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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
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END:VEVENT
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
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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
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END:VEVENT
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
END:VEVENT
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
END:VEVENT
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
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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
END:VEVENT
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
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/man-ray-met.jpg
END:VEVENT
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
END:VEVENT
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
END:VEVENT
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250919
DTEND;VALUE=DATE:20251222
DTSTAMP:20251125T175152Z
CREATED:20251125T175152Z
LAST-MODIFIED:20251125T175152Z
UID:10000099-1758240000-1766361599@jamesmaherphotography.com
SUMMARY:Fashion Forward: The Bill Cunningham Archive Comes to The New York Historical
DESCRIPTION:Get a sneak peek at the archive of Bill Cunningham\, one of the most influential trend-spotters and style authorities of the late 20th century. \n\n\n\n\n\nThe New York Historical recently acquired the archive of Bill Cunningham\, one of the most influential trend-spotters and style authorities of the late 20th century. The legendary New York Times photojournalist roamed the city’s streets\, fashion shows\, and elegant parties\, capturing images of New York’s style innovators and cultural glitterati. The archive includes tens of thousands of photographs\, negatives\, slides\, contact sheets\, prints\, correspondence\, and ephemera. See highlights from the archive\, including his camera and pages from his scrapbooks\, ahead of a full-scale exhibition planned for the future. \n\n\n\n\n\n\n\n\n\n\n\n\n\nExhibitions at The New York Historical are made possible by Dr. Agnes Hsu-Tang and Oscar Tang\, the Saunders Trust for American History\, the Evelyn & Seymour Neuman Fund\, the New York City Department of Cultural Affairs in partnership with the City Council\, and the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature. WNET is the media sponsor. \nhttps://www.nyhistory.org/es-us/exhibitions/fashion-forward-the-bill-cunningham-archive
URL:https://jamesmaherphotography.com/event/fashion-forward-the-bill-cunningham-archive-comes-to-the-new-york-historical/
LOCATION:The New York Historical Society\, 170 Central Park West\, New York\, NY\, 10024\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/NY-Historical.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250926
DTEND;VALUE=DATE:20251103
DTSTAMP:20250908T031749Z
CREATED:20250908T031749Z
LAST-MODIFIED:20250908T031749Z
UID:10000074-1758844800-1762127999@jamesmaherphotography.com
SUMMARY:WPOW: Women Photojournalists of Washington
DESCRIPTION:Women Photojournalists of Washington (WPOW) is a volunteer-run non-profit organization dedicated to educating the public about the role of women \, and those who identify as women\, in visual journalism and fostering their professional success. The membership consists of more than 400 seasoned and emerging female photojournalists\, photo editors\, video journalists\, multimedia producers and other industry professionals as well as students. WPOW offers grants and most importantly\, community \nEach year\, WPOW curates a traveling exhibition consisting of the work done by its members over the past year. \nFeaturing: Katina Zentz\, Amy Toensing\, Maansi Srivastava\, Erin Schaff\, Ana Elisa Sotelo van Oordt\, Allison Robbert\, Astrid Riecken\, Amanda Andrade-Rhoades\, Valerie Plesch\, Rosa Pineda\, Leah Millis\, Jacquelyn Martin\, Melina Mara\, Anna Rose Layden\, Olga Jaramillo\, Evelyn Hockstein\, Carol Guzy\, Tierney Cross\, Arwen Clemans\, Bonnie Cash\, Allison Bailey\, Jocelyn Augustino\, and Céline Apollon \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/upcoming-exhibits/wpow/
URL:https://jamesmaherphotography.com/event/wpow-women-photojournalists-of-washington/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/Carol_Guzy_WPOW-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250927
DTEND;VALUE=DATE:20251123
DTSTAMP:20251029T024040Z
CREATED:20251029T024040Z
LAST-MODIFIED:20251029T024040Z
UID:10000083-1758931200-1763855999@jamesmaherphotography.com
SUMMARY:Kenro Izu: Mono no Aware
DESCRIPTION:“Art and life are intertwined for me and my thoughts have often turned to the notion of beauty as understood in both Western and Japanese contexts. Encounters with Noh masks sparked a deep curiosity in their human expressions\, a fascination that intensified with time. The gaze of the masks seemed to penetrate one’s inner being\, reminding me that to observe is also to be observed\,” states Izu. “My exploration of Noh extended to its origins\, rooted in Shinto traditions and the Jinja shrines of Japan. I was drawn particularly to shrine forests\, where sacred trees\, rocks\, and dense spiritual groves evoke a sense of timelessness. During the COVID-19 lockdown\, my focus shifted to nearby subjects—wildflowers and grasses arranged in clay vases made from locally sourced materials. The fleeting beauty of their unnoticed bloom and decay resonated deeply with me.  I continue to be reminded of how daily life and environment shape artistic creation.” \nhttps://www.howardgreenberg.com/exhibitions/kenro-izu
URL:https://jamesmaherphotography.com/event/kenro-izu-mono-no-aware/
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/2025/10/greenberg.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251001
DTEND;VALUE=DATE:20251127
DTSTAMP:20251029T030313Z
CREATED:20251029T030313Z
LAST-MODIFIED:20251029T030313Z
UID:10000090-1759276800-1764201599@jamesmaherphotography.com
SUMMARY:Padron: Xan Intervals
DESCRIPTION:Galician photographer Xan Padrón (Ourense\, Spain\, 1969) received his first camera at the hands of the photojournalist Enrique Reza\, who awoke in him a passion for the photography of the everyday\, just as his father\, the journalist Luís Padrón\, awoke in him the patience to listen and observe stories. \nAfter diverse street photography projects in New York City (Human City\, Motion City\, Visions of New York)\, in 2011 he began his acclaimed project\, “Time Lapse”: a collection of portraits of various cities through the people who inhabit them. His series Time Lapse has been the focus of solo exhibitions at the United Nations Headquarters in New York City\, the Delamour Gallery in Paris (France)\, The Pfizer Building in New York\, the Sala Valente in Ourense (Spain)\, among other venues. Xan Padrón’s artwork is held in corporate and private collections across the globe. \nIn 2023\, Padrón was invited by the MTA Arts & Design Program to exhibit at the Bryant Park subway station in New York City. His work has been featured in international publications such as New England Review\, Die Zeit Magazine\, and Harvard Business Review\, as well as in the cover of academic anthologies like “Race\, Class and Gender in the United States” (MacMillan\, 2020) and “Personal Networks” (Cambridge University Press\, 2021). His Time Lapses were also selected for the Art on Link program by the City of New York.\nXan Padrón’s career as a photographer is deeply intertwined with his previous profession as a professional musician. For over a decade\, he toured with his bass and his camera\, capturing life surrounding the musicians he collaborated with. As a photographer of artists and concerts\, he has worked in an official capacity for APAP (Association of Performing Arts Professionals\, United States) and has contributed to publications such as Inside Arts and The Writer Magazine (United States). \nXan Padrón shares his life with musician\, educator\, and writer Cristina Pato. Since 2005\, he spends his time between Galicia and New York City and has his studio at Mana Contemporary (NJ). \nhttps://benrubigallery.com/exhibition/749/xan-padr%C3%B3n
URL:https://jamesmaherphotography.com/event/padron-xan-intervals/
LOCATION:Benrubi Gallery\, 529 West 20th street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/Benrubi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251001
DTEND;VALUE=DATE:20260126
DTSTAMP:20251029T025833Z
CREATED:20251029T025833Z
LAST-MODIFIED:20251029T025833Z
UID:10000089-1759276800-1769385599@jamesmaherphotography.com
SUMMARY:Casa Susanna
DESCRIPTION:Casa Susanna brings together photographs and publications created by and for a community of cross-dressers who met regularly in New York City and the Catskill Mountains throughout the 1960s. Two modest resorts run by Susanna Valenti and her wife\, Marie Tornell\, provided safe spaces for guests to freely cross-dress en femme during an era of strictly defined gender roles. They used the camera to create and affirm their femme identities\, exchanging photographs at gatherings or sharing them by mail. These snapshots—some candid\, others playfully performative—were rediscovered at a Manhattan flea market in 2004 and have come to be known as the Casa Susanna photographs. The exhibition also features issues of Transvestia\, an underground magazine that published the photographs along with fiction\, poetry\, makeup and clothing advice\, and autobiographical essays by members of the community. \nDuring this period\, most cross-dressers lived in isolation and shame. The exhibition presents new research into the double lives cross-dressers led as married men with established careers. The photographs also bring to light the type of woman they aimed to embody—such as the “girl next door\,” the respectable housewife\, the matron—a middle-class ideal of femininity that was both liberating and limiting. Casa Susanna offers insight into a significant pre-Stonewall cross-dressing scene\, inviting visitors to understand this world and its connection to the lives of transgender people today. \nThe exhibition is organized by the Art Gallery of Ontario and Les Rencontres d’Arles in collaboration with The Metropolitan Museum of Art. \nThe exhibition is made possible by The Robert Mapplethorpe Foundation\, Inc. \nhttps://www.metmuseum.org/exhibitions/casa-susanna
URL:https://jamesmaherphotography.com/event/casa-susanna/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/met.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251001
DTEND;VALUE=DATE:20260119
DTSTAMP:20251029T025306Z
CREATED:20251029T025306Z
LAST-MODIFIED:20251029T025306Z
UID:10000088-1759276800-1768780799@jamesmaherphotography.com
SUMMARY:David Wojnarowicz: Arthur Rimbaud in New York
DESCRIPTION:During his first trip to France in 1978\, David Wojnarowicz (1954-1992) was keen to immerse himself in the Parisian environs where a century earlier poet Arthur Rimbaud had tried to live as a runaway teenager in the hopes of becoming a poet. Rimbaud’s short and peripatetic youth was memorialized in two volumes of poetry that\, in addition to propelling French literature into modernity\, have become obligatory reading to young poets across the globe\, who\, like him\, find in poetry a path to transcend the ordinary.\n \nUpon his return to New York\, Wojnarowicz was able to put in perspective the situation of decay and economic depression that brought the city to the brink of collapse\, intuitively connecting it with the state of anarchy that took over Paris during the years of the Commune in the early 1870s. This parallel also allowed him to understand his own predicament as the child of a disrupted household\, having to hone his survivor skills in the streets of New York at a very young age. Considered in this context\, the series of photo-performances that Wojnarowicz produced in collaboration with a small coterie of friends between 1978 and 1979 stands as an important document of the era that not only gives us entry into the artist’s state of mind at a turning point in his life—as he was making a transition from writing onto the visual arts—but that also documents areas of New York City that have been radically transformed.\n \nArthur Rimbaud in New York was first exhibited as an artwork at P.P.O.W gallery\, in 1990\, through a selection of 25 images. In 2004\, the series was published by P.P.O.W in collaboration with the Estate of David Wojnarowicz as a set of 44 photographs. In addition\, there is an undated portfolio of 32 test prints\, previously owned by Wojnarowicz’s partner Tom Rauffenbart. The present exhibition features a selection of images gathered from these three portfolios and the artist’s foundation. \nhttps://leslielohman.org/exhibitions/david-wojnarowicz
URL:https://jamesmaherphotography.com/event/david-wojnarowicz-arthur-rimbaud-in-new-york/
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/lohman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251002
DTEND;VALUE=DATE:20251006
DTSTAMP:20250509T205315Z
CREATED:20250509T205140Z
LAST-MODIFIED:20250509T205315Z
UID:10000037-1759363200-1759708799@jamesmaherphotography.com
SUMMARY:ICP Photobook Fest 2025
DESCRIPTION:Applications for publishers\, programming\, and project spaces are now open. \nICP’s Photobook Fest welcomes local and international photobook presses and organizations from around the world to showcase the best in photo publishing.   \nThis three-day building-wide celebration of photobooks and visual culture also features photographer book signings\, drop-in workshops\, and thoughtful conversations around photobook making and new releases in the photobook world.  \nThursday\, October 2 – Sunday\, October 5\, 2025 \nRead the publisher guidelines and the Photobook Fest FAQ before filling out your application.   \nThe Photobook Fest Publisher Application will close on May 14\, 2025\, 5 pm EST.    \nhttps://www.icp.org/events/icp-photobook-fest-2025
URL:https://jamesmaherphotography.com/event/icp-photobook-fest-2025/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/icpphotobookfestival-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251003
DTEND;VALUE=DATE:20251112
DTSTAMP:20251004T031030Z
CREATED:20251004T031030Z
LAST-MODIFIED:20251004T031030Z
UID:10000081-1759449600-1762905599@jamesmaherphotography.com
SUMMARY:Zora Sicher: Geography
DESCRIPTION:Geography marks the first monograph by Zora Sicher\, presenting fifteen years of photographic work created between the ages of fifteen and thirty. This body of work\, gathered for the first time in book form\, embodies a profound milestone at a pivotal moment in the artist’s life. The accompanying exhibition proposes a space that functions like a time capsule—an environment where closure and contemplation converge\, inviting visitors to encounter Sicher’s photographs as letters\, letters in the epistolary form but also letters that make up a language; a story of our ever moving selves in a world that rocks us and pushes us against its own walls. \nZora Sicher is a Brooklyn-based photographer whose work bridges the shifting terrain of photography\, merging its identity as a means for reproduction to create slivers of truths that may not be replicable. Sicher thinks of the camera as a mediating device between herself and the subject. Her photographs stand as ruptures to the silence of reality and time. Sicher studied photography at the Fashion Institute of Technology for two years before relocating to Mexico City in 2016 to attend the National Autonomous University of Mexico (UNAM). During her two years there\, she self-published her first photobook. Geography (Dashwood Books\, 2025) is her first monograph. She now lives and works in New York City. \nhttps://dashwoodprojects.com/zora-sicher
URL:https://jamesmaherphotography.com/event/zora-sicher-geography/
LOCATION:Dashwood Projects\, 63 East 4th Street\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/zs_book160.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251003
DTEND;VALUE=DATE:20251113
DTSTAMP:20251003T232442Z
CREATED:20251003T232442Z
LAST-MODIFIED:20251003T232442Z
UID:10000078-1759449600-1762991999@jamesmaherphotography.com
SUMMARY:Foto Féminas: 10-Year Anniversary
DESCRIPTION:Foto Féminas: 10-Year Anniversary honors a decade of amplifying Latin American and Caribbean women and non-binary photographers. \nFoto Féminas: 10-Year Anniversary is an exhibition that celebrates a decade of Foto Féminas\, the platform founded by Verónica Sanchis Bencomo to promote the work of Latin American and Caribbean women and non-binary photographers. \n\n\nFeaturing multiple artists from the Foto Féminas’ community\, the show highlights diverse voices and visual narratives; the exhibition also includes a reading library of publications. \n\n\nAbout Foto Féminas:\nFoto Féminas is a platform established with the interest in promoting through monthly online features the work of female photographers working in Latin America and the Caribbean. Since 2015\, Foto Féminas has organized and produced photo exhibitions in Argentina\, China\, Guatemala\, Peru\, Chile and Mexico. \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/upcoming-exhibits/foto-feminas/
URL:https://jamesmaherphotography.com/event/foto-feminas-10-year-anniversary/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/Screenshot-2025-09-18-at-3.22.19-PM-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251006
DTEND;VALUE=DATE:20251020
DTSTAMP:20251011T032657Z
CREATED:20251011T032657Z
LAST-MODIFIED:20251011T032657Z
UID:10000082-1759708800-1760918399@jamesmaherphotography.com
SUMMARY:Dear New York (Humans of New York)
DESCRIPTION:Dear New York–a first-of-its-kind immersive experience created by Humans of New York’s Brandon Stanton–reimagines one of the city’s most iconic spaces as a sweeping visual love letter to the people of New York. https://grandcentralterminal.com/event/dear-new-york/ \n 
URL:https://jamesmaherphotography.com/event/dear-new-york-humans-of-new-york/
LOCATION:Grand Central Terminal\, 89 E 42nd St\, New York\, NY\, 10017\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/Main-Concourse-4-copy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251009
DTEND;VALUE=DATE:20260224
DTSTAMP:20251120T172800Z
CREATED:20251120T172800Z
LAST-MODIFIED:20251120T172800Z
UID:10000092-1759968000-1771891199@jamesmaherphotography.com
SUMMARY:Inuuteq Storch: Soon Will Summer Be Over
DESCRIPTION:MoMA PS1 presents the first US solo exhibition of photographer Inuuteq Storch (Kalaaleq\, b. 1989)\, tracing the artist’s practice over the past decade. Soon Will Summer Be Over highlights Storch’s approach to imaging moments of intimacy\, mundanity\, and sublimity across Kalaallit Nunaat (Greenland)\, often focusing on his hometown of Sisimiut—a town of 5\,500 people just north of the Arctic Circle. Storch documents the textures and rhythms of communities navigating the crossroads of Inuit traditions\, Danish colonial influences\, climate crises\, and the pressures of globalization. \nInuuteq Storch is a photographer and artist from Sisimiut\, Kalaallit Nunaat (Greenland). In 2024\, Storch represented Denmark at the 60th Venice Biennale\, as the first Greenlandic artist to do so. He attended the International Centre of Photography\, New York\, and the Fatamorgana School of Photography\, Copenhagen. Storch has exhibited at the Sharjah Art Biennial; Buffalo AKG Art Museum; Akureyri Art Museum\, Iceland; Frankfurt Ray Triennale; FOFA Gallery\, Montreal; Nordatlantens Brygge Art Institute\, Copenhagen; Gammel Strand Kunsthal\, Copenhagen; and Center for Photography\, Copenhagen\, among other venues. His work is in the collections of Moderna Museet\, Stockholm\, and Kunsten Museum of Modern Art\, Aalborg\, Denmark\, among others. \nCredits\nOrganized by Jody Graf\, Associate Curator \nSponsors\nLeadership support is provided by the Teiger Foundation Exhibition Fund\, which is committed to curatorial experimentation at MoMA PS1. \nGenerous support is provided by Cav. Simon Mordant AO and Catriona Mordant AM. \nSpecial thanks to the Consulate General of Denmark in New York. \nhttps://www.momaps1.org/en/programs/611-inuuteq-storch
URL:https://jamesmaherphotography.com/event/inuuteq-storch-soon-will-summer-be-over/
LOCATION:MoMA PS1\, 22-25 Jackson Ave\, Queens\, NY\, 11101\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/inuuteq-storch.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251010
DTEND;VALUE=DATE:20260518
DTSTAMP:20260310T003003Z
CREATED:20250908T003554Z
LAST-MODIFIED:20260310T003003Z
UID:10000065-1760054400-1779062399@jamesmaherphotography.com
SUMMARY:Seydou Keïta: A Tactile Lens
DESCRIPTION:Encounter an artist who changed the face of portrait photography. Seydou Keïta: A Tactile Lens is the most expansive North American exhibition of the legendary Malian photographer’s work to date. Nearly 275 works include iconic prints\, never-before-seen portraits\, textiles\, and Keïta’s personal artifacts\, all brought to life with unique insights from his family. \nOrganized by the Brooklyn Museum\, the exhibition brings us to Bamako from the late 1940s to early 1960s\, an era of profound political and social transformation. Collaborating closely with his sitters\, Keïta recorded Mali’s evolution through their choices of backdrops\, accessories\, and apparel\, from traditional finery to European suits. These bold yet sensitive photographs began to circulate in West Africa nearly 80 years ago. In the early 1990s\, they reached Western viewers\, rocking the art world and cementing Keïta as the premier studio photographer of 20th-century Africa—a peer of August Sander\, Irving Penn\, and Richard Avedon. \nWitness the power of photography through these richly layered images\, which reveal not only Malians’ emotional landscapes but also the textures of life in a rapidly changing country. \n A fully illustrated catalogue accompanies the exhibition\, offering new insights into the photographer\, his work\, and Malian material culture. The publication features a biography by Catherine E. McKinley based on extensive interviews with Keïta’s heirs\, as well as essays by prominent scholars and curators including Drew Sawyer\, Howard W. French\, Duncan Clarke\, Awa Konate\, Sana Ginwalla\, and Jennifer Bajorek. \nhttps://www.brooklynmuseum.org/exhibitions/seydou-keita
URL:https://jamesmaherphotography.com/event/seydou-keita-a-tactile-lens/
LOCATION:Brooklyn Museum\, 200 Eastern Parkway\, Brooklyn\, NY\, 11238\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/d496b2c7566e820327835ab173c5100c922ed9d3-1029x757-1.jpg
END:VEVENT
END:VCALENDAR