in Japan—along with porous towns bordering military bases became a focal point for many artists as a symbol of the clash between past and present\, tradition and modernization\, East and West. \nDrawn from The Met collection\, the artworks featured in A Long Shadow reveal how artists documented\, questioned\, and reshaped the social fabric of postwar Japan. They demonstrate the power of photography to not only record history but also to shape how it is understood. Monthly photography magazines and photobooks flourished as Japanese society grappled with these new realities\, publishing visual essays that helped readers interpret a rapidly changing nation. Artists rejected the objective style that had dominated wartime and postwar reportage and instead embraced a subjective approach rooted in personal experience. While Tōmatsu Shōmei\, one of the pioneers of modern Japanese photography\, examined the collision of American and Japanese culture in communities surrounding U.S. military bases\, photographers including Ishikawa Mao\, Ishiuchi Miyako\, and Tokiwa Toyoko explored the occupation’s impact on women’s lives—depicting their own experiences alongside those of friends and loved ones. Okinawan artists such as Yamashiro Chikako continue to address how the shadows of war remain woven into contemporary life. \nThe first exhibition at The Met of Japanese photography since 1995\, and the second to feature many rare books\, A Long Shadow also presents a group of new acquisitions by such artists as Tōmatsu\, Ishikawa\, and Ishiuchi\, who began making pictures in the shadow of the war. \nhttps://www.metmuseum.org/exhibitions/a-long-shadow-postwar-japan-through-the-lens
URL:https://jamesmaherphotography.com/event/a-long-shadow-postwar-japan-through-the-lens/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/a-long-shadow-postwar-japan-met.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261113
DTEND;VALUE=DATE:20270111
DTSTAMP:20261105T181546Z
CREATED:20261105T181546Z
LAST-MODIFIED:20261105T181546Z
UID:10000177-1794528000-1799625599@jamesmaherphotography.com
SUMMARY:Wang’s World: Photographs and Films of Harvey Wang
DESCRIPTION:Spanning decades of photography and filmmaking\, WANG’S WORLD offers an expansive look at Harvey Wang’s deeply observed portraits of people\, places and everyday American life. \nWang has spent his career photographing people from many walks of life. His portraits are marked by an intimacy and directness rooted in sustained engagement with his subjects. He has also documented New York City’s changing landscape\, particularly the East Village during the 1970s and 1980s—a period of profound social and cultural transformation. \nAn award-winning filmmaker as well as a photographer\, Wang works across documentary and experimental forms. By bringing his photographs and films together\, the exhibition reveals the connections between the single frame and the passage of time\, portrait and story\, and individual lives and the larger world around them. \nThe exhibition’s title reflects the breadth of Wang’s visual world: New Yorkers\, artists\, workers\, families\, strangers\, neighborhoods and fleeting moments. Together\, these works form a personal record of a changing city and country while reflecting Wang’s enduring interest in human connection and the act of looking. \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/upcoming-exhibits/wang/
URL:https://jamesmaherphotography.com/event/wangs-world-photographs-and-films-of-harvey-wang/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/wangs-world-harvey-wang.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261118
DTEND;VALUE=DATE:20270111
DTSTAMP:20261105T185350Z
CREATED:20261105T185350Z
LAST-MODIFIED:20261105T185350Z
UID:10000188-1794960000-1799625599@jamesmaherphotography.com
SUMMARY:Alex Webb: Walking Blues
DESCRIPTION:Alex Webb captures in bold color the vitality of city life in the US—rich with visual rhythm and chance encounters—seeing the quintessential elements of American self-invention and improvisation. \nIn Walking Blues\, the acclaimed street photographer Alex Webb traverses some forty cities across the United States\, documenting moments of connection between communities with his signature eye for bold color and rhythm. Webb was inspired by the lift and pull of blues music\, a quintessential American musical form that scores the nation’s history\, and his photographs express the improvisation of chance encounters. The culmination of more than a decade of intuitive\, open-minded exploration\, Webb’s exhibition and accompanying publication are vivid chronicles of urban life today. \nhttps://aperture.org/exhibitions/alex-webb-walking-blues/
URL:https://jamesmaherphotography.com/event/alex-webb-walking-blues/
LOCATION:Aperture\, 380 Columbus Ave\, New York\, NY\, 10024\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/11/alex-webb-walking-blues.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261119
DTEND;VALUE=DATE:20270128
DTSTAMP:20261105T181813Z
CREATED:20261105T181813Z
LAST-MODIFIED:20261105T181813Z
UID:10000180-1795046400-1801094399@jamesmaherphotography.com
SUMMARY:Dumebi Malaika Menakaya: fearfully and wonderfully made
DESCRIPTION:In fearfully and wonderfully made\, 2026 BAXTER ST Resident Artist Dumebi Malaika Menakaya brings together Christian iconography\, religious ritual\, and the visual language of queer culture. \nRooted in the artist’s upbringing in a Nigerian Christian household\, the exhibition derives its title from Psalm 139. Menakaya reinterprets scriptural terminology\, positioning queer bodies and spaces as sacred sites of worship. Rather than seeking accommodation within established religious frameworks\, the work presents queer community and ritual as sacred traditions in their own right. \nThroughout the exhibition\, familiar gestures take on new meanings. An image of a dancer voguing in his bedroom recalls both the crucifixion and a dip from ballroom culture. A diptych juxtaposing a communion wafer placed on a bare back with a bloodstained bedsheet offers another reading of the Christian sacrament. Bedrooms\, nightclubs\, and outdoor gathering spaces emerge as places of sanctuary\, intimacy\, and collective worship. \nThrough chiaroscuro\, obscuration\, and carefully considered compositions\, Menakaya explores the relationship between light and spiritual experience. The exhibition’s installation features variations in scale and placement that encourage visitors to move physically through the work\, evoking gestures of prayer\, from bowing one’s head to raising one’s gaze. The presentation culminates in quieter\, more intimate photographs. \nhttps://www.baxterst.org/events/fearfully-and-wonderfully-made/
URL:https://jamesmaherphotography.com/event/dumebi-malaika-menakaya-fearfully-and-wonderfully-made/
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/2026/11/menakaya-fearfully-wonderfully-made.jpg
END:VEVENT
END:VCALENDAR