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X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
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DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270315
DTSTAMP:20260919T145619Z
CREATED:20260919T145619Z
LAST-MODIFIED:20260919T145619Z
UID:10000168-1789689600-1805068799@jamesmaherphotography.com
SUMMARY:Taryn Simon | Father Country I Do Love You
DESCRIPTION:Taryn Simon | Father Country I Do Love You premieres a monumental body of work by artist Taryn Simon (b. 1975\, New York). Filling the entire rotunda\, the presentation brings together never-before-seen photographs\, text\, videos\, and sculptures into a singular interactive installation. Taryn Simon | Father Country I Do Love You marks the first monographic exhibition by a photography-based artist in the museum’s rotunda and the largest debut of new work ever staged at the Guggenheim. \nNearly a decade in the making\, Father Country I Do Love You (2026) traces the real life of one unnamed federal agent through 42 multipart artworks or “chapters.” The immense project is a labyrinth of stories in which Simon uncovers the ripple effects of her protagonist’s actions and inactions. Through duty\, devotion\, loss\, and happenstance\, the federal agent acted as a middleman\, witnessing events great and small and collecting evidence for someone else to slot into the bigger picture. Stings and entrapments\, traitors and child soldiers\, impeachment and Hollywood\, mass shootings and poison: everything he touched ricocheted to the outer boundaries of nations and lives he’d never know. \nThe federal agent’s narrative is shadowed by the life of Simon’s father\, who lived in Thailand while working for the United States government before ending his career manufacturing and selling arcade games. Simon never got his full story\, and upon his diagnosis of Alzheimer’s disease\, she realized she never would. \nOn view during the 250th anniversary of the United States\, Father Country I Do Love You darts between anxiety\, survival\, empathy\, and play\, shining a shaky spotlight on democracy\, memory\, and the consequences of individual acts. Over and over again\, extraordinary events collide with ordinary lives\, revealing the delicate coexistence of violence and grace\, control and boredom\, responsibility and fantasy\, grief and routine—states difficult to reconcile not because they are disconnected but because they are inseparable. \nhttps://www.guggenheim.org/exhibition/taryn-simon
URL:https://jamesmaherphotography.com/event/taryn-simon-father-country-i-do-love-you/
LOCATION:Solomon R. Guggenheim Museum\, 1071 Fifth Avenue\, New York\, NY\, 10128\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/taryn-simon-father-country-guggenheim.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260920
DTEND;VALUE=DATE:20270503
DTSTAMP:20260812T170027Z
CREATED:20260812T170027Z
LAST-MODIFIED:20260812T170027Z
UID:10000150-1789862400-1809302399@jamesmaherphotography.com
SUMMARY:Taking Back Our Space: Photographic Perspectives
DESCRIPTION:In 1972\, the West German artist Marianne Wex began a visual survey of gendered body language. She picked up her camera and covertly photographed people in her hometown of Hamburg\, observing how men and women were socialized to inhabit space differently. She also rephotographed pictures from advertisements\, newspapers\, magazines\, film\, television\, and art catalogues\, pasting the images onto boards organized into categories like “standing arms\,” “sitting legs\,” “lying down\,” and “possessive holds.” For Wex\, “these mostly unconscious actions” were “essential parts of our communication.” \nPresenting a robust selection\, the exhibition also brings Wex’s watershed feminist project into dialogue with contemporary artists Nona Faustine\, Martine Gutierrez\, K8 Hardy\, Yuki Kihara\, Joiri Minaya\, Paulina Olowska\, and Wendy Red Star. These contemporary practitioners reappraise the relationship of bodies to public space from Black\, queer\, and 21st-century feminist perspectives. In this context\, the notion of “taking back space” resonates as a reclamation of physical territory\, historical narratives\, and the ability to represent oneself. \nhttps://www.moma.org/calendar/exhibitions/5678
URL:https://jamesmaherphotography.com/event/taking-back-our-space-photographic-perspectives/
LOCATION:Museum of Modern Art\, 11 W 53rd St\, New York\, NY\, 10019\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/taking-back-our-space-moma.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20270104
DTSTAMP:20260930T015855Z
CREATED:20260930T015855Z
LAST-MODIFIED:20260930T015855Z
UID:10000169-1790208000-1799020799@jamesmaherphotography.com
SUMMARY:Arthur Jafa: I Am Tony
DESCRIPTION:Spanning two floors of the newly expanded New Museum\, Arthur Jafa: I Am Tony encompasses the practice of one of the most influential artists of his generation. Alongside the premiere of new work\, the exhibition will feature Jafa’s most celebrated works\, including Love is the Message\, The Message is Death (2016) and the Golden Lion-winning The White Album (2019)\, as well as recent paintings\, large-scale video and film installations\, and a range of sculptural and photographic objects. \nOver a nearly forty-year career\, Jafa has sought to find new visual forms to capture the rhythm and realities of Black life in America. Often placing the nation’s growing awareness of the history of institutional violence directed toward the Black community against the backdrop of the ascension of Black culture\, music\, and entertainment in American national identity\, Jafa’s work turns an unflinching eye toward the past while embodying and mirroring our contemporary obsession with masses of images or ‘content’. I Am Tony\, named for the legendary jazz drummer Tony Williams\, will chart Jafa’s work from his earliest films to recent video installations\, mapping the evolution of his filmic language whose syncopations and textures match the aspirations of Black popular music. \nhttps://www.newmuseum.org/exhibition/arthur-jafa-i-am-tony/
URL:https://jamesmaherphotography.com/event/arthur-jafa-i-am-tony/
LOCATION:New Museum\, 235 Bowery\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/arthur-jafa-i-am-tony.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20270105
DTSTAMP:20260812T170024Z
CREATED:20260812T170024Z
LAST-MODIFIED:20260812T170024Z
UID:10000149-1792022400-1799107199@jamesmaherphotography.com
SUMMARY:Laia Abril: On Rape and Institutional Failure
DESCRIPTION:In On Rape and Institutional Failure\, an exhibition centered on the second chapter of her ongoing project A History of Misogyny\, Laia Abril examines different forms of violence against women throughout history. \nWeaving together images\, compiled testimonies\, archival materials\, select objects\, and installations with sound and video\, the exhibition investigates how gender-based stereotypes\, coupled with worldwide prejudices and misconceptions\, have contributed to a systemic rape culture that persists today. \nBy focusing on institutions\, Abril aims to avoid narratives of victim-blaming\, instead addressing the on-going problem of social accountability that has allowed offenders and enablers alike to avoid justice. On Rape and Institutional Failure was first exhibited in 2020 in the wake of the initial\, galvanizing allegations against Harvey Weinstein and other powerful men. While #MeToo has led to few sustained consequences and little systemic change\, Abril offers a meaningful opportunity to address the long history of silencing victims and the transgenerational trauma that has developed as a result. \nhttps://www.icp.org/exhibitions/laia-abril-rape-and-institutional-failure
URL:https://jamesmaherphotography.com/event/laia-abril-on-rape-and-institutional-failure/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/laia-abril-on-rape-icp.jpg
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: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: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:20261125
DTEND;VALUE=DATE:20270426
DTSTAMP:20260310T011549Z
CREATED:20260310T011549Z
LAST-MODIFIED:20260310T011549Z
UID:10000126-1795564800-1808697599@jamesmaherphotography.com
SUMMARY:New York Now: After Dark
DESCRIPTION:Opening to the public on November 20\, 2026\, New York Now: After Dark is the next iteration of the Museum’s acclaimed triennial series. This edition will explore the vibrant and multifaceted nightlife of New York City through the lens of contemporary photography\, delving into what nightfall means to New Yorkers across the five boroughs. \nOnce the sun sets\, the city transforms into a realm of possibility\, mystery\, and freedom—where inhibitions fade and ambitions expand. For some\, nighttime is defined by work and commerce; for others\, it offers opportunities for leisure\, entertainment\, and social connection. These contrasting worlds intersect to create the distinctive\, electric energy that defines New York City after dark. \nAbout the Triennial \nIn 2023\, the Museum launched the Photography Triennial\, a bold and forward-looking initiative dedicated to showcasing the best of contemporary photography. The Triennial amplifies the voices of photographers who are capturing the vibrancy and complexity of New York today—its people\, streetscapes\, cultures\, and contradictions.  \nAbout the Museum’s Photography Collection \nThe Museum of the City of New York’s photography collection is a cornerstone of our mission to document and celebrate the dynamic story of New York City. Spanning from 1840 to the present day\, the collection is housed in a state-of-the-art facility and serves as an unparalleled visual record of the city’s transformation across nearly two centuries.  \nhttps://www.mcny.org/exhibition/new-york-now-after-dark
URL:https://jamesmaherphotography.com/event/new-york-now-after-dark/
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/2026/03/MCNY.jpg
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