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DTSTART;VALUE=DATE:20250529
DTEND;VALUE=DATE:20250802
DTSTAMP:20250613T210045Z
CREATED:20250613T210045Z
LAST-MODIFIED:20250613T210045Z
UID:10000052-1748476800-1754092799@jamesmaherphotography.com
SUMMARY:Sign of the Times & Mark Cohen: Low Ideas
DESCRIPTION:What makes a photograph emblematic of its time? A new exhibition at Howard Greenberg Gallery\, exploring photographs from 1932 to 2012 that are rooted in their particular eras\, will be on view from May 28 through July 31\, 2025. Sign of the Times will present more than 30 works from major photographers including Bob Adelman\, Edward Burtynsky\, William Gedney\, Frank Gohlke\, Henry Gruyaert\, Danny Lyon\, Nathan Lyons\, Vivian Maier\, Mary Ellen Mark\, Steve Schapiro\, Ed Van Der Elsken\, and Weegee.  \nSign of the Times serves as a poignant visual chronicle\, freezing specific moments within the flow of history. Initially snapshots of their eras\, these images have gradually accrued layers of significance\, their meanings deepening and evolving with the passage of time. Collectively\, the photographs on view coalesce into powerful and iconic reflections on the enduring struggles and triumphs of civil rights\, the burgeoning waves of feminism\, the stark realities of poverty\, climate change\, and other pivotal social and cultural forces that have shaped our world. \nSome images whisper the story of their time through subtle yet telling details – the sleek lines of a particular automobile\, the distinctive character of a typeface on a storefront\, or the unmistakable silhouette of a hairstyle. These visual cues act as quiet markers\, anchoring the photographs firmly within their historical context. Other images\, however\, deliver their messages with a far more direct and assertive voice. Consider\, for instance\, Vivian Maier’s 1971 photograph of a newsstand where an issue of LIFE boldly proclaims on its cover: “Saucy Feminist that Even Men Like” – a statement that encapsulates the shifting social dynamics and evolving perceptions of women during that era. \nIntriguingly\, many of the messages embedded within these historical frames continue to resonate with profound relevance in our present day. In a stark 1963 photograph by Bob Adelman\, the word “Equality” is etched onto the frosted window of a Freedom Riders bus. Similarly\, a 1966-67 shot by William Gedney captures a couple seated on the trunk of a car in a seemingly ordinary parking lot\, yet their silent protest is amplified by a hand-held sign emblazoned with the stark truth: “Under Paid.” Anxieties and uncertainties echo in Steve Schapiro’s 1966 photograph\, where a woman reclines\, engrossed in a newspaper whose screaming headline declares with chilling foreboding\, “The Worst is Yet to Come.”  \nAs curator David Campany has written\, “A photograph can be a document and an imagining\, a record and a possibility\, all at the same time.” Sign of the Times is curated by the gallery staff with each member making a specific selection of three works.  \nhttps://www.howardgreenberg.com/exhibitions
URL:https://jamesmaherphotography.com/event/sign-of-the-times-mark-cohen-low-ideas/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/06/PF114821.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250530
DTEND;VALUE=DATE:20250915
DTSTAMP:20250613T200009Z
CREATED:20250613T200009Z
LAST-MODIFIED:20250613T200009Z
UID:10000050-1748563200-1757894399@jamesmaherphotography.com
SUMMARY:Arresting Beauty: Julia Margaret Cameron
DESCRIPTION:“I longed to arrest all beauty that came before me\, and at length the longing has been satisfied.” —Julia Margaret Cameron \nArresting Beauty: Julia Margaret Cameron explores the path-breaking career of photography’s first widely recognized artist. Cameron (1815–1879) was born in Calcutta (modern day Kolkata) to a French mother and an English father; in 1848\, with her husband and children\, she moved to England\, where her sisters introduced her to the elite cultural circles in which they traveled. Residing on the Isle of Wight\, where she was close neighbors with the poet Alfred Tennyson\, Cameron acquired her first camera at age 48. In only eleven years she would create thousands of exposures and leave an enduring image of the Victorian era as an age of intellectual and spiritual ambition. \nCameron’s prodigious drive helped her become a probing portraitist of leading writers\, artists\, and scientists\, such as Tennyson\, Thomas Carlyle\, G.F. Watts\, and Charles Darwin\, while her absorption with fine art\, notably Renaissance painting\, led her to create staged tableaux in a mode that has been perpetually rediscovered by photographers down to the present. Most distinct of all was Cameron’s wholly personal handling of her medium. Heedless of  contemporary conventions of technique\, alert to the happy effects of accident\, and indifferent to critical scorn\, she embraced a style of spontaneous intimacy that distanced her from the photographic establishment of her time and class. Motion blur\, highly selective focus\, and even fingerprints on the glass negatives (which required developing before their emulsions dried) are among the idiosyncrasies of her singular oeuvre. \nCameron was quick to exploit publishing and promotional opportunities: at London’s South Kensington Museum (today the Victoria and Albert Museum) she secured not only an exhibition in 1865 but\, a few years later\, studio space\, and she was the first photographic artist to be collected by the institution. Arresting Beauty features prints from its initial purchase and from subsequent additions to its holdings\, which have grown to number nearly one thousand. The exhibition includes Cameron’s large camera lens (all that survives of her apparatus)\, pages from her unfinished memoir manuscript Annals of My Glass House\, and portraits she made in Ceylon (now Sri Lanka) after Cameron and her husband moved there in 1875. \nhttps://www.themorgan.org/exhibitions/arresting-beauty
URL:https://jamesmaherphotography.com/event/arresting-beauty-julia-margaret-cameron/
LOCATION:Morgan Library\, 225 Madison Ave\, New York\, NY\, 10016\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250604
DTEND;VALUE=DATE:20250814
DTSTAMP:20250510T010212Z
CREATED:20250510T010107Z
LAST-MODIFIED:20250510T010212Z
UID:10000045-1748995200-1755129599@jamesmaherphotography.com
SUMMARY:Thomas Holton: The Lams of Ludlow Street
DESCRIPTION:Baxter St at the Camera Club of New York is pleased to present the inaugural exhibition at its new location at 154 Ludlow Street\, The Lams of Ludlow Street\, a solo exhibition by photographer Thomas Holton\, presented as part of the organization’s Mid-Career Initiative. Spanning over two decades\, this deeply personal body of work chronicles the evolving lives of a single Chinese-American family in Manhattan’s Chinatown\, offering an intimate exploration of identity\, belonging\, and the everyday moments that shape our understanding of home.  \nSince 2003\, Holton has immersed himself in the life of the Lam family\, capturing both the private and public dimensions of their world with an unfiltered\, empathetic lens. What began as an artistic inquiry into his own Chinese heritage has evolved into a lifelong commitment to storytelling—one that reflects the complexities of family\, migration\, and cultural hybridity in contemporary America. \nA lifelong New Yorker of mixed Chinese and American descent\, Holton has long grappled with a sense of detachment from his Chinese roots. His photographic journey with the Lams became both a creative and personal act of connection\, a way to bridge the gaps in his own identity through the lens of another family’s experiences. The resulting images document adolescence\, marriage\, resilience\, and the quiet\, unscripted moments that define family life. \nPresented at a time when Chinatown\, like many immigrant communities\, faces profound social and economic shifts\, The Lams of Ludlow Street serves as both a visual archive and a meditation on what it means to belong. Holton’s images remind us of the power of long-term storytelling—of what it means to bear witness to time\, change\, and human connection. \nAbout Thomas Holton \nThomas Holton is a photographer and educator based in New York City. He received a BA from Kenyon College and a MFA in photography from the School of Visual Arts. His ongoing project\, The Lams of Ludlow Street\, has documented the life of a single Chinese-American family living in Manhattan’s Chinatown over 20 years. The project was published as a book in 2016 by Kehrer Verlag and has been shown in the United States and abroad at venues including The Smithsonian National Portrait Gallery\, The Museum of the City of New York\, the New York Public Library\, and the Photoville photography festival . The work has also been featured by the New York Times\, Aperture\, The Guardian and many other periodicals. He has taught at the International Center of Photography and was co-founder of SVA’s VisuaLife photography program\, working with at-risk teenagers in collaboration with the Children’s Aid Society in New York City. He is currently a photography educator in New York City where he lives with his family. \nAbout BAXTER ST’s Mid-Career Initiative \nBaxter St’s Mid-Career Initiative is dedicated to supporting lens-based artists who occupy the space between emerging and established careers. This initiative advances Baxter St’s mission to foster belonging in the cultural sector by providing mid-career artists with vital opportunities for solo exhibitions\, public engagement\, and professional growth. \nAbout BAXTER ST at CCNY \nFounded in 1884\, BAXTER ST at the Camera Club of New York is one of New York City’s oldest artist-run nonprofit spaces committed to lens-based arts. Today\, the organization is a socially engaged art incubator that prepares lens-based artists for their debut and helps them create sustainable practices to move forward with integrity. In addition to a year-round exhibition schedule\, the organization hosts artist residencies\, critique groups\, and a public series of artist talks and workshops. Baxter St promotes artists of all ages\, races\, ethnicities\, and identities whose work connects with global conversations on culture\, human rights\, environment\, and equality. The organization is committed to uplifting artists by sharing ideas and resources and learning together to create profound and lasting change in our organization and communities. \nhttps://www.baxterst.org/events/the-lams-of-ludlow-street/
URL:https://jamesmaherphotography.com/event/thomas-holton-the-lams-of-ludlow-street/
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/2025/05/baxter1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250604
DTEND;VALUE=DATE:20250817
DTSTAMP:20250510T010411Z
CREATED:20250510T010411Z
LAST-MODIFIED:20250510T010411Z
UID:10000046-1748995200-1755388799@jamesmaherphotography.com
SUMMARY:Qiana Mestrich: The Reinforcements
DESCRIPTION:BAXTER ST at CCNY is pleased to announce the inaugural exhibition at its new location at 154 Ludlow Street with The Reinforcements\, a solo presentation by 2024 BAXTER ST Resident Artist and writer Qiana Mestrich\, opening June 4\, 2025.\nA powerful series of photo collages begun in 2023\, The Reinforcements visualizes the labor history of Black and immigrant women of color in the American corporate workplace. Drawing from archival images—including photographs of Mestrich’s own mother\, who worked in sales at Rugol Trading Corporation in New York City in the late 1960s—the work explores the everyday realities and systemic inequities that have long defined professional life for women of color.\nThis body of work stems from Mestrich’s broader\, ongoing research project @WorkingWOC: Towards a History of Women of Color in the Workplace\, an independent digital archive aimed at documenting and interpreting the role of women of color in the American labor force from the Civil Rights Act of 1964 to the early 2000s.\nDespite the founding of the Equal Employment Opportunity Commission in 1965\, Black and other women of color continue to face racial and gender discrimination\, limited pathways to leadership\, and persistent wage inequality. In response to the absence of robust archival material addressing these inequities\, Mestrich has created speculative visual narratives by collaging images from vintage fashion and office supply magazines. The resulting works are imagined interventions into a historical record that too often neglects the labor\, agency\, and ambitions of these women.\nThe Reinforcements not only centers the experiences of its subjects but also asks viewers to reckon with the ongoing erasure of women of color in corporate and institutional histories. With this inaugural exhibition\, Baxter St renews its commitment to presenting urgent\, socially engaged work by emerging and mid-career lens-based artists. \nABOUT QIANA MESTRICH\nQiana Mestrich (b. 1977\, NYC) is an interdisciplinary artist and photo historian whose work critically engages with themes of Black and mixed-race identity\, motherhood\, women’s labor\, and the empowering role of fashion. Informed by her upbringing as the daughter of immigrants from Panama and Croatia\, Mestrich’s artistic practice is complemented by significant contributions to the field of photography history. Her artwork has garnered international attention\, with exhibitions at the RAY Fotografieprojekte Frankfurt/RheinMain and London Art Fair’s Photo50\, and inclusion in collections such as the Peggy Cooper Cafritz collection. A graduate of the ICP-Bard College MFA program\, her insightful perspectives have been recognized through awards like the 2025 Saltzman Prize and CPW Vision Award\, as well as the 2022 Magnum Foundation’s Counter Histories grant for her research on women of color in the corporate workplace. Mestrich’s dedication to expanding the discourse around photography is evident in her 2007 founding of Dodge & Burn: Decolonizing Photography History. This groundbreaking initiative\, which evolved from a blog into a vital critique group\, actively championed photographers of color. Her newly released book (Routledge\, March 2025)\, features 35 updated interviews from the blog along with 7 critical essays on photography. Mestrich lives and works between Brooklyn and New York’s Hudson Valley. \nABOUT BAXTER ST\nFounded in 1884\, Baxter St at the Camera Club of New York is one of New York City’s oldest artist-run nonprofit spaces committed to lens-based arts. Today\, the organization is a socially engaged art incubator that prepares lens-based artists for their debut and helps them create sustainable practices to move forward with integrity. In addition to a year-round exhibition schedule\, the organization hosts artist residencies\, critique groups\, and a public series of artist talks and workshops. Baxter St promotes artists of all ages\, races\, ethnicities\, and identities whose work connects with global conversations on culture\, human rights\, environment\, and equality. The organization is committed to uplifting artists by sharing ideas and resources and learning together to create profound and lasting change in our organization and communities. \n\n \n\n\n\n\n\n\n\nhttps://www.baxterst.org/events/the-reinforcements/
URL:https://jamesmaherphotography.com/event/qiana-mestrich-the-reinforcements/
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/2025/05/baxter2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250605
DTEND;VALUE=DATE:20250818
DTSTAMP:20250510T005402Z
CREATED:20250510T005402Z
LAST-MODIFIED:20250510T005402Z
UID:10000044-1749081600-1755475199@jamesmaherphotography.com
SUMMARY:Diane Arbus: Constellation
DESCRIPTION:“Her memorable work … transformed the art of photography (Arbus is everywhere\, for better and worse\, in the work of artists today who make photographs)\, and it lent a fresh dignity to the forgotten and neglected people in whom she invested so much of herself.”\n—The New York Times \n“The main impression left by this extraordinary exhibition\, which provides a full view of Arbus’s manifold achievement\, is how much great work she produced in her 15-year career and how fresh it continues to feel more than fifty years after her death.”\n—The Guardian (UK) \n\nDiane Arbus is one of the most original and influential photographers of the twentieth century\, best known for her stark\, documentary style of capturing people outside the boundaries of ordinary society. For decades\, her innovative artistry has influenced countless artists with iconic images that seem to reflect Arbus’s restless attraction to the unfamiliar in all its guises. \nThese dynamic pictures are given an evocative new life at the Armory in an immersive installation that brings together all of the photographs (some still unpublished) from the set of more than 450 prints by Neil Selkirk\, a photographer and student of hers and the only person authorized to make prints from her negatives. This unconventional constellation of images allows viewers to find their own path to discover what lies between the pictures\, what connects them to each other\, and the imperceptible architecture underlying all creations: chance\, chaos\, and exploration. Marking the largest and most complete showing of her works in New York to date\, this unprecedented collection of Arbus’s works provides a diverse and singularly compelling portrait of humanity.
URL:https://jamesmaherphotography.com/event/diane-arbus-constellation/
LOCATION:Park Avenue Armory\, 643 Park Ave\, New York\, NY\, 10065\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/dianearbus.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250607
DTEND;VALUE=DATE:20250623
DTSTAMP:20250409T194558Z
CREATED:20250327T033315Z
LAST-MODIFIED:20250409T194558Z
UID:10000023-1749254400-1750636799@jamesmaherphotography.com
SUMMARY:Photoville
DESCRIPTION:“New York City’s free premier photography destination \nThe annual Photoville Festival will return to Brooklyn Bridge Park and in all five boroughs of NYC in June 2025! \nEach year brings a special and outstanding group of artists and programming partners to curate and present free outdoor photo exhibitions across all five boroughs of NYC. With stories highlighting hope\, joy\, and compassion\, while honoring experiences of adversity and heartbreak\, Photoville aims to elevate the power of visual storytelling by fostering empathy and understanding within our communities. \nStay tuned for the announcement of the festival dates and the open call for exhibition and programming submissions! \nThe festival opening weekend will bring two full days of family-friendly activities\, carefully curated photography workshops for professionals and lovers of the craft\, engaging tours\, and a powerfully captivating night of visual storytelling. \nAnd not to mention\, free public programming throughout the month of June! \nPhotoville 2024 featured the return of the Photo Village in Brooklyn Bridge Park and our classic shipping containers\, in addition to open air exhibits in Brooklyn Bridge Park and around all 5 boroughs. It also featured in-person and virtual workshops and special events\, including artist talks\, professional development workshops\, tours and more. We displayed 87 exhibitions dispersed throughout New York City. \nOver 1\,000\,000 visitors engaged with our free and public exhibitions in the five boroughs\, showcasing the incredible work of over 200 artists\, collaborating with partners including The New York Times\, National Geographic\, The Schomburg Center for Research in Black Culture\, Alice Austen House\, Doctors Without Borders\, Magnum Foundation\, Pulitzer Center and more. \nWorking with parks and city officials to safely install exhibition banners and custom structures throughout parks and public spaces in New York City\, exhibitions remained on view for several months so that communities could enjoy them while using these open spaces as a place to recharge\, exercise\, and relax. \nDaytime programming at the 2024 Festival included 100+ workshops and special events presented with and by artists and industry professionals\, with partners such as Diversify Photo\, Leica Camera\, Adobe\, ICP\, PhotoWings\, and more. Professional development workshops had over 600 attendees. \nOver 700 students and educators across New York City attended our 2024 Festival education program which was proudly supported by our partner PhotoWings and the NYC Mayor’s Office of Media & Entertainment. Throughout the week\, participants were able to meet exhibiting photographers to hear them speak about their work\, while also attending panel discussions of student photographers beginning their journey in visual storytelling.” \nhttps://photoville.nyc
URL:https://jamesmaherphotography.com/event/photoville/
LOCATION:Photoville\, 17 Water St\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/photoville.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250613
DTEND;VALUE=DATE:20250719
DTSTAMP:20250613T195520Z
CREATED:20250613T195520Z
LAST-MODIFIED:20250613T195520Z
UID:10000049-1749772800-1752883199@jamesmaherphotography.com
SUMMARY:Physique\, from the collection of Vince Aletti
DESCRIPTION:Dashwood Projects is proud to announce our next show Physique\, from the collection of Vince Aletti\, on view June 13th thru July 18th\, 2025\, an exhibition of over forty rare physique photography prints from the private collection of renowned critic and curator Vince Aletti.  Spanning the 1930s to the early 1960s\, these photographs chronicle a hidden\, coded world of homoerotic imagery. Once sold discreetly through mail-order catalogues and physique magazines\, the prints point to an emergent queer sensibility and visibility.  \nThe exhibition and accompanying book\, published by SPBH (Self Publish Be Happy)\, traces the historical and political significance of these images\, firmly establishing their place in the canon of photography. Celebrates the artistry of the photographers\, models\, and studios like Bruce of Los Angeles and Western Photography Guild that brought the photographs to life. Physique reveals a forgotten chapter of American gay culture in which photographic prints served as a lifeline\, connecting a community of men under threat while also providing solace\, pleasure\, and empowerment amid oppression.  \nhttps://dashwoodprojects.com/vince-aletti
URL:https://jamesmaherphotography.com/event/physique-from-the-collection-of-vince-aletti/
LOCATION:Dashwood Projects\, 63 East 4th Street\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/06/VAP001b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250802
DTSTAMP:20250717T005934Z
CREATED:20250717T005934Z
LAST-MODIFIED:20250717T005934Z
UID:10000056-1750291200-1754092799@jamesmaherphotography.com
SUMMARY:Heatwave
DESCRIPTION:Edwynn Houk Gallery is pleased to present Heatwave\, a group exhibition on view from June 19 – August 1. The show brings together works by Lillian Bassman\, Elliott Erwitt\, Lalla Essaydi\, Robert Heinecken\, Sally Mann\, Joel Meyerowitz\, Abelardo Morell\, Erwin Olaf\, and Herb Ritts. \nThe exhibition explores heat not simply as temperature\, but as sensation\, atmosphere\, and memory. In several works\, its physical effects are rendered with immediacy and sensual intensity. Lillian Bassman’s Touch of Dew (1961)\, Herb Ritts’ Jump\, Paradise Cove (1987)\, and Sally Mann’s Luncheon in the Grasses (1991) each offer distinct visions of summer’s elemental charge—sunlight on skin\, wind in hair\, the charged stillness of long afternoons. Mann has described the context of her Immediate Family series as inseparable from the Southern summer\, writing: “The time is summer. It’s any summer\, but the place is home and the people here are my family… The slow\, wet air of southern Virginia in July and August exerts a hold on me that I can’t define – nothing happens during the other seasons.” In contrast\, Joel Meyerowitz’s 1970s dye transfer print registers a different kind of heat: the weight of the city\, where color becomes oppressive\, and saturation mirrors the density of urban summer. \nWhile this sense of environment courses through the exhibition\, Heatwave moves beyond climate. It approaches heat as a metaphor and a condition—a heightened state of perception\, pressure\, and transformation. In several works\, this tension is enacted through the construction of the image itself. Robert Heinecken’s Recto/Verso series collapses surface and meaning\, fusing front and back pages of mass-market magazines into layered compositions that are seductive\, disruptive\, and difficult to resolve. Abelardo Morell’s tent-camera photographs offer a quieter\, optical intensity: projecting the outside world onto the ground beneath it\, his images blend interior and exterior in a single\, refracted vision inspired by Monet’s gardens and post-Impressionist light. For Erwin Olaf\, heat is emotional and theatrical. His meticulously staged interiors from Palm Springs hold time in suspension—composed yet volatile\, where gesture is restrained and mood simmers just beneath the surface. Lalla Essaydi’s photographs\, by contrast\, burn more slowly: their tension lies in the layering of visual codes. Through textiles\, calligraphy\, and gaze\, she reclaims and reconfigures the historical terms of representation.  \nThe works in Heatwave come together to show that photography\, like heat\, is not neutral. It has the power to shape\, reveal\, distort\, and intensify. Across the exhibition\, each artist uses the medium to transform perception into form\, whether capturing atmosphere\, reframing cultural narratives\, or reimagining surface and space. Taken together\, they reflect the sensory richness of photography and its ability to convey not only how the world looks\, but how it feels. \nhttps://www.houkgallery.com/exhibitions/137/works/
URL:https://jamesmaherphotography.com/event/heatwave/
LOCATION:Edwynn Houk\, 693 Fifth Avenue\, 6th Floor\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/edwynnhoukgallery-abelardo-morell-tent-camera-image-on-ground-view-of-monet-s-gardens-with-wheelbarrow-giverny-france-2015.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250929
DTSTAMP:20250509T205938Z
CREATED:20250509T205938Z
LAST-MODIFIED:20250509T205938Z
UID:10000039-1750291200-1759103999@jamesmaherphotography.com
SUMMARY:Edward Burtynsky: The Great Acceleration
DESCRIPTION:The Great Acceleration\, the first solo institutional exhibition of world renowned photographer Edward Burtynsky’s work in New York City in over twenty years\, reveals the depth of Burtynsky’s investigation into the human alteration of natural landscapes around the world\, showing their present fragility and enduring beauty in equal measure. \nCurated by David Campany\, Creative Director at ICP\, this retrospective exhibition  will present over seventy photographs\, including many of Burtynsky’s landmark images\, some of which have never previously been shown\, along with three ultra high-resolution murals. The exhibition will also include a visual and narrative timeline of Burtynsky’s creative life. Intentionally scheduled to extend through Climate Week NYC in September 2025\, The Great Acceleration will serve not only as an urgent call for action\, but will also give visitors the opportunity to appreciate the sublimity that remains in the landscape\, while also deepening our understanding of the challenges that confront us today. In this way\, The Great Acceleration upholds ICP’s long-standing and core commitment to present concerned photography that can inspire new audiences. \nThe Great Acceleration is an established term used to describe the rapid rise of human impact on our planet according to a range of measures\, among them population growth\, water usage\, transportation\, greenhouse gas emissions\, resource extraction and food production\, each of which Burtynsky has photographed the outward signs of at length and in great detail over the past forty years. From open pit mines across North America to oil derricks in Azerbaijan\, from rice terraces in China to oil bunkering in Nigeria\, Burtynsky has travelled across the world and back again as part of his restless and seemingly inexhaustible drive to discover the ways\, both old and new\, that organized human activity has transformed the natural world. Though already unified by both the precision and formal beauty that Burtynsky deploys to create each photograph\, The Great Acceleration further underscores that\, like their respective subjects\, each project remains fundamentally interconnected. \nhttps://www.icp.org/exhibitions/edward-burtynsky-great-acceleration
URL:https://jamesmaherphotography.com/event/edward-burtynsky-the-great-acceleration/
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/edwardburtynsky.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250929
DTSTAMP:20250509T205636Z
CREATED:20250509T205636Z
LAST-MODIFIED:20250509T205636Z
UID:10000038-1750291200-1759103999@jamesmaherphotography.com
SUMMARY:Sheida Soleimani: Panjereh
DESCRIPTION:The International Center of Photography (ICP) is proud to present Panjereh\, an exhibition by Iranian-American artist Sheida Soleimani. Panjereh—which means ‘window’ or ‘passageway’ in Farsi—builds on Soleimani’s ongoing Ghostwriter series\, in which she explores her parents’ experiences of political exile and migration as a lens to examine broader systems of geopolitics. Known for her intricate\, studio-based compositions that combine photographs\, props\, live animals and even her own parents in surreal\, magical realist scenes\, Soleimani expands her practice in Panjereh with the debut of a new body of work featuring injured birds. These images draw from her work as a wildlife rehabilitator and founder of Congress of the Birds\, a federally licensed wild bird rehabilitation center in Rhode Island. The exhibition will also include a new site-specific wall drawing created specifically for ICP’s galleries.  \nCurated by Elisabeth Sherman\, Guest Curator\, the exhibition will bring together more than forty photographs\, the vast majority of which have never before been shown in New York. Sherman states\, “In her work\, Soleimani uniquely braids together the complex particularities of her family’s history\, deep research into geopolitics and her inherited passion for care work into a visual language completely her own. The magically inventive spaces she creates allow for complexity in telling these stories\, honoring their richness and continually unfolding nature. It is truly an honor to be presenting her first solo exhibition in New York\, specifically at an institution historically dedicated to photography that engages with the politics of our time.”   \nThe Ghostwriter series takes Soleimani’s family history—specifically that of her parents’ flight from Iran as political refugees following the 1979 revolution—as an overarching conceptual framework that informs her creative process\, from the significance of the objects and family ephemera she uses to the compositions of the photographs themselves. The series carries out a form of ‘ghostwriting’ in the way it both narrates and reconstructs the lives of Soleimani’s parents without utilizing their voices directly. The works focus on their lives in Iran as pro-democracy activists before then being forced to flee the country\, enduring both physical and psychological hardship on their way to eventual resettlement in the United States. Soleimani’s mother was forced to give up being a practicing nurse\, leading her to begin caring for wild birds\, a skill which she would eventually pass along to her daughter.   \nWith their personal emphasis\, the Ghostwriter works present a distinct expression of Soleimani’s longstanding interest in Iranian history and the contemporary geopolitics between the West and the Middle East. Rather than address this history using a strictly documentary approach\, Soleimani instead examines storytelling and memory as the primary means through which these stories are transmitted; the construction of her pictures captures the way that detail and meaning are often obscured\, transformed or difficult to fully grasp. This process is expressed by the degree of visual compression and accumulation of detail that Soleimani’s photographs contain\, as specific passages\, details or textures—wildlife and plants\, architecture and landscape—regularly function as stand-ins and metaphors rather than straightforward description. Soleimani situates artifacts from her parents’ journey against backgrounds made up of imagery pulled from a variety of archival family photographs\, resulting in works that are layered composites of multiple stories\, documenting factual traces of history within newly imagined spaces.  \nA new development within the Ghostwriter series are the Flyways photographs\, which draw attention to the plight of migratory birds\, many of whom are wounded on their long journeys through populated areas. Soleimani’s work as a federally licensed wildlife rehabilitator grew out of a care practice that she learned from her mother and forms part of a larger cultural inheritance that has been passed down to her. Assuming the position of primary characters\, the birds that Soleimani photographs and places within her tableaux provide a metaphor for the many social\, political and environmental obstructions met by people forced into flights of their own.  \nThis new group of analog photographs that Soleimani made of rehabilitated birds presents a unique kind of maximalism despite their small scale while also forgoing the complex layering of reference and imagery typical of the Ghostwriter series. Shot in extreme close-up\, these works render the bodies of birds as intensely detailed and complex worlds unto themselves\, where feathers\, talons and eyes are as richly described as Soleimani’s family history is explored. The acts of care contained within these images highlights the relationship between care and political resistance that has unfolded not only with Soleimani’s own family\, but which remains critically important for our present moment.  \n  \nAbout Sheida Soleimani  \nSheida Soleimani (b. 1990) is an Iranian-American artist\, educator and activist. The daughter of political refugees who escaped Iran in the early 1980s\, Soleimani makes work that excavates the histories of violence linking Iran\, the United States and the Greater SWANA Region. In working across form and medium—especially photography\, sculpture\, collage and film—she often appropriates source images from popular/digital media and resituates them within defamiliarizing tableaux. The composition depends on the question at hand. For example\, how can one do justice to survivor testimony and to the survivors themselves (To Oblivion)? What are the connections between oil\, corruption and human rights abuses among OPEC nations (Medium of Exchange)? How do nations work out reparations deals that often turn the ethics of historical injustice into playing fields for their own economic interests (Reparations Packages)? How may the layering of memory and familial history both report fact and produce a reckoning with the intimate resonances of a geopolitics of violence (Ghostwriter)? In contrast to Western news\, which rarely covers these problems\, Soleimani makes work that persuades spectators to address them directly and effectively.   \nSoleimani’s work is held in permanent collections including the Guggenheim Museum\, Museum of Fine Arts Boston\, Pennsylvania Academy of Fine Arts\, MIT List Visual Art Center and Kadist Paris. Her work has been recognized internationally in both exhibitions and publications such as The New York Times\, Financial Times\, Art in America\, Interview Magazine\, and many others. Based in Providence\, Rhode Island\, Soleimani is also an Associate Professor of Studio Art at Brandeis University and a federally licensed wildlife rehabilitator.  \nhttps://www.icp.org/exhibitions/sheida-soleimani-panjereh
URL:https://jamesmaherphotography.com/event/sheida-soleimani-panjereh/
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/sheidasoleimani.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250626
DTEND;VALUE=DATE:20250830
DTSTAMP:20250717T022806Z
CREATED:20250717T022806Z
LAST-MODIFIED:20250717T022806Z
UID:10000060-1750896000-1756511999@jamesmaherphotography.com
SUMMARY:In Sequence
DESCRIPTION:Bruce Silverstein Gallery is pleased to present In Sequence\, a group exhibition that brings together the works of Adger Cowans\, Elger Esser\, Todd Hido\, Dakota Mace\, Barbara Morgan\, Ed Ruscha\, Keith A. Smith\, Eve Sonneman\, Ryan Weideman\, Francesca Woodman\, and others to explore how sequencing engages rhythmic\, spatial\, and compositional strategies to shape narrative\, guide perception\, or elicit emotion. This exhibition considers how visual sequences structure time and transform the image from a static object into an active participant in a story\, building tension\, resonance\, and pace as the viewer’s attention moves across and beyond the frame. Since the early 20th century\, photography has been associated with the decisive moment\, defined by Henri CartierBresson as the “simultaneous recognition\, in a fraction of a second\, of the significance of an event as well as of a precise organization of forms which give that event its proper expression”\, or simply\, the singular instant arrested from the flow of time. In Sequence proposes an alternative framework\, one that sees meaning in photography as unfolding through sequences. Extending beyond a simple linear progression of images\, this approach suggests that sequencing functions as a deeper structural and conceptual mode akin to the temporal arts of music and poetry. For Keith A. Smith\, the sequence operates as a visual language. In his artist’s books\, the act of flipping through pages becomes a performance—a rhythm of disjointed images coalescing into a unified whole\, only to collapse again as the narrative unfolds. Like a poem or a musical piece\, meaning emerges through rhythm and repetition\, inviting the viewer to inhabit the roles of reader\, listener\, and performer simultaneously. These formal strategies are also visible in Barbara Morgan’s iconic dance studies. The images do not merely document movement; they function like a dance performance\, transforming still images into a kinetic experience. \nTodd Hido and Ed Ruscha\, both operating within the genre of roadside photography\, utilize the sequence to take the viewer on a journey through the American landscape. They offer a mundane yet strangely evocative and minimalistic narrative of travel\, the passage of time\, and the human relationship to the changing American landscape. For Adger Cowans and Francesca Woodman\, the sequence is a way to investigate the fragility and metamorphosis of identity. Adger Cowans’ Self Portrait (Shrouded\, Masked\, Free)\, 1973\, a triptych of three images\, unfolds a visual poem of concealment\, transformation\, and release\, with each image deeply intertwined with the next. By engaging with the conceptual possibilities of sequencing\, the works in In Sequence challenge traditional conceptions of the image as a discrete moment. They reveal the sequence as a tool for constructing narratives\, guiding experience\, and framing perception\, inviting viewers to read these images not as static artifacts\, but as dynamic measures of time. In Sequence is open from June 26th through August 29th\, 2025. \nhttps://brucesilverstein.com/exhibitions/219-in-sequence/overview/
URL:https://jamesmaherphotography.com/event/in-sequence/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/brucesilverstein-man-ray-l-etoile-de-mer-1928-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250628
DTEND;VALUE=DATE:20260622
DTSTAMP:20250509T211358Z
CREATED:20250509T211303Z
LAST-MODIFIED:20250509T211358Z
UID:10000042-1751068800-1782086399@jamesmaherphotography.com
SUMMARY:Face Value: Celebrity Press Photography
DESCRIPTION:The Museum of Modern Art announces Face Value: Celebrity Press Photography\, the first major exhibition of Hollywood studio portraiture to be drawn from the Museum’s film stills archive since 1993. On view in the Titus and Morita Galleries\, the exhibition will offer a revisionist look at the Department of Film’s photographic archive\, examining the evolution of editorial practice before the digital age\, AI technology\, and social media reshaped the experience of celebrity. Face Value will feature over 200 works from 1921to 1996\, including studio photography of Louis Armstrong\, Harry Belafonte\, Clara Bow\, Louise Brooks\, Bette Davis\, Mia Farrow\, Katharine Hepburn\, Dennis Hopper\, Lena Horne\, Bela Lugosi\, Carmen Miranda\, Elvis Presley\, Diana Ross\, Barbara Stanwyck\, Elizabeth Taylor\, Spencer Tracy\, Oprah Winfrey\, and many others. \nOrganized by Ron Magliozzi\, Curator\, with Katie Trainor\, Film Collections Manager and Cara Shatzman\, Collection Specialist\, Department of Film. \nhttps://press.moma.org/exhibition/face-value/
URL:https://jamesmaherphotography.com/event/face-value-celebrity-press-photography/
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/2025/05/celebrity-moma.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250710
DTEND;VALUE=DATE:20250804
DTSTAMP:20250408T213811Z
CREATED:20250408T213811Z
LAST-MODIFIED:20250408T213811Z
UID:10000025-1752105600-1754265599@jamesmaherphotography.com
SUMMARY:Latin American Foto Festival
DESCRIPTION:The Bronx Documentary Center (BDC) will hold its 8th annual Latin American Foto Festival (LAFF) from July 10 – August 3\, featuring large-scale photographs by both emerging and established\, award-winning photographers. \nThis year\, the festival exhibitions will be on view at the Bronx Documentary Center and throughout the Melrose neighborhood in the South Bronx from July 10-20. Select outdoor exhibitions will then travel to additional community spaces across Manhattan\, Queens\, and Brooklyn where they’ll be on view through August 3. \nWhat is the BDC’s Latin American Foto Festival (LAFF)? \nThe Latin American Foto Festival is an annual exhibition hosted by the Bronx Documentary Center (BDC) that showcases the work of award-winning and emerging photographers from across Latin America. \nWhere does the Festival take place? \nExhibits will be on view indoors at the BDC and outdoors throughout the Melrose neighborhood (July 10–20)\, with large-scale prints on buildings and fences. Select shows will then travel to community spaces in Manhattan\, Queens\, and Brooklyn through Aug 3. \nAre there public events during the Festival? \nYes\, the Latin American Foto Festival (LAFF) offers a variety of public events\, including artist talks\, workshops\, panel discussions\, film screenings\, and community activities. Many of these events are bilingual (Spanish/English) and open to all ages. \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/upcoming-exhibits/8th-laff/
URL:https://jamesmaherphotography.com/event/latin-american-foto-festival/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/latin-foto-festival.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250710
DTEND;VALUE=DATE:20250830
DTSTAMP:20250717T003305Z
CREATED:20250717T003305Z
LAST-MODIFIED:20250717T003305Z
UID:10000054-1752105600-1756511999@jamesmaherphotography.com
SUMMARY:Jonah Samson: You Do Not Know How Longingly I Look Upon You
DESCRIPTION:CLAMP is pleased to present “Jonah Samson | You Do Not Know How Longingly I Look Upon You\,” an exhibition of recent works by the Canadian artist—his first solo exhibition at CLAMP.\n \n“You Do Not Know How Longingly I Look Upon You” comes from a line from Walt Whitman’s poem “To A Stranger\,” first published in the 1860 edition of Leaves of Grass. The poem explores the fleeting connection of the writer and a passing stranger and functions as a meditation on loneliness\, longing\, and unfulfilled desire.\n \nWorking exclusively with his extensive collection of vintage gay porn and erotica\, Samson’s practice is in many ways a similarly intensive rumination on looking at strangers longingly. The trove of print media the artist mined to create the works in this exhibition behave for Samson just as they did for their intended viewers when they were originally made.\n \nThese subjects and scenes still behave as sites of hunger and desirous looking\, but in transforming images once meant for mass\, immediate consumption into delicate\, handmade prints\, Samson slows the act of looking. The rapid release of pornographic imagery—the quickness of access\, arousal\, and abandonment is replaced by something more aching and prolonged. This shift to the aching rather than explicit is furthered by Samson’s decision to crop many of the source images to focus on the faces and expressions of the models.\n \nBy using labor-intensive photographic processes to create unique\, monochromatic prints\, Samson deliberately obscures the original state of the scene and instead reimagines these images not as consumable jack off material\, but as meditations on memory\, on intimacy\, and on the persistence of longing. Samson’s images do not attempt to fulfill desire; they choose to linger within it. \nJonah Samson is a self-taught artist who has exhibited nationally and internationally. He presented a  solo exhibition with Macaulay & Co. Fine Art in 2015\, and his exhibition “Another Happy Day” (2013) at Presentation House was listed as one of the top 10 shows that season by Canadian Art magazine. Other exhibitions include “Otherworldly” at the Musée Eugène Leroy\, France\, and the Museum of Arts and Design\, New York\, and “Unearthed” at Sainsbury Centre for Visual Arts in the UK.\n \nSamson creates work that merges photographic\, filmic\, and painterly processes. Absurdist theatre and literature are often referenced in his evocation of the bizarre and offbeat. He currently lives in Cape Breton Island\, Nova Scotia. \nhttps://clampart.com/2025/06/you-do-not-know-how-longingly-i-look-upon-you/#thumbnails
URL:https://jamesmaherphotography.com/event/jonah-samson-you-do-not-know-how-longingly-i-look-upon-you/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/back-vd-14x15-1-scaled-e1751913448192-980x889-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250710
DTEND;VALUE=DATE:20250830
DTSTAMP:20250717T002752Z
CREATED:20250717T002752Z
LAST-MODIFIED:20250717T002752Z
UID:10000053-1752105600-1756511999@jamesmaherphotography.com
SUMMARY:James Bidgood: Dreamlands
DESCRIPTION:CLAMP presents “James Bidgood | Dreamlands\,” an exhibition of photographs marking the launch of the monograph of the same title from Salzgeber\, in addition to recent screenings of the artist’s cult classic film\, “Pink Narcissus\,” at theaters across the United States and Europe. \nThe book combines iconic motifs from the artist’s oeuvre with many previously unpublished images. The exhibition at CLAMP includes twelve of these new photographs selected from the estate archives\, along with a large-scale print of “Pan”—the monograph’s cover image. \n“Pink Narcissus\,” James Bidgood’s film from 1971\, described as a “kaleidoscopic fever dream of queer desire\,” was recently restored by the UCLA Film & Television Archive\, and has been playing at theaters since late 2024\, including MoMA (New York)\, Hammer Museum (Los Angeles)\, BAM (New York)\, Metrograph (New York)\, and other screens in London\, Bologna\, San Francisco\, Seattle\, Provincetown\, Tucson\, St. Louis\, etc. \nJames Bidgood passed away in 2022 at the age of 88. A New Yorker for over 70 years\, he was adored and admired by generations of artists and cinephiles alike. \nWhen Bidgood first came to New York from Wisconsin in the 1950s\, he worked as a drag performer and occasional set and costume designer at Club 82 in the East Village. After studying at Parsons School of Design from 1957 to 1960\, Bidgood found jobs as a window dresser and costume designer. \nHe then went on to work as a photographer for men’s physique publications and began creating his own personal photographs and films that greatly benefited from his talents in theater design and costume construction. It was during this period in the early 1960s that Bidgood began working on his masterpiece—the 8mm opus “Pink Narcissus.” \nIn his tiny apartment in Hell’s Kitchen\, he handcrafted sets using humble materials to create a theatrical dreamland in which artifice became transcendent. With hand-tailored clothing\, saturated lighting\, and lots of glitter\, Bidgood built a cosmos of queer belonging\, populated with angelic figures of male beauty—including Cupid\, Pan\, and other mythological gods\, along with harlequins\, soldiers\, firemen\, hustlers\, drag queens\, altar boys\, and more. \nBidgood’s confined domestic production speaks to both necessity and liberation—”a queer creative spirit refusing to be constrained by material limitations.” In fact\, the artist and his models would eat\, sleep\, and frolic within the sets until it was time to tear them down and begin building the next scene. \nWithin this space\, and in front of his lens\, the homosexuals that were ostracized by larger society could be beautiful\, glamorous\, complex\, silly\, or simply themselves. \nhttps://clampart.com/2025/07/dreamlands/#thumbnails
URL:https://jamesmaherphotography.com/event/james-bidgood-dreamlands/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/Backstage-Richie-Sleeping-Portrait-149X-3-980x980-1.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250716
DTEND;VALUE=DATE:20250816
DTSTAMP:20250717T022021Z
CREATED:20250717T021902Z
LAST-MODIFIED:20250717T022021Z
UID:10000059-1752624000-1755302399@jamesmaherphotography.com
SUMMARY:Celebrating 30 Years
DESCRIPTION:Yancey Richardson is proud to celebrate our 30 year anniversary with a milestone exhibition bringing together works by all of the gallery’s artists and estates. Titled Celebrating 30 Years and co-curated by the artists themselves\, the exhibition features works that speak across decades and through varying styles and technical approaches. The show highlights the breadth and diversity of the gallery’s roster and its steadfast commitment to supporting artists working in photography and lens-based media. \nCelebrating three decades as a pioneering exhibition space\, one where the public has witnessed and engaged with the continued evolution of photography and artistic expression more broadly\, the gallery has invited its artists to select work by their peers with whom they share creative affinities. The work on display reveals the gallery’s deep engagement with photography as both a historical and contemporary medium\, with work made using classic darkroom techniques alongside multidisciplinary and experimental processes. \nCelebrating 30 Years includes work by Guanyu Xu selected by David Alekhuogie\, David Alekhuogie selected by Mickalene Thomas\, Mickalene Thomas selected by David Alekhuogie\, Olivo Barbieri selected by Lynn Saville\, Jared Bark selected by Rachel Perry\, Omar Barquet selected by Mary Lum\, Ori Gersht selected by Terry Evans\, Terry Evans selected by Victoria Sambunaris\, Mary Ellen Bartley selected by Ori Gersht\, Lisa Kereszi selected by Sharon Core\, Sharon Core selected by Hellen van Meene\, Mitch Epstein selected by Lisa Kereszi\, John Divola selected by Mitch Epstein\, Tania Franco Klein selected by Laura Letinsky\, Carolyn Drake selected by Tania Franco Klein\, Sandi Haber Fifi eld selected by Bryan Graf\, Bryan Graf selected by Yamamoto Masao\, Jitka Hanzlová selected by Laura Letinsky\, Anthony Hernandez selected by Olivo Barbieri\, David Hilliard selected by Kahn & Selesnick\, Laura Letinsky selected by Carolyn Drake\, Matt Lipps selected by Guanyu Xu\, Mary Lum selected by Omar Barquet\, Esko Mannikko selected by Sharon Core\, Andrew Moore selected by David Hilliard\, Zanele Muholi selected by John Divola\, Rachel Perry selected by Sandi Haber Fifi eld\, Victoria Sambunaris selected by Anthony Hernandez\, Lynn Saville selected by Andrew Moore\, Mark Steinmetz selected by Victoria Sambunaris\, Kahn & Selesnick selected by Jared Bark\, Larry Sultan selected by Anthony Hernandez\, Tseng Kwong Chi selected by Zanele Muholi\, Hellen van Meene selected by Jitka Hanzlová\, Yamamoto Masao selected by Mary Ellen Bartley\, Pello Irazu selected by Jared Bark and Lynn Geesaman and Sebastião Salgado selected by Yancey Richardson. \nOver the past thirty years and nearly 290 exhibitions\, Yancey Richardson has helped foster the careers of some of the most critically-acclaimed artists working today. The gallery opened in 1995 at 560 Broadway in SoHo with an exhibition by Sebastião Salgado. In 2000 the gallery relocated to 535 West 22nd Street in Chelsea\, then a burgeoning arts neighborhood. Over the next 13 years\, the gallery presented historically significant exhibitions with artists such as Lewis Baltz\, William Eggleston and August Sander\, along with exhibitions by artists such as Mitch Epstein\, Zanele Muholi and Mickalene Thomas\, who have been with the gallery ever since. In 2013 the gallery moved to 525 West 22nd Street\, where it remains to this day. Since moving\, the gallery has continued to grow and welcome new artists and estates to its roster\, such as David Alekhougie\, Omar Barquet\, John Divola\, Anthony Hernandez\, Tania Franco Klein\, Larry Sultan and Tseng Kwong Chi. \n\n\nIn addition to maintaining long-term representation of a wide-ranging and international group of artists\, such as Olivo Barbieri\, Ori Gersht\, Jitka Hanzlová\, Sebastião Salgado\, Hellen van Meene and Yamamoto Masao\, the gallery has also mounted New York debut exhibitions for many artists who have gone on to achieve critical acclaim\, such as David Alekhuogie\, Carolyn Drake\, Paul Mpagi Sepuya and Guanyu Xu. Understanding photography as always changing and in flux\, the gallery has consistently welcomed artists to its roster who engage with the medium in an expanded way\, as both a technical process and a historically-informed mode of perception. \nAlongside its support of emerging\, mid-career and historically significant artists through exhibitions\, the gallery has consistently supported the publication of monographs and photobooks as an essential expression of photography. Now representing over 40 artists and estates\, Yancey Richardson continues to work tirelessly alongside museums and cultural institutions around the world to ensure that their artists reach the widest possible audience and that their achievements are promoted and their legacies safeguarded. \nYancey Richardson stated\, “Since the day we opened our doors in 1995\, the gallery has remained committed to supporting and embracing photography across the widest possible spectrum\, from modern masters to new and contemporary expressions. Though both the medium itself and society’s understanding of it has changed dramatically over the past 30 years\, I have endeavored to keep the gallery as a space where those changes—where history itself—can be seen\, felt and interacted with. To the extent that this has been achieved is due in no small part to the countless individuals who have worked with me over the years. Above all else\, I wish to thank the artists who have entrusted us with their legacies and whose work continues to challenge us to see and think in diff erent ways\, all while off ering a constant reminder of the power of art to help us understand the times in which we live.” \nhttps://www.yanceyrichardson.com/exhibitions/celebrating-30-years
URL:https://jamesmaherphotography.com/event/celebrating-30-years/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/0915deee9d9751b5f01412d778616e93.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250807
DTEND;VALUE=DATE:20250921
DTSTAMP:20250908T002351Z
CREATED:20250908T002351Z
LAST-MODIFIED:20250908T002351Z
UID:10000061-1754524800-1758412799@jamesmaherphotography.com
SUMMARY:Edward Burtynsky: Natural Commodities
DESCRIPTION:“My daughters will not see the same world I’ve seen in my lifetime\,” Burtynsky says. “These photographs bear witness to change that is already underway—irreversible in some cases—and ask us to consider the legacy we are leaving behind.” \nFeaturing images made between 2022 and 2024\, Natural Commodities draws a stark visual contrast between Earth’s untouched beauty and its transformation under industrial pressure. From the ancient\, verdant rain forests of Washington State to massive cobalt mining operations in the Democratic Republic of the Congo\, the exhibition charts what Burtynsky describes as “a continuum—from pristine ecosystems to the engineered terrains shaped by human need.” \nThe exhibition includes new work from Burtynsky’s forthcoming series Mining: For the Future\, offering a rare and timely look at the extractive industries shaping tomorrow’s green economy and the race to global electrification. This collection of images—many captured by drone and stitched into hyper-detailed\, panoramic compositions—depict both devastation and regeneration\, particularly in places like Türkiye\, where large-scale erosion control and reforestation are changing the landscape once again. \nAlso on view are majestic views of North America’s threatened wilderness: the Coast Mountains in British Columbia\, Canada\, where the shock of receding glaciers mark the frontlines of climate change; and Lake Mead in Nevada\, whose reservoir has reached historic lows due to prolonged droughts paired with increasing urban demand. These images function as both documents and omens—urgent reminders of what we stand to lose if we continue to push nature too far. Natural Commodities reveals the extraordinary tension between awe and reckoning that has defined Burtynsky’s work for over four decades.
URL:https://jamesmaherphotography.com/event/edward-burtynsky-natural-commodities/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/pf155985.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250827
DTEND;VALUE=DATE:20250929
DTSTAMP:20250717T021509Z
CREATED:20250717T021509Z
LAST-MODIFIED:20250717T021509Z
UID:10000058-1756252800-1759103999@jamesmaherphotography.com
SUMMARY:Michael Kenna–Japan / A Love Story
DESCRIPTION:ICP is excited to host this exhibition sponsored and presented by Nikkei and the Financial Times as part of their 10-year celebrations\, underscoring a shared commitment to the arts and cross-cultural exchange\, and photography’s unique ability to shape how we see the world.  \nMichael Kenna’s journey with Japan spans nearly 40 years—a story of dedication\, devotion\, and wonder. His photographs are quiet meditations\, capturing not just a place\, but a feeling\, a presence. \nMichael has taught me so much—his passion\, his humility\, and the way he shares his vision so generously. His images invite us to see the world differently\, to slow down\, to feel. That is what great photography does—it connects us across time\, cultures\, and emotions. \nWhat I’ve always admired is the way Michael creates space—for the landscape to speak\, and for us to listen. He’s not trying to impress; he’s trying to understand. And in doing so\, he helps us do the same. His photographs carry a sense of stillness\, of care\, of deep respect for the land and the people connected to it. There’s a quiet poetry to it all—rooted in tradition but always reaching toward something universal.  \nThis exhibition\, made possible through the generosity of Nikkei and the Financial Times\, brings that spirit to life. Thanks to their support\, Michael’s work has reached thousands. People have described the experience as moving\, uplifting—something close to visual poetry. The response has been heartfelt. The Japan Society put it best: “Simply beautiful and inspiring—please go and see it with your own eyes.” I couldn’t agree more.  \nPeter Fetterman \nAbout The Artist \nMichael Kenna (he/him) is a British photographer based in the United States\, best known for his black-and-white landscape photographs that capture quiet\, atmospheric moments often made with long exposures at dawn or night. \nIn addition to his personal work\, Michael’s photographs have been exhibited widely in galleries and museums across Europe\, Asia\, and the Americas\, and are held in major public collections including the Victoria and Albert Museum in London and the National Gallery of Art in Washington\, D.C. He has published numerous monographs and continues to influence generations of photographers with his minimalist and meditative style. \nhttps://www.icp.org/exhibitions/japan-a-love-story
URL:https://jamesmaherphotography.com/event/michael-kenna-japan-a-love-story/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/webp:https://jamesmaherphotography.com/wp-content/uploads/2025/07/Fishnet-Structure-Biwa-Lake-Honshu-Japan-2022-©-Michael-Kenna-x3a-Courtesy-Peter-Fetterman-Gallery-1.jpg-scaled.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250903
DTEND;VALUE=DATE:20251109
DTSTAMP:20250908T025703Z
CREATED:20250908T025703Z
LAST-MODIFIED:20250908T025703Z
UID:10000072-1756857600-1762646399@jamesmaherphotography.com
SUMMARY:Samuel Fosso: Autoportrait
DESCRIPTION:Yossi Milo is pleased to announce Samuel Fosso’s debut solo exhibition with the gallery\, which opens to the public on Wednesday\, September 3\, 2025\, with a reception from 6-8 PM. This is Fosso’s first solo exhibition in New York in more than two decades\, and spans more than thirty years of his practice\, showcasing works from his series 70s Lifestyle and African Spirits. The exhibition follows the unveiling of an installation of the artist’s photographs in the Metropolitan Museum of Art’s newly renovated Michael C. Rockefeller Wing earlier this year; the exhibition also precedes the artist’s inclusion in Ideas of Africa: Portraiture and Political Imagination\, a survey of African studio photography at the Museum of Modern Art curated by Oluremi Onabanjo and opening on December 14\, 2025. \nOver his decades-long career\, Cameroonian-Nigerian photographer Samuel Fosso (b. 1962; Kumba\, Cameroon) has deployed self-portraiture to innovate on storied traditions of studio photography from West Africa and beyond. Since the debut of Fosso’s work on a global stage when he was awarded First Prize at the Rencontres de la Photographie in Bamako\, Mali in 1994\, the artist has used his practice as a conduit for questions central to identity: How can self-representation reclaim African identity from colonial imagery? How is Fosso’s personal history reflected in collective history? And\, critically\, how does photography assist in resisting erasure? Collector and author Artur Walther writes in his foreword for AUTOPORTRAIT\, a 2020 monograph of the artist’s work: “Since the days of his experimental self-portraits\, made as a teenager in the 1970s in a commercial studio in Bangui\, the Central African Republic\, [Fosso] has constantly explored the mythmaking potential of the camera. In his self-portraits\, he amplifies himself and yet becomes someone else entirely.” \nAcross all his work\, and beginning with his earliest series 70s Lifestyle (1975-78)\, Fosso intuitively pulls back the curtain\, collapsing subject and subjectivity by depicting himself\, the photographer. 70s Lifestyle was incepted in 1975 at Photo Studio Nationale\, the photography venture the artist opened at just thirteen\, three years after fleeing from Nigeria’s civil war to Bangui\, the Central African Republic. After hours busy with customers taking headshots\, portraits\, and passport photos\, Fosso would photograph himself with the last few frames in a roll of film to send to his grandmother in Nigeria. Over time\, the practice took on the capricious qualities of a true artist’s process. In an interview with the late Okwui Enwezor\, curator of the 56th Venice Biennale\, Fosso shared: “Sometimes when I made photographs I was not satisfied with\, where I didn’t feel beautiful inside\, I would cut up the negatives instead of printing them… I did not know I was making art photography. What I did know is I was transforming myself into what I wanted to become.” Fosso’s early interest in photography was driven by his own exclusion from photographic record: as a child\, Fosso\, partially paralyzed\, disabled\, and displaced\, was not pictured until he was ten years old. Eventually\, this erasure would spell out the social value of representation to the artist\, and self-portraiture would show a way to enter himself into an archive with agency. \nIn the vintage black-and-white self-portraits of 70s Lifestyle\, Fosso shows his keen understanding of the fashion of the time\, of his body\, and of the formal qualities of the photographs themselves. Every image varies despite their consistent elements: figure\, outfit\, backdrop\, lights. The trappings of the studio are transfigured by Fosso into shapes influenced by imported magazines and popular African singers. The artist screens himself behind dividers\, dresses up and down\, holds props\, and\, most critically\, looks directly into his camera’s lens. This produces a gestalt that reflects a pop sensibility and uses the commercial as a site of metamorphosis. 70s Lifestyle makes the processes inherent to studio photography self-aware and selfreferential\, and brings Fosso and the viewer into a mutual contract of observation. \nFosso would continue this reflexive notion of spectatorship would continue in the following decades\, which over time would continue to expand in the scope of its inquiry. The artist’s landmark series African Spirits (2008) orients his practice of self-depiction towards a politically-minded act of channeling. Across fourteen stark monochrome images\, Fosso casts himself as figures key to African and diasporic histories. By inhabiting visages like Angela Davis\, Miles Davis\, Martin Luther King\, Jr.\, Patrice Lumumba\, Nelson Mandela\, Tommie Smith\, Malcolm X\, and more\, the artist connects a web of historical movements into a unified arc of Black liberation on a global scale. The series was initially conceived as an investigation into the global impact of slavery\, and grew into an inspirational review of figures committed to human dignity and the reclamation of culture. Ultimately\, it sought to correct a problem of institutional underrepresentation. Though concerned with history\, each of these images is only a partial restaging of its source\, a détournement from icon into iconography. Fosso strips away the backgrounds behind each subject\, lending each composition a graphic quality. Streamlined and simplified\, these figures become the symbolic forms they take in collective memory. \nFosso’s oeuvre becomes an evaluation of the deep significance of photography in the modern era\, from the historic to the contemporary; from the documentary to the constructed. A thread emerges in tracing the evolution from 70s Lifestyle through African Spirits: an emergence of the self-portrait as something more\, an advancement of concern from the personal to the historical. In an almost atavistic process\, Fosso harnesses this essential power of photography to show collective and historic truths. \nWorks by Samuel Fosso are held in permanent collections around the globe\, including the Solomon R. Guggenheim Museum; Metropolitan Museum of Art; Museum of Modern Art; Studio Museum in Harlem; Los Angeles County Museum of Art; J. Paul Getty Museum; San Francisco Museum of Modern Art\, and the Museum of Fine Arts\, Houston; as well as the Musée des Beaux-Arts; Tate Modern; Victoria & Albert Museum; Musée National d’Art Moderne; Centre Pompidou; Fondation Louis Vuitton\, and Deutsche Bank\, among others. Fosso has mounted solo exhibitions at institutions including the Walther Collection; National Portrait Gallery; Princeton University Art Museum; Museum der Moderne; Museo de Canal\, and Jack Shainman Gallery\, among others. In 2023\, the Menil Collection\, presented a solo exhibition of Fosso’s entire African Spirits series. Fosso has exhibited work in prominent group exhibitions internationally\, including at the International Center of Photography; Art Institute of Chicago; Fotomuseum; Barbican Art Gallery; Museum of Contemporary Art; Kiasma Museum of Contemporary Art; Museum of Contemporary Art; Stephen Friedman Gallery\, and Gagosian Gallery. The artist has been awarded prizes such as the Prix Afrique en Creations in 1995; First Prize for photography at the Dak’Art Biennale de l’Art Africain Contemporain\, Dakar\, Senegal in 2000\, and Deutsche Börse Photography Foundation Prize in 2023. Fosso lives and works between Bangui\, Central African Republic and Paris\, France. \nhttps://yossimilo.com/exhibitions/192/press_release_text/
URL:https://jamesmaherphotography.com/event/samuel-fosso-autoportrait/
LOCATION:Yossi Milo\, 245 Tenth Avenue\, New York\, NY\, 10001\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250906
DTEND;VALUE=DATE:20251026
DTSTAMP:20250924T164355Z
CREATED:20250924T164355Z
LAST-MODIFIED:20250924T164355Z
UID:10000075-1757116800-1761436799@jamesmaherphotography.com
SUMMARY:One of One (Group Show)
DESCRIPTION:ABRI MARS is thrilled to present One of One\, a group exhibition curated by Aaron Stern featuring photographic works by Daniel Arnold\, Juan Brenner\, Mike Brodie\, Mark Borthwick\, Rebekka Deubner\, Philip-Lorca diCorcia\, Barbara Ess\, Jerry Hsu\, Shaniqwa Jarvis\, Irina Rozovsky\, Gray Sorrenti\, and Mario Sorrenti. Marking the gallery’s one-year anniversary on the eve of New York Fashion Week\, this exhibition confronts the ceaseless proliferation of image-making at a time when online syntheticity holds sway\, alternatively offering to engage with photography as a material object.  \nIn One of One\, curator Aaron Stern asks us to reconsider the photograph as more than an image—a physical object that demands to be experienced in person. In an era where most pictures exist digitally\, viewed fleetingly on screen before disappearing into an endless scroll\, this exhibition calls for a return to presence and materiality. \nPhotographs today often live as detritus\, stored on our phones and in the heap of the internet\, stripped of their physicality. This collection of works pushes against that trend\, celebrating the photograph as an object that carries weight\, texture\, and story that cannot be fully conveyed through a screen. \nThe works in One of One include Polaroids\, prints\, collage\, and photograms\, demonstrating the richness of engaging with photography in its tangible form. Polaroids\, with their instant and singular nature\, offer intimacy and immediacy; prints\, demanding closer inspection\, evoke a sense of quiet discovery; collage\, with peripheral elements such as handwritten notes\, creased paper\, or torn edges; and photograms\, expressing the delicately powerful nature of light as a physical medium\, reminding us that photographs are as much about the context of their creation as the image itself. \nThis exhibition is an invitation to experience photographs as they were meant to be seen: in person\, where their material presence and physical nuances resonate. It is a call to value photography as more than a fleeting digital record\, to re-engage with its potential to preserve\, provoke\, and endure. In doing so\, One of One underscores photography’s role not only as art\, but as an artifact of human connection and memory. \nhttps://abrimars.com/exhibitions/one-of-one
URL:https://jamesmaherphotography.com/event/one-of-one-group-show/
LOCATION:Abri Mars\, 53a Stanton Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/abri-mars.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250910
DTEND;VALUE=DATE:20251113
DTSTAMP:20250908T030045Z
CREATED:20250908T030045Z
LAST-MODIFIED:20250908T030045Z
UID:10000073-1757462400-1762991999@jamesmaherphotography.com
SUMMARY:Suniko Bazargarid: Where would we find you if we need to find you?
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to present Where would we find you if we\nneed to find you?\, an exhibition of new and recent works by Mongolian photographer and 2025 BAXTER ST Resident\, Suniko Bazargarid. On view from September 10\, 2025 – November 12\, 2025\, the exhibition weaves together personal and archival imagery to explore the psychological\, spatial\, and bureaucratic tensions that shape the experience of migration and memory. \nDrawing on her own transitory upbringing between Boston\, Singapore\, Bangkok\, and Mongolia\, Bazargarid explores the contrast between intimacy and distance\, reflecting her many departures and returns. Analog and digital photography\, interspersed with documents such as passports\, ID photos\, and stamps\, form layered visual essays that expose the logistical challenges of crossing borders. These are set against the emotional and spiritual weight of displacement—the desire to leave\, the pull to return\, and the uncanny experience of encountering one’s homeland as a visitor. Through these layered journeys\, the work also gestures toward the evolving\, and at times\, elusive nature of diasporic identity\, shaped as much by migration\, memory\, and landscape as by inherited tradition.\nThe exhibition’s title comes from a question asked of the artist by a border patrol officer. “Where would we find you if we need to find you?” is both a practical inquiry and a charged reminder of regulation\, visibility\, and control.\nImages of expansive Mongolian landscapes appear throughout the work\, providing visual stillness and moments of reflection. These open vistas are juxtaposed with everyday details— multilingual signage\,and stamped passport pages—that raise questions about what we carry with us\, what we leave behind\, and how space is transformed by presence and absence. \nAbout Suniko Bazargarid\nBorn in Ulaanbaatar\, Suniko is a Mongolian photographer who spent her early years in Boston before living in Singapore\, Bangkok\, and now New York. Her practice is deeply shaped by her nomadic experiences\, exploring the complexities of people and places through themes of migration\, identity\, and the fluidity of memory. Working with both film and digital photography\, she examines the intersections of personal and societal narratives\, from collage work to intimate portraits of places\, often reflecting on those that have shaped her. Her work has been exhibited internationally in cities such as Bangkok\, Paris\, and New York\, and published in outlets like AP\, Forbes\, The Diplomat\, and Musee Magazine. In 2023\, she graduated from the International Center of Photography\, where she was awarded the Arnold Newman Scholarship and the Director’s Fellowship. Most recently she exhibited as part of UB Photo Week 2025 and Art Week 2025 in Ulaanbaatar\, Mongolia. \nhttps://www.baxterst.org/events/where-would-we-find-you-if-we-need-to-find-you/ \n 
URL:https://jamesmaherphotography.com/event/suniko-bazargarid-where-would-we-find-you-if-we-need-to-find-you/
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/2025/09/thisland-pink.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250911
DTEND;VALUE=DATE:20250915
DTSTAMP:20250516T173251Z
CREATED:20250516T173251Z
LAST-MODIFIED:20250516T173251Z
UID:10000047-1757548800-1757894399@jamesmaherphotography.com
SUMMARY:Printed Matter's Art Book Fair 2025
DESCRIPTION:Initiated in 2006\, Printed Matter’s NY Art Book Fair (NYABF) is one of the leading international gatherings for the distribution of artists’ books\, celebrating the full breadth of the art publishing community. A signature program of Printed Matter\, this weekend-long event furthers the organization’s mission of supporting the distribution\, understanding\, and appreciation of artists’ books by offering an opportunity for global artist-publishers to find new audiences for their work and engage in a dialogue with the public\, as well as to build relationships and share resources with their peers. \nThe Fair hosts nearly 300 exhibitors from around the world\, including a broad range of artists and collectives\, small presses\, institutions\, galleries\, antiquarian booksellers\, and distributors. NYABF draws tens of thousands of visitors each year\, including artists’ book professionals\, high school and college students\, and audiences from every corner of the cultural sector.  \nThis year’s NY Art Book Fair marks an exciting and long-awaited return to MoMA PS1\, our venue partner from 2009–2019\, a pivotal decade in expanding the Fair’s reach and impact\, establishing NYABF as a cornerstone for the distribution of artists’ books and the preeminent gathering point for celebrating the form.   \nFounded by artists and artworkers in 1976\, Printed Matter is the world’s leading non-profit organization dedicated to the distribution\, understanding and appreciation of artists’ books and related publications. Our two-story facility in Chelsea\, New York\, is home to our bookstore\, exhibition space and administrative offices. We offer a unique venue for the public to engage with more than 15\,000 artists’ books by artists and publishers from around the world. In addition to our NY and LA Art Book Fairs\, we offer a wide array of free programs and services\, including exhibitions and events; a publishing program; bibliographic services; consultation for museums and libraries; class visits and hands-on workshops; and a new Printed Matter Publisher Work Grant in partnership with Wagner Foundation that offers significant capacity-building funds to artist-publishers. Visit printedmatter.org to browse our catalogue and learn more about the many ways we serve artists\, publishers\, and the public. \nhttps://printedmatterartbookfairs.org/
URL:https://jamesmaherphotography.com/event/printed-matters-art-book-fair-2025/
LOCATION:MoMA PS1\, 22-25 Jackson Ave\, Queens\, NY\, 11101\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/printedmatterartbookfair.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250911
DTEND;VALUE=DATE:20251026
DTSTAMP:20250908T004945Z
CREATED:20250908T004945Z
LAST-MODIFIED:20250908T004945Z
UID:10000069-1757548800-1761436799@jamesmaherphotography.com
SUMMARY:Robert Longo: The Weight of Hope
DESCRIPTION:Pace is pleased to present The Weight of Hope\, a monumental exhibition by Robert Longo\, in New York from September 11 to October 25. As a sequel to the Milwaukee Art Museum’s recent presentation of Robert Longo: The Acceleration of History—curated by Margaret Andera\, the institution’s Senior Curator of Contemporary Art—Longo will take over Pace’s entire 540 West 25th Street gallery\, exhibiting 26 drawings\, three films\, three sculptures\, and 33 studies across the flagship’s first\, second\, third\, and seventh floors as well as its exterior.\n\n\n\n\n\n\n\n\n\n\nThe Milwaukee Art Museum’s new catalogue for The Acceleration of History\, featuring contributions from Andera\, artist Rashid Johnson\, and journalist Tom Teicholz\, will be released during the run of Pace’s show and available to purchase on-site at the gallery. A Pace Live performance featuring musician Rhys Chatham\, along with an opening reception for the exhibition\, will take place on the evening of Wednesday\, September 10\, and the show will also be open to visitors from 6 to 8 p.m. on Thursday\, September 11. \nThe Weight of Hope will highlight Longo’s enduring engagement with social and political happenings in his work across mediums\, bringing together large-scale charcoal drawings\, films\, sculptures\, and studies—including private and institutional loans—created between 2014 and 2025. This landmark show at Pace will open on the heels of the artist’s first full-scale Scandinavian survey\, on view at the Louisiana Museum of Modern Art in Denmark through August 31\, and his presentation of a new multimedia work at Art Basel Unlimited in June.\n\n\n\n\n\nhttps://www.pacegallery.com/exhibitions/robert-longo-the-weight-of-hope/
URL:https://jamesmaherphotography.com/event/robert-longo-the-weight-of-hope/
LOCATION:NY
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/90401_LONGO-High_Resolution__300_dpi_.width-2000-copy.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250911
DTEND;VALUE=DATE:20260109
DTSTAMP:20251003T235401Z
CREATED:20251003T235401Z
LAST-MODIFIED:20251003T235401Z
UID:10000079-1757548800-1767916799@jamesmaherphotography.com
SUMMARY:Soft Spaces
DESCRIPTION:Soft Spaces is a series of installations featuring works by alumni of the Leslie-Lohman Museum of Art Fellowship. The Fellowship is an international and intergenerational program of mentorship and collective learning that has centered LGBTQIA+ artists of color since its inception in 2017. Through professional development workshops and critical seminars by artists and theorists\, the Fellowship supports participants as they develop the skills to establish a sustainable art practice while radically affirming identities through liberatory pedagogy.  \nThe “softness” of the exhibitions’ title reflects artists’ experience of the Fellowship as a space for safety in process\, experimentation\, and vulnerability. Soft Spaces unfolds over time\, presenting recent work by 38 artists from the 2019–20\, 2020–21\, and 2021–22 cohorts. These artists’ practices span digital and media art\, painting\, photography\, filmmaking\, performance\, and installation. \nhttps://leslielohman.org/exhibitions/soft-spaces
URL:https://jamesmaherphotography.com/event/soft-spaces/
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/2025/10/AlisonViana-Felix-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250912
DTEND;VALUE=DATE:20251026
DTSTAMP:20250908T004742Z
CREATED:20250908T004742Z
LAST-MODIFIED:20250908T004742Z
UID:10000068-1757635200-1761436799@jamesmaherphotography.com
SUMMARY:Paolo Roversi: Along the Way
DESCRIPTION:Pace is pleased to present an exhibition of work by photographer Paolo Roversi at its 508 West 25th Street gallery in New York. Opening on September 12\, during New York Fashion Week\, and running through October 25\, this focused retrospective will feature works produced by Roversi between the early 1990s and the present\, highlighting the artist’s relationships with his many collaborators in the fashion industry.\n\n\n\n\n\n\n\n\n\n\nRoversi’s upcoming exhibition with Pace in New York—his first solo show with the gallery since 2019—will present an overview of his storied career through a selection of photographs created over the past 35 years.“Every portrait is a meeting\, an exchange\, a mutual intimate confession\,” Roversi has said of his work. The show will shed light on Roversi’s legacy as the artist behind some of the most iconic fashion images of our time. \nDrawing inspiration from the work of August Sander\, Robert Frank\, and Diane Arbus\, Roversi developed a distinctive style that is deeply influenced by the Byzantine architecture and rich cultural history of his birthplace\, Ravenna\, Italy. “Paolo’s photography is timeless\,” Sylvie Lécallier\, curator Roversi’s 2024 exhibition at the Palais Galliera in Paris\, said in an interview last year. “It is detached from the spirit of the times\, from the ephemeral trends of fashion. It is located both at the heart of fashion and at the edge.” \nMade with Polaroid film and mostly taken in his Parisian studio\, Roversi’s dreamlike\, enigmatic images are imbued with a classical sensibility. His studio\, he has said\, “is a place for the chance\, the dream\, the imaginary to prevail. I give these forces as much space as I can.”\n \n\n\n\nhttps://www.pacegallery.com/exhibitions/paolo-roversi-2025/
URL:https://jamesmaherphotography.com/event/paolo-roversi-along-the-way/
LOCATION:Pace\, 508 West 25th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/A1137-01_018.width-2000-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250912
DTEND;VALUE=DATE:20260420
DTSTAMP:20260310T004733Z
CREATED:20250717T020434Z
LAST-MODIFIED:20260310T004733Z
UID:10000057-1757635200-1776643199@jamesmaherphotography.com
SUMMARY:Robert Rauschenberg’s New York: Pictures from the Real World
DESCRIPTION:About the Exhibition\n \n\nIn celebration of the centennial of Robert Rauschenberg (1925–2008)\, and in partnership with the Robert Rauschenberg Foundation\, the Museum of the City of New York (MCNY) presents Robert Rauschenberg’s New York: Pictures from the Real World\, a major exhibition opening on September 12\, 2025. This dynamic show explores Rauschenberg’s innovative integration of photography and found objects into his art\, reflecting his deep engagement with “the real world” and his complex relationship with New York City.  \nWidely regarded as one of the most influential artists of postwar New York\, Rauschenberg’s irreverent approach to art-making pushed the envelope for an entire generation\, reshaping the art world in New York and around the world. At the heart of his practice was a desire to incorporate the tangible world around him into his art. Gathering materials and inspiration from his surroundings\, he often brought found objects and images sourced or reproduced from magazines and newspapers into his paintings and sculptures. But Rauschenberg was not merely a user of found imagery; he was also a photographer with a bold creative vision— an essential aspect of his artistic practice that is the focus of the exhibition.  \nThe show is organized into three sections—Early Photographs\, In + Out City Limits\, and Photography in Painting—tracing the evolution of Rauschenberg’s photographic practice and its interplay with painting\, sculpture\, and assemblage. His earliest images are largely intimate portraits and experiments with formal elements such as framing\, light and shadow\, and flattening the picture plane. The centerpiece of the exhibition is In + Out City Limits\, a three-year (1979–81) photographic survey conducted across the United States—a project Rauschenberg had originally conceived decades earlier as a student at Black Mountain College in North Carolina. His New York photographs from this project reveal his fascination with the signs and symbols of human culture\, even in the most humble or discarded remnants of the city. Together\, these photographs emphasize his observational rigor and his constant effort to channel the fleeting\, ineffable moments of life into his work—revealing a deep sensitivity to the social landscape.  \nIn addition\, the exhibition presents a selection of works created between 1963 and 1994 that combine Rauschenberg’s New York City photographs with images taken around the world\, illustrating how he re-contextualized his photographic imagery through his innovative creative process.  \nAbout Rauschenberg 100 \nRobert Rauschenberg’s (1925-2008) strong conviction that engagement with art can nurture people’s sensibilities as individuals\, community members\, and citizens was key to his ethos. The Centennial celebrations seek to allow audiences familiar with him and those encountering the artist for the first time to form fresh perspectives about his art work. A year of global activities and exhibitions in honor of Rauschenberg’s Centennial reexamines the artist through a contemporary lens\, highlighting his enduring influence on generations of artists and advocates for social progress. The Centennial’s activation of the artist’s legacy promotes cross-disciplinary explorations and creates opportunities for critical dialogue. For more information and continued updates on Centennial programming and news\, visit rauschenberg100.org. \n\nhttps://www.mcny.org/exhibition/robert-rauschenbergs-new-york-pictures-real-world-0
URL:https://jamesmaherphotography.com/event/robert-rauschenbergs-new-york-pictures-from-the-real-world/
LOCATION:Museum of the City of New York\, 1220 5th Avenue\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/Rauschenberg-0040-New_York_City-Pegasus_0.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250914
DTEND;VALUE=DATE:20260202
DTSTAMP:20250509T211806Z
CREATED:20250509T211806Z
LAST-MODIFIED:20250509T211806Z
UID:10000043-1757808000-1769990399@jamesmaherphotography.com
SUMMARY:Man Ray: When Objects Dream
DESCRIPTION:Location: The Met Fifth Avenue\, Floor 1\, Gallery 199\n \nThe Met to Present First Major Exhibition on Man Ray’s Media-Crossing Experimentation and his Radical Reinvention of Art through the Rayograph \n\nFeaturing 160 rayographs\, paintings\, objects\, prints\, drawings\, films\, and photographs\, Man Ray: When Objects Dream will highlight the principal place of the rayograph—a type of cameraless photograph—within the context of many of the artist’s most important works \n\nMan Ray: When Objects Dream at The Metropolitan Museum of Art is the first major exhibition to examine the media-crossing\, radical experimentation of American artist Man Ray (1890–1976) through one of his most significant bodies of work\, the rayograph. Man Ray coined the term rayograph to name his version of the 19th-century technique of making photographs without a camera. He created them by placing objects on or near a sheet of light-sensitive paper\, which he then exposed to light and developed. These photograms—as they are also called—appear as reversed silhouettes\, or negative versions\, of their subjects. They often feature recognizable items that become wonderfully mysterious in the artist’s hands. Their transformative nature led the Dada poet Tristan Tzara to describe rayographs as capturing the moments “when objects dream.” While Man Ray acknowledged the photographic origins of his new works\, he did not think of them as strictly bound by medium. Taking Man Ray’s lead\, this presentation will be the first—more than a century since he introduced the rayograph—to situate this signature accomplishment in relation to his larger artistic output. The exhibition will be on view September 14\, 2025\, through February 1\, 2026. \nThe exhibition is made possible by the Barrie A. and Deedee Wigmore Foundation. \nMajor funding is provided by Linda Macklowe\, the Horace W. Goldsmith Foundation\, and Andrea Krantz and Harvey Sawikin. \nAdditional support is provided by the Vanguard Council. \nDrawing from the collections of The Met and more than 50 U.S. and international lenders\, the presentation will include more than 60 rayographs\, many of which were featured in important publications and exhibitions at the time of their making\, and 100 paintings\, objects\, prints\, drawings\, films\, and photographs to highlight the central role of the rayograph in Man Ray’s boundary-breaking practice. The exhibition marks a collaboration with the Lens Media Lab\, Yale University\, under the direction of Paul Messier\, and with photography conservators and curators at various lending institutions\, to study more than fifty rayographs. \n“As one of the most fascinating and multi-faceted artists in the avant-garde movements of the early 20th century\, Man Ray challenged traditional narratives of modernism through his daring experimentation with diverse artistic mediums\,” said Max Hollein\, The Met’s Marina Kellen French Director and Chief Executive Officer. “Anchored by Man Ray’s innovative and mesmerizing rayographs along with new research and discoveries\, this exhibition invites visitors to explore his ground-breaking manipulation of objects\, light\, and media\, which profoundly reframed his artistic practice and impacted countless other artists.” \nIn the winter of 1921\, while working late in his Paris darkroom\, Man Ray inadvertently produced a photogram by placing some of his glass equipment on top of an unexposed sheet of photographic paper he found among the prints in his developing tray. As he wrote in his 1963 autobiography\, “Before my eyes an image began to form\, not quite a simple silhouette of the objects as in a straight photograph\, but distorted and refracted … In the morning I examined the results\, pinning a couple of the Rayographs—as I decided to call them—on the wall. They looked startlingly new and mysterious.” This supposed accident\, now the stuff of legend\, has obscured the fact that rayographs might be seen as the culmination of Man Ray’s work up to 1921 as well as the frame through which he would redefine his work thereafter. They harnessed his interests in working between dimensions\, media\, and artistic traditions\, fittingly at the moment between Dada and Surrealism\, which writer Louis Aragon once called the mouvement flou (flou means “hazy\, blurry\, or out of focus” in French). \nUnfolding in a series of spaces that intersect with a central\, dramatic presentation of more than 60 rayographs\, the exhibition will illuminate their connections with Man Ray’s work in other media\, including assemblages\, rarely seen paintings\, and films. Thematic sections will highlight such concepts as dreams\, the body\, and games. Other groupings will focus on specific media\, unexpected techniques\, the artist’s studio\, and watershed moments\, such as the years 1923 and 1929\, in the artist’s production. \nOn view will be iconic objects like Man Ray’s iron studded with tacks\, known as Gift (1921)\, and his metronome\, Object to be Destroyed (1923)\, that keeps time with the swinging eye of his companion\, the photographer Lee Miller. Celebrated photographs\, including his landmark Violon d’Ingres (1924)\, in which the torso of Kiki de Montparnasse (Alice Prin) is depicted as a musical instrument\, will also be featured. The exhibition will also bring together some of his boldest but most refined experimental works—compositions like ANPOR (1919)\, a painting made with an airbrush and pigment sprayed through and around objects in his studio. A section of the exhibition will feature several little-known paintings made at a moment when Man Ray had publicly sworn off the “sticky medium of paint” but had returned to the canvas armed with the lessons of making rayographs. Works such as Swedish Landscape (1926) show the artist applying pigment without a brush\, working it in an almost sculptural way\, building up and scraping down the surface. Three of Man Ray’s films (all of which have been newly restored) will be screened in the exhibition. \nhttps://www.metmuseum.org/press-releases/man-ray
URL:https://jamesmaherphotography.com/event/man-ray-when-objects-dream/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250914
DTEND;VALUE=DATE:20260118
DTSTAMP:20250509T210823Z
CREATED:20250509T210823Z
LAST-MODIFIED:20250509T210823Z
UID:10000041-1757808000-1768694399@jamesmaherphotography.com
SUMMARY:New Photography 2025: Lines of Belonging
DESCRIPTION:MoMA\, Floor 3\, 3 South \n“Love is the key that takes cultures from oppression to joy. As a political unifier\, the contract—love—takes on a liberating force\,” artist Sabelo Mlangeni has said. Marking the 40th anniversary of New Photography\, this exhibition brings together 13 artists and collectives who explore sites of belonging and forms of interconnectedness. Some of the artists weave personal stories within broader political histories to explore intergenerational memory. Others reimagine the idea of the archive to disrupt narratives of the past and imagine future communities. \nLines of Belonging highlights artists working in four cities that have existed as centers of life\, creativity\, and communion for longer than the nation states in which they are presently situated. From Kathmandu to New Orleans\, Johannesburg to Mexico City\, these creative practitioners offer slowness\, persistence\, and care as an antidote to the viral\, profit-driven speed of contemporary image consumption\, metadata technologies\, and artificial intelligence. \nPresenting their work at MoMA for the first time\, the artists and collectives include Sandra Blow\, Tania Franco Klein\, and Lake Verea (Francisca Rivero-Lake and Carla Verea)\, who live and work in Mexico City; Gabrielle Goliath\, Lebohang Kganye\, Sabelo Mlangeni\, and Lindokuhle Sobekwa\, who live and work in Johannesburg; Nepal Picture Library\, Sheelasha Rajbhandari\, and Prasiit Sthapit\, who live and work in Kathmandu; and L. Kasimu Harris\, Renee Royale\, and Gabrielle Garcia Steib\, who live and work in New Orleans. \nOrganized by Lucy Gallun\, Curator; Roxana Marcoci\, Acting Chief Curator and The David Dechman Senior Curator; Oluremi C. Onabanjo\, The Peter Schub Curator; and Caitlin Ryan\, Assistant Curator\, Department of Photography. \nhttps://www.moma.org/calendar/exhibitions/5757
URL:https://jamesmaherphotography.com/event/new-photography-2025-lines-of-belonging/
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/2025/05/moma.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250917
DTEND;VALUE=DATE:20251023
DTSTAMP:20251004T030456Z
CREATED:20251003T232938Z
LAST-MODIFIED:20251004T030456Z
UID:10000080-1758067200-1761177599@jamesmaherphotography.com
SUMMARY:Ricky Powell: New York Photographs 1980–1990
DESCRIPTION:About Ricky Powell \nRicky Powell (1961–2021) was a legendary New York City photographer whose work captured the energy\, grit\, and charisma of the city’s streets\, music\, and pop culture. Known as the “Unofficial Photographer of the New York City Hip-Hop Scene\,” Powell documented iconic figures—from Madonna and Jean-Michel Basquiat to the Beastie Boys and Run-DMC—with an unfiltered\, intimate eye. His early photographs offer a raw\, unforgettable window into 1980s and ’90s NYC\, blending humor\, humanity\, and streetwise authenticity. \nhttps://www.whaamwhaam.com/exhibitions/current
URL:https://jamesmaherphotography.com/event/ricky-powell-new-york-photographs-1980-1990/
LOCATION:WHAAM!\, 15 Elizabeth St # 113\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/aM7s855xUNkB07WD_IMG_5686-copy.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250918
DTEND;VALUE=DATE:20251109
DTSTAMP:20250908T024649Z
CREATED:20250908T024633Z
LAST-MODIFIED:20250908T024649Z
UID:10000071-1758153600-1762646399@jamesmaherphotography.com
SUMMARY:Pamela Hanson - in the 90s
DESCRIPTION:In contrast to the posed fashion images so prevalent in magazines\, Pamela Hanson’s photographs convey a personal connection and a real friendship with her models who are engaged in fun\, joyful activities. As she began her career in Paris in the 1980’s\, Hanson roomed with models and tuned into their thinking\, ambitions and lifestyles – insight which served her well as her career progressed and she became one of the very few women working in the field at the time. This exhibition and the publication of her book The ’90s (Rizzoli) celebrate this distinct period in fashion and includes images that have never been published or exhibited previously. This book and these photographs are “a love letter to the decade that changed everything\,” says Hanson\, and they epitomize a relaxed and spirited era of style that has never been more relevant today. \nPamela Hanson was born in London\, grew up in Switzerland\, and attended the American School in Lugano and later the University of Colorado. Her interest in photography began early and she started her career while working as an assistant to Arthur Elgort. Her photographs of up-and-coming supermodels including Christy\, Linda\, and Kate appeared regularly in magazines such as VOGUE\, Harper’s Bazaar\, GQ\, Town and Country\, and Vanity Fair and she created print and video commercials for brands including Estée Lauder\, Ralph Lauren\, Supreme\, L’Oréal\, Dior\, and many others. Hanson directed a series of television spots to raise funds for finding a Juvenile Diabetes cure and has received an award from the Association of Independent Commercial Producers (AICP) for her “Family Stories” short documentary\, a public service announcement collaboration with The Partnership at Drugfree.org. Hanson’s work is included in the permanent collection of the Smithsonian American Art Museum. \nhttps://www.staleywise.com/exhibitions/pamela-hanson
URL:https://jamesmaherphotography.com/event/pamela-hanson-in-the-90s/
LOCATION:Staley Wise\, 100 Crosby Street\, Suite 305\, New York\, NY\, 10012\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/5487b0b850f97598301719f48351b158.jpg
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