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DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20261025
DTSTAMP:20260906T154838Z
CREATED:20260906T154838Z
LAST-MODIFIED:20260906T154838Z
UID:10000155-1789689600-1792886399@jamesmaherphotography.com
SUMMARY:Jordan Wolfson
DESCRIPTION:Gagosian is pleased to announce an exhibition of new work by Jordan Wolfson at 555 West 24th Street in New York. This is the artist’s first exhibition with the gallery in New York. \nA selection of new uniformly scaled sculptures incorporates emblematic color and black-and-white photographs\, sourced online and from personal and academic archives\, that resonate with art history\, popular culture\, and Wolfson’s own preoccupations. \nIn this video\, Gagosian presents a conversation between Jordan Wolfson and Johanna Burton\, Maurice Marciano Director of the Museum of Contemporary Art\, Los Angeles. The pair discuss Wolfson’s animatronic work of art Body Sculpture (2023). \nhttps://gagosian.com/exhibitions/2026/jordan-wolfson/
URL:https://jamesmaherphotography.com/event/jordan-wolfson/
LOCATION:Gagosian\, 541 West 24th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/jordan-wolfson-gagosian.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20261108
DTSTAMP:20260803T152715Z
CREATED:20260803T152434Z
LAST-MODIFIED:20260803T152715Z
UID:10000145-1789689600-1794095999@jamesmaherphotography.com
SUMMARY:Gordon Parks: Voices in the Mirror
DESCRIPTION:Jack Shainman Gallery is pleased to announce Voices in the Mirror\, an exhibition that revisits images by Gordon Parks through the reflections of the people and families he photographed. For the very first time\, the families of Muhammad Ali and Malcolm X\, among others\, have reflected on the photographs Parks made and their enduring power. Marking the 20th anniversary of The Gordon Parks Foundation\, Voices in the Mirror—titled after Parks’ final memoir published in 1990—also looks deeply at the collaborative relationship between Parks\, his subjects and their families as he documented the struggle for equality alongside the perseverance of Black excellence. \nReaffirming the importance of Parks’ legacy in the 21st century\, the exhibition provides fresh insight into his work\, as memory and anecdote animate photographs long-since analyzed\, studied and examined\, revealing levels of detail and depth previously unavailable. Written reflections include those from Kathleen Cleaver (The Black Panthers\, 1970)\, Kate Clark Harris (The Doll Test\, 1947)\, Kyle Johnson (The Learning Tree\, 1969) and Cora Taylor (Segregation in the South\, 1956)\, each direct subjects of Parks’ photographs. Additional reflections have been provided by Lonnie Ali\, widow of Muhammad Ali; Qubilah Shabazz\, daughter of Malcolm X; Gloria Vanderbilt’s son\, CNN Anchor Anderson Cooper and Ingrid Bergman’s daughter\, actress Isabella Rossellini. Contributions have also been made by filmmaker Ava DuVernay; Bryan Stevenson\, Founder and Executive Director of the Equal Justice Initiative; Alice Walker\, author of The Color Purple (1982)\, and her daughter\, writer and producer Rebecca Walker; Thelma Golden\, Ford Foundation Director and Chief Curator of the Studio Museum in Harlem; Deborah Willis\, University Professor and Chair of the Department of Photography & Imaging at Tisch School of the Arts\, New York University; artist Hank Willis Thomas; and Ambassador Andrew Young\, who participated in the 1963 March on Washington that Parks photographed. \n“Over the last twenty years\, The Gordon Parks Foundation has built relationships with many of the people that Gordon Parks photographed and got to know personally. We are honored to have so many of their stories brought together in an exhibition at Jack Shainman Gallery\, one that will allow us to continue learning from them\, so that the past may continue to inspire us\,” said Peter W. Kunhardt\, Jr.\, Executive Director of The Gordon Parks Foundation. \nIn 1947\, Kate Clark Harris’ parents\, Dr. Kenneth Clark and Dr. Mamie Clark\, were photographed by Parks as they conducted their ‘doll tests’—groundbreaking experiments that revealed the psychological effects of segregation on African American children. The tests were conducted using several dolls\, all identical except for skin color\, that were put before Black children\, aged 3–7\, who were asked to identify which one they preferred. The majority preferred the white doll\, leading Drs. Clark to conclude that ‘prejudice\, discrimination and segregation’ damaged their self-esteem and caused Black children to develop a sense of inferiority. In Doll Test\, Harlem\, New York (1947)\, Parks’ photograph shows a young boy in the midst of the test and pointing at a white doll held next to a black one. Harris remembered these tests and their psychological toll at length\, concluding with the following sentiment: “One of the things that Gordon was so good at is getting beyond the surface and getting the feelings beneath. And so the pictures convey that\, you can’t ignore it—you can’t.” \nAs one of his many projects for the magazine throughout his life\, in the summer of 1956\, Life sent Parks to Alabama to document the daily realities of Black Americans living under Jim Crow laws in the rural South. Eschewing a journalistic approach that focused on the leaders and momentous events of the struggle for civil rights\, Parks’ empathetic approach instead portrayed the common humanity of his fellow Americans going about daily life in unjust circumstances. In At Segregated Drinking Fountain\, Mobile\, Alabama (1956)\, Parks photographed a young girl being helped up to drink from the ‘colored only’ water fountain in front of a general store\, as two women look on. In excerpts of her full remarks\, one of these women\, Cora Taylor\, remembers the moment and the photograph: “I wondered what was going on\, because you didn’t know who to trust and who not to trust. I let my mother know about the photograph\, in case anything went wrong. A few weeks later I saw the picture in Life magazine\, and I just couldn’t believe it.” \nOne of Parks’ most indelible portraits\, Eldridge Cleaver and His Wife\, Kathleen\, Algiers\, Algeria (1970)\, was made while on assignment for Life to report on the Black Panthers and their leaders. After serving a prison term\, Cleaver was on parole when authorities ordered him back to prison because of his involvement in a Panther-police incident. He subsequently fled the country and moved to Algiers\, where Parks met and interviewed him and his wife Kathleen Cleaver\, who reflected on that time and the power of photography\, excerpted here: “This photograph was taken in a very remote\, isolated place. If you saw where we lived\, it was not that historic. That’s the joy of photography—you isolate what’s important.” \nAccompanying these intimate stories are the insights from those who collaborated or worked with Parks during his life and were able to observe both his working methods and his personal character\, such as Academy Award-winning filmmaker Ava DuVernay\, who worked as a publicist for Parks’ 2000 documentary\, Half Past Autumn. Encapsulating the importance and poignancy of Parks’ work\, DuVernay’s words offer a powerful summation of what the chorus of contributors to Voices in the Mirror articulate in their own singular way: “He did not bring elegance to Black life. He captured the elegance that is Black life.” \n\nAbout The Gordon Parks Foundation \nThe Gordon Parks Foundation supports and produces artistic and educational initiatives that advance the legacy and vision of Gordon Parks—recognized as the most significant American photographer of the 20th century\, as well as a writer\, musician and filmmaker\, who used the arts to further “the common search for a better life and a better world.” The Foundation was co-founded in 2006 by Parks with his longtime friend and editor at Life magazine\, Philip B. Kunhardt\, Jr.\, to preserve his creative work and support the next generation of artists advancing social justice. \nThrough exhibitions\, publications and public programs\, organized in collaboration with institutions internationally and at its exhibition space in Pleasantville\, New York\, the Foundation provides access to and supports understanding of\, the work and contributions of Gordon Parks for artists\, scholars\, students and the public. The Foundation’s archive houses Gordon Parks’s photographs\, negatives\, contact sheets\, publications and a selection of ephemera related to his work in photography\, film\, music and writing. The archive also includes collections by related artists. \nDrawing inspiration from the pivotal role of a fellowship Parks received early in his career\, the Foundation’s educational and grant-making initiatives are core to its mission and year-round activities. Through fellowships\, prizes and scholarships\, the Foundation provides vital support to artists\, writers and students—current and future generations of creatives whose work continues his legacy. These initiatives are made possible through The Gordon Parks Arts and Social Justice Fund\, established by the Foundation in 2019.
URL:https://jamesmaherphotography.com/event/gordon-parks-voices-in-the-mirror/
LOCATION:Jack Shainman\, 46 Lafayette St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/parks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270319
DTSTAMP:20260618T151013Z
CREATED:20260618T143828Z
LAST-MODIFIED:20260618T151013Z
UID:10000138-1789689600-1805414399@jamesmaherphotography.com
SUMMARY:Aperture Loves New York (Inaugural Aperture New York opening show)
DESCRIPTION:It is with tremendous joy that I write to share good news: On September 18\, 2026\, Aperture will open the doors to a permanent home at 380 Columbus Avenue in New York City. \nAlong with my brilliant colleagues and our dedicated board of trustees\, we cannot wait to welcome you to this space for “serious photographers and creative people everywhere\,” as our founders envisioned. Situated on the first two floors of a historic building in a bustling neighborhood on the Upper West Side in Manhattan\, Aperture will be a place to gather\, share ideas\, and engage with photography. From a dynamic program in our gallery and bookstore to a lively calendar of talks and events\, we invite neighbors and visitors alike to kindle a curiosity informed by photography. And we’ll even have a photo booth to commemorate your visit! \nAperture Loves New York is our inaugural installation (curated by yours truly)\, and it will highlight iconic NYC photos alongside beloved Aperture books: from landmark titles by Diane Arbus\, Robert Frank\, Nan Goldin\, and Stephen Shore to more recent favorites featuring Justine Kurland\, Deana Lawson\, Tyler Mitchell\, and Coreen Simpson. If you can’t wait to hear more about it\, we will soon post our recent Aperture PhotoBook Club gathering online\, where an esteemed group of colleagues discuss their most cherished selections from the checklist! \nAperture was conceived in 1952 as a quarterly magazine: a unique forum that has incubated ideas and encouraged urgent conversations for more than seven decades. Our new home builds upon our storied publishing legacy\, anchored—then and now—by the conviction that “creative thinking\, significantly expressed in words and photographs\,” offers vital new perspectives about our world and one another. (The title of my quarterly newsletter is a nod to this quote from an early editorial note.) In our magazine\, books\, public programs\, educational initiatives\, and exhibitions\, we have nurtured young talent\, created frameworks for overlooked achievements\, and offered tools to develop visual literacy\, embracing the complexity and plurality at the heart of the medium. \nI joined Aperture five years ago\, when the need—and the potential—for a permanent home was clear\, but just where this would be and how we would get there were less certain. When you stop by in September\, I’d love to share all I have learned about injection grouting (essentially Botox for old buildings)\, the Department of Vertical Transportation (and our LULA lift)\, and acoustics (just wait until you stand beneath our “StarSilent” ceilings). \nEverything you will encounter in the new space has been made possible thanks to the vision of our talented architects—LEVENBETTS—in partnership with Sciame\, our construction managers\, and the Local Initiative Support Corporation (LISC) who have extended valuable financing. We could not be an independent\, nonprofit publisher nor own this home were it not for the extraordinary generosity of our board of trustees\, a community of individuals and foundations\, and critical support from New York City and New York State. The most significant of these gifts are listed here\, and you can still make a difference with a donation of any amount. \nWe envision Aperture’s new home as a place where the power and democratic spirit of photography will inspire a more curious\, creative\, and equitable world. Whether by contributing to our capital campaign or joining as a member (with special access to our opening events!)\, we would deeply appreciate your help at this critical moment. No matter what\, we hope you will visit us at 380 Columbus Avenue come September. \n-Sarah Meister\, Aperture Executive Director \nhttps://aperture.org/editorial/aperture-welcomes-the-public-to-its-new-home-this-september/
URL:https://jamesmaherphotography.com/event/aperture-loves-new-york-inaugural-aperture-new-york-opening-show/
LOCATION:Aperture\, 380 Columbus Ave\, New York\, NY\, 10024\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/aperture-new-york.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: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: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
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