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X-WR-CALNAME:New York Photography, Prints, Portraits, Events, Workshops
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X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
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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
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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
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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
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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
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