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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: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: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: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: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: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: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: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: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
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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
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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
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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
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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
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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
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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
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