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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
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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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251010
DTEND;VALUE=DATE:20260209
DTSTAMP:20250908T003259Z
CREATED:20250908T003259Z
LAST-MODIFIED:20250908T003259Z
UID:10000064-1760054400-1770595199@jamesmaherphotography.com
SUMMARY:Ken Ohara: CONTACTS
DESCRIPTION:Ken Ohara: CONTACTS is artist Ken Ohara‘s (b. 1942) first U.S. institutional solo exhibition. Featuring twenty-two photographs and four accompanying documents from his groundbreaking series CONTACTS (1974–76)\, this exhibition showcases Ohara’s innovative photographic experiment\, where he mailed a preloaded camera to strangers across the U.S.\, instructing them to document their own lives before passing the camera along. During this process\, Ohara relinquished authorship\, decentralizing his point of view but rather facilitating and cocreating a uniquely personal and democratic portrait of Americans and American life at a time of economic and political unrest.    \nThe resulting “contact sheets\,” a recent acquisition to the Whitney’s collection\, are shown in chronological order and offer intimate glimpses into the lives of participants across thirty-six states. The exhibition explores themes of human connection and the collective synchronicities of mundane life utilizing the groundbreaking analog photography of the 1970s and contemporary image-sharing culture. \nhttps://whitney.org/exhibitions/ken-ohara \n 
URL:https://jamesmaherphotography.com/event/ken-ohara-contacts/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort St\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/09/large_WMAA94013_WMAA94013_2025_37_47_cropped_hpr-detail.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251016
DTEND;VALUE=DATE:20260113
DTSTAMP:20251003T232100Z
CREATED:20251003T232100Z
LAST-MODIFIED:20251003T232100Z
UID:10000077-1760572800-1768262399@jamesmaherphotography.com
SUMMARY:Naima Green: Instead\, I spin fantasies
DESCRIPTION:The International Center of Photography (ICP) is proud to present Instead\, I spin fantasies\, an exhibition by Naima Green that grapples with the concept of pregnancy through constructed self-portraits\, landscapes and still-lifes—blurring the line between documentary and performance. Green probes the conventional expectations and representational tropes of motherhood\, while also creating an expanded space for considering the experience of pregnancy in America. \nCurated by Guest Curator Elisabeth Sherman\, Instead\, I spin fantasies brings together dozens of new works\, including photographs printed using the historical technologies of albumen and lumen printing processes\, along with a site-specific vinyl installation that utilizes the architecture of ICP’s third floor galleries. \nAbout Naima Green  \nNaima Green is an artist and educator who pictures individuals and communities to document their vibrant relationships to place and pleasure. She engages with various photographic forms\, sound\, and experimental film. Throughout her collaborative practice\, Green accesses and prioritizes the nature of intimacy\, safety\, and self-recognition. Often working in lush and watery environments\, she presents windows into multidimensional experiences of seawater and its pathways: beauty\, buoyancy\, overwhelm\, and submersion. Oral and written histories are critical to her process; by synthesizing archival research with outreach and conversation with current sitters\, she frames picture-making as a continuum and her still images as kinetic\, living histories. \nGreen has had solo exhibitions at Astor Weeks\, Baxter St at CCNY\, and Fotografiska\, all NY\, and the Institute of Contemporary Art at VCU\, Richmond\, VA. She has exhibited in group shows at the Getty Research Institute\, University of Texas at Austin\, Mass MoCA\, BRIC\, Studio Museum in Harlem\, Bronx Museum of the Arts\, and Houston Center for Photography\, among others. She has been an artist-in-residence at Fountainhead Arts\, Baxter St at CCNY\, Bronx Museum\, Center for Photography at Woodstock\, MASS MoCA\, Penumbra Foundation\, Pocoapoco\, and Vermont Studio Center. Her work is in the permanent collections of the Barnard College Library\, Decker Library at MICA\, Flaten Art Museum\, Fleet Library at RISD\, The Getty Research Institute\, Hessel Museum of Art\, High Museum of Art\, International Center of Photography Library\, Museum of Modern Art Library\, Hirsch Library at the Museum of Fine Arts Houston\, National Gallery of Art\, Smart Museum of Art\, Smith College Museum of Art\, and Teachers College\, Columbia University. Green holds a BA from Barnard College\, Columbia University\, an MA from Teachers College\, Columbia University\, and an MFA from ICP-Bard. \nhttps://www.icp.org/exhibitions/naima-green
URL:https://jamesmaherphotography.com/event/naima-green-instead-i-spin-fantasies/
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/2025/10/01-N.Green_Insteadispinfantasies.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251016
DTEND;VALUE=DATE:20260113
DTSTAMP:20250908T003042Z
CREATED:20250908T003042Z
LAST-MODIFIED:20250908T003042Z
UID:10000063-1760572800-1768262399@jamesmaherphotography.com
SUMMARY:Graciela Iturbide: Serious Play
DESCRIPTION:The International Center of Photography presents Graciela Iturbide: Serious Play\, the first ever retrospective of Iturbide’s work in New York City. This landmark exhibition\, organized in collaboration with Fundación MAPFRE and curated by Carlos Gollonet\, Chief Curator of Photography at Fundación MAPFRE\, features nearly 200 photographs spanning five decades of her groundbreaking career. \nIturbide learned photography under renowned Mexican modernist Manuel Álvarez Bravo. Throughout her career\, Iturbide traveled extensively throughout Mexico–and beyond–turning her attention to communal life\, indigenous communities\, and the interactions between nature and culture. \n  \nAbout Graciela Iturbide  \nGraciela Iturbide is known for her black-and-white images of the local communities in her native Mexico. In 1979\, she published Juchitán de las Mujeres\, a book of photographs that inspired her lifelong support of feminist causes. Iturbide has photographed in the Sonoran Desert and Juchitán de Zaragoza (Mexico)\, as well as in Cuba\, Panama\, India\, Argentina\, and the United States. Born in 1942 in Mexico City\, Mexico\, she studied film at the Centro de Estudios Cinematográficos of the Universidad Nacional Autónoma de México in 1969\, where she was influenced by the acclaimed Mexican photographer Manuel Álvarez Bravo. She has received several awards\, including the Hasselblad and the William Klein Award. This year\, she received the Premio Princesa de Asturias 2025. \n  \nAbout Carlos Gollonet  \nCarlos Gollonet (b. Granada\, 1962) holds a degree in Art History from the University of Granada and is a career civil servant at the Granada Provincial Council\, where he served as Director of the Publications Department for twenty years. At the same time\, he has developed a career as an independent photography editor and curator. In 2007\, he began collaborating with Fundación MAPFRE to create a photography collection and develop an extensive photography program. He is currently the Chief Curator of Photography at the institution. Throughout his professional career\, he has held other positions of responsibility\, such as Provincial Delegate for Culture in Granada. \nSince the early 1990s\, he has curated more than thirty photography exhibitions and catalogues dedicated to figures such as Helen Levitt\, Richard Misrach\, Hiroshi Sugimoto\, Lee Friedlander\, Garry Winogrand\, Harry Callahan\, Nicholas Nixon\, Abelardo Morell\, Martín Chambi\, Fazal Sheikh\, Dayanita Singh\, Emmet Gowin\, Bruce Davidson\, and Carlos Pérez Siquier\, among others. He is currently working on a retrospective of the American photographer Minor White. He has published numerous books\, articles\, and essays in books and specialized publications\, and is regularly invited as a speaker\, lecturer\, and jury member for numerous photography awards\, including the Spanish National Photography Prize (on two occasions) and the Cartier-Bresson Award in France\, among others. In 2010\, he received the EntreFotos Award for his contributions to photography. \n  \nAbout Fundación MAPFRE  \nFundación MAPFRE is a nonprofit organization created by MAPFRE in 1975 to promote the well-being of society and citizens across the company’s footprint. Active in 30 countries\, Fundación MAPFRE focuses on five areas: Road Safety and Accident Prevention\, including fires\, mishaps at home and drownings; Insurance and Social Protection; Culture; Social Action; and Health Promotion. Please visit https://www.fundacionmapfre.org/en/ for more information about Fundación MAPFRE \nhttps://www.icp.org/exhibitions/graciela-iturbide
URL:https://jamesmaherphotography.com/event/graciela-iturbide-serious-play/
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/2025/09/Mujer-angel-Desierto-de-Sonora-Mexico-1979-1.jpg-scaled.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251016
DTEND;VALUE=DATE:20260113
DTSTAMP:20250908T002801Z
CREATED:20250908T002801Z
LAST-MODIFIED:20250908T002801Z
UID:10000062-1760572800-1768262399@jamesmaherphotography.com
SUMMARY:Sergio Larraín: Wanderings
DESCRIPTION:The International Center of Photography presents Sergio Larraín: Wanderings\, an exhibition consisting of prints drawn entirely from the Magnum Photos archive. Curated by Agnès Sire\, former Director of the Fondation Henri Cartier-Bresson\, Paris\, the exhibition primarily highlights the work Larraín made during the first twenty years of his career\, in cities such as Valparaíso\, Santiago\, Paris and London. \nWanderings provides a new perspective on Larraín’s inventive and humanist photography that for decades has remained little seen and seldom exhibited\, looking at both the material and spiritual drama of rural and urban life while also charting the subtle evolution of Larraín’s style. \n  \nAbout Sergio Larraín  \nSergio Larraín\, born in 1931 in Santiago into a Chilean family rich in art and culture\, studied forestry at University of California\, Berkeley and the University of Michigan. He became a freelance photographer\, worked for O Cruzeiro magazine\, and received a British Council scholarship in 1958. He joined Magnum Photos a year later after meeting Henri Cartier-Bresson in Paris. Larraín’s notable series include Vagabond Children (1957)\, London (1958–59)\, and Valparaíso (1952–62). In 1963\, he published his first book\, El rectangulo en lamano. Later in life\, he collaborated with Pablo Neruda and focused on transcendental meditation. Larraín passed away in 2012 at his home in Tulahuén\, Chile.  \nAbout Agnes Sire  \nAfter a master in philosophy and esthetics\, Agnès Sire worked at Alexandre Iolas Gallery in Paris before joining the team of the Magnum Photos Paris office. She worked there as artistic director for 20 years and has been co-author of several collective Magnum projects such as Magnum Cinema and Behind the iron curtain. She also handled the publication of various individual photographers’ books like Henri Cartier-Bresson: Mexican note book or Valparaiso and London by Sergio Larraín. She taught for two years at Sorbonne University and in 2004 she became director of Fondation Henri Cartier-Bresson in Paris. For 15 years\, she was the curator of most of the 45 exhibitions presented there.  \nhttps://www.icp.org/exhibitions/sergio-larrain
URL:https://jamesmaherphotography.com/event/sergio-larrain-wanderings/
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/2025/09/sergio-larrain-Perou-1960.jpg.webp
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251024
DTEND;VALUE=DATE:20251116
DTSTAMP:20251029T025050Z
CREATED:20251029T025050Z
LAST-MODIFIED:20251029T025050Z
UID:10000087-1761264000-1763251199@jamesmaherphotography.com
SUMMARY:Picture Library 2025
DESCRIPTION:School of Visual Arts (SVA) BFA Photography and Video presents its annual exhibition “Picture Library 2025\,” organized in collaboration with the SVA Library and featuring a selection of the class of 2025’s Senior Monographs alongside books from the College’s Library that have inspired their work. The exhibition will be on view from Friday\, October 24\, through Saturday\, November 15\, 2025\, at the SVA Gramercy Gallery\, 209 East 23rd Street\, New York City. \nThis special edition of the show surveys all prior iterations of Picture Library from 2018 – 2024\, collectively showcasing previously exhibited Senior Monographs along with their inspiration books in an adjacent reading room. Of the exhibition\, department Chair\, Joseph Maida\, says\, “We hope that this expanded version of Picture Library encourages visitors from the SVA community and beyond to spend time with pictures in books. One of the most impactful vehicles for circulating photographs to global audiences over the last two centuries\, the printed image meaningfully endures in the digital age.”  \nAlumni from the class of 2025 featured in this exhibition are Alexia Haick\, Martins da Silveira\, Adison James\, Yinong Li\, Samantha Molinelli\, Shane Singh\, Zixuan Wang\, Yu-Shan Sammi Wei\, and John Yuhas. Their work is inspired by celebrated artists\, including Olivia Locher\, Tim Walker\, Masao Yamamoto\, Bruce Davidson\, Ken Schles\, Sophie Calle\, Rinko Kawauchi\, and Roberto Bolaño. \nThis show is made possible because of the support and collaboration of the SVA Library. Special thanks to Caitlin Kilgallen\, Director\, and David Shuford\, Cataloger\, for the invaluable resources they provide to our community. \nhttps://sva.edu/events/bfa-photography-and-video-exhibition-fall-2025
URL:https://jamesmaherphotography.com/event/picture-library-2025/
LOCATION:SVA Gramercy Gallery\, 209 East 23rd Street\, 1st floor\, New York\, NY\, 10010\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/sva.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251030
DTEND;VALUE=DATE:20251221
DTSTAMP:20251029T024614Z
CREATED:20251029T024614Z
LAST-MODIFIED:20251029T024614Z
UID:10000085-1761782400-1766275199@jamesmaherphotography.com
SUMMARY:Guanyu Xu: Resident Aliens
DESCRIPTION:Yancey Richardson is proud to present Resident Aliens\, an exhibition of new work by Guanyu Xu\, the artist’s second solo exhibition with the gallery. With an approach that deftly combines social practice\, installation and photography\, Xu’s work has been defined by its expansive\, multi-disciplinary approach to image-making. Building upon his previous body of work that examined the tension between his own queer identity and the normative prescriptions of his family through photography installations that were then turned into two-dimensional images\, in his new series Xu examines the personal lives and domestic spaces of immigrants navigating the political demands of a changing world. Working with people of different immigration statuses\, Xu explores the relationship between the bureaucratic demands of the state and the subjective expression of the individual. The exhibition will be on view from October 30 through December 20\, 2025. An opening reception will be held on Thursday\, October 30 from 6–8PM. \nBegun in 2019\, shortly before it was interrupted by the Covid-19 pandemic\, and then resumed in its wake and still ongoing to this day\, the works in Resident Aliens have been made inside the homes of immigrants living in cities across the United States and China. In an ever-expanding list that includes Chicago\, East Lansing\, New York\, Hong Kong\, Beijing\, Nanjing and Shanghai\, Xu has sought out participants caught up in the administrative web of citizenship and legal status\, a process requiring them to re-establish their identities through the careful selection of information\, images and documentation. \nTo create his large-scale color photographs\, Xu first meets with the participants in their homes to learn about their lives\, to understand their respective stories and photograph their spaces. He eventually asks them to select meaningful images from their personal photo albums that he then prints. On a subsequent visit\, Xu constructs a temporary installation inside each participant’s home\, using both his own images and theirs to create a dense and layered arrangement before photographing it to produce a collage-like final image. Through recontextualizing archival photographs and merging multiple perspectives together\, Xu’s images not only trouble the distinction between authorship and reproduction\, between what is intimate and what is social\, but they also speak to the fragmented nature of the immigrant experience\, one being made increasingly more fraught and precarious with each passing day. \nThough intellectually rigorous and formally complex\, the images in Resident Aliens are also visually rich and deeply engaging. Snapshots of sunsets and cityscapes live alongside revealing portraits and fleeting observations\, all with their own inherent meaning that Xu makes newly contingent on the images he combines them with. The inseparability of personal significance from larger structures of meaning reflects the challenging and oftentimes intrusive nature of the state system itself\, which requires visa applicants to prove their economic value and social importance and even\, if in a relationship\, to prove their bond of love as well. By asking his subjects to willingly select images and provide materials they believe capture their identity or express the substance of their lives\, Xu underscores the impossibility of such a process ever succeeding in the first place. \n\n\nThe movement between the personal and the political\, a constant source of tension in Xu’s work\, is intensified in Resident Aliens\, as the images demonstrate how both categories are informed by and intertwined with another. Within the seemingly protected space of home\, Xu reveals what must be protected and what can still be taken away. \nGuanyu Xu (b.1993 Beijing) is an artist currently based in Chicago and Beijing. Influenced by the production of hegemonic ideology in American visual culture and his upbringing in Beijing\, his practice extends from examining the production of power in image culture to the question of personal freedom and its relationship to political regimes. Xu negotiates this from his perspective as a Chinese gay man and an immigrant in the US. In his work\, he migrates between mediums like photography\, new media\, and installation. These movements operate similarly to his displaced and fractured identity. In Xu’s art practice\, he strives to understand the politics between the U.S. and China\, on both personal and transnational levels. Xu proposes a transnational position for viewers to examine and negotiate the interconnected oppressions in this contemporary moment of supposed freedom. \nHe is the recipient of the Chicago DCASE Artist Grant\, CENTER Development Grant\, Hyéres International Festival Prize\, PHOTOFAIRS Shanghai Exposure Award\, Philadelphia Photo Arts Center Annual Competition\, and Kodak Film Photo Award. He has received artist residencies including ACRE (Steuben\, WI)\, Light Work (Syracuse\, NY)\, Latitude (Chicago\, IL)\, Pioneer Works (New York\, NY)\, and Swatch Art Peace Hotel (Shanghai\, China). \nHis works have been exhibited and screened internationally including the Harvard Art Museums\, Cambridge; International Center of Photography\, New York; Museum of Contemporary Art\, Chicago; New Orleans Museum of Art\, New Orleans; Museum of Fine Arts\, Houston; San Francisco Museum of Modern Art\, San Francisco; UCCA Center for Contemporary Art\, Beijing; Fotomuseum Winterthur\, Switzerland; 36th Kasseler Dokfest\, Germany\, and others. His work can be found in public collections including San Francisco Museum of Modern Art\, the Museum of Fine Arts\, Houston\, Cantor Arts Center at Stanford University\, Madison Museum of Contemporary Art\, Harvard Art Museums\, Museum of Contemporary Photography Chicago\, New Orleans Museum of Art\, among others. His works have been featured in numerous publications including The New York Times\, Phaidon\, Thames & Hudson\, ArtAsiaPacific\, The New Yorker\, Harper’s Magazine\, Dazed\, and China Photographic Publishing House. \nhttps://www.yanceyrichardson.com/exhibitions/guanyu-xu2
URL:https://jamesmaherphotography.com/event/guanyu-xu-resident-aliens/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/Yancy.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251030
DTEND;VALUE=DATE:20251221
DTSTAMP:20251029T024353Z
CREATED:20251029T024353Z
LAST-MODIFIED:20251029T024353Z
UID:10000084-1761782400-1766275199@jamesmaherphotography.com
SUMMARY:Larry Sultan: Homeland
DESCRIPTION:Yancey Richardson is proud to present Homeland\, an exhibition featuring photographs from Larry Sultan’s series of the same name and the third exhibition of his work with the gallery. In his expansive photographs of Latino day laborers set against the backdrop of a suburban California landscape\, Sultan explores the liminal spaces between actions\, the moments that exist as time passes. Though he borrows from the tradition of landscape painting\, with its presumption of order through perspective\, Sultan’s photographs emphasize the indeterminate and the ambiguous instead\, revealing the sense of possibility that remains embedded in the act of waiting. The exhibition will be on view in the project gallery from October 30 through December 20\, 2025. An opening reception will be held on Thursday\, October 30 from 6–8PM. \nOver the course of a two year period Sultan drove to lumber yards and hardware stores in the Bay Area and Simi Valley\, California\, where every day hundreds of men waited for temporary employment. Rather than hire them as laborers\, Sultan employed them as actors\, working with them to choreograph their movements in landscape on the outskirts of suburbia\, rehearsing and doing take after take\, creating picture after picture. Just as they originally occupied the marginal and transitional zones within the landscape—those that remain overlooked and passed over—Sultan cast these men in similar roles for Homeland\, asking them to carefully pose and sit\, to cast their gaze outward from the picture frame. Instead of depicting dynamic motion or dramatic action\, Sultan created meticulous tableaux that express the interrelated experiences of looking for\, leaving and coming home. The notes of longing and melancholy that are present in these photographs are counterbalanced by one of emergent possibility\, where the familiarity of the banal can give way to the unforeseen and unexpected. \nIt was in the act of exploring truths in storytelling\, notions of identity and the influence of home that Sultan returned to time and again in his work\, regardless of subject matter or setting. The lasting imprint of his childhood and the spaces that defined it—the empty fields behind strip malls and the borderlands of the LA river that ran behind his home in the San Fernando Valley—were areas that represented a small and diminishing stretch of refuge that existed just outside the boundaries of private property. By investigating these spaces in Homeland\, Sultan sought to complicate the stereotype of what suburbia was and can be with pictures suff used with anticipation and a quiet reverence for the ordinary. \n\n\nLarry Sultan grew up in California’s San Fernando Valley\, which became a source of inspiration for a number of his projects. His work blends documentary and staged photography to create images of the psychological as well as physical landscape of suburban family life. Sultan’s pioneering book and exhibition Pictures From Home (1992) was a decade long project that features his own mother and father as its primary subjects\, exploring photography’s role in creating familial mythologies. Using this same suburban setting\, his book\, The Valley (2004) examined the adult film industry and the area’s middle-class tract homes that serve as pornographic film sets. Katherine Avenue (2010)\, the exhibition and book\, explored Sultan’s three main series\, Pictures From Home\, The Valley\, and Homeland alongside each other to further examine how Sultan’s images negotiate between reality and fantasy\, domesticity and desire\, as the mundane qualities of the domestic surroundings become loaded cultural symbols. \nLarry Sultan’s work has been exhibited and published widely and is included in the collections of the Los Angeles County Museum of Art\, the Art Institute of Chicago\, the Museum of Modern Art\, the Whitney Museum of American Art\, the Solomon Guggenheim Museum\, the Tate Modern\, the National Gallery\, London\, the Stedelijk Museum\, Musée de l’Elysée\, Centre Pompidou\, the National Gallery of Art\, DC\, and the San Francisco Museum of Modern Art\, where he was also recognized with the Bay Area Treasure Award in 2005. Sultan served as a Distinguished Professor of Photography at California College of the Arts in San Francisco. Born in Brooklyn\, New York in 1946\, Larry Sultan passed away at his home in Greenbrae\, California in 2009. \nhttps://www.yanceyrichardson.com/exhibitions/larry-sultan3
URL:https://jamesmaherphotography.com/event/larry-sultan-homeland/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/Yancy2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251031
DTEND;VALUE=DATE:20260217
DTSTAMP:20251003T214550Z
CREATED:20251003T214550Z
LAST-MODIFIED:20251003T214550Z
UID:10000076-1761868800-1771286399@jamesmaherphotography.com
SUMMARY:Time Travelers: Photographs from the Gayle Greenhill Collection
DESCRIPTION:Can a photograph open a portal to another world? Time Travelers: Photographs from the Gayle Greenhill Collection presents a selection of extraordinary works that each offer entry into a moment in photography’s history. These objects transport viewers across geographic and temporal distances\, or into spaces constructed entirely within the boundaries of a photographic print. \nReflecting a multitude of styles\, approaches\, and processes\, the works in this exhibition date from photography’s earliest years to our present moment\, ranging from William Henry Fox Talbot’s investigations with the nascent technology in the mid-1800s to JoAnn Verburg’s immersive representation of the natural landscape in the early 21st century. Some photographs in the exhibition were made for scientific purposes\, or to mark a significant event\, while others—including those by Julia Margaret Cameron and Edward Steichen—assert the medium as a means of artistic creation. Portraits made under diverse circumstances illuminate the complexities of representing the self and others\, while experiments in the image\, like those by László Moholy-Nagy and Jan Groover\, explore photography’s unique modes of vision. \nHonoring a generous gift of photographs to MoMA from Robert F. Greenhill in memory of his wife\, Gayle Greenhill\, Time Travelers invites extended contemplation of these objects and the stories they carry. Its photographs offer encounters with people\, things\, and events outside our own place and time\, in the spirit of photographer Emmet Gowin’s avowal\, “For me\, pictures provide a means of holding\, intensely\, a moment of communication between one human and another.” \nhttps://www.moma.org/calendar/exhibitions/5828
URL:https://jamesmaherphotography.com/event/time-travelers-photographs-from-the-gayle-greenhill-collection/
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/2025/10/Edward-Steichen-Moonrise—Mamaroneck-New-York-1904.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251101
DTEND;VALUE=DATE:20260504
DTSTAMP:20251125T181206Z
CREATED:20251125T181206Z
LAST-MODIFIED:20251125T181206Z
UID:10000103-1761955200-1777852799@jamesmaherphotography.com
SUMMARY:Selections from The Walther Collection
DESCRIPTION:The world looks different through a camera’s viewfinder—like a picture frame or a windowpane\, it redirects the eye. In modern and contemporary photographs from an esteemed private collection\, artists use the camera to navigate shifting terrain. Registering and reshaping environments in flux\, they look anew at how we traverse them. \nWhen Artur Walther began to acquire photography\, he aimed to expand the parameters of the field. Assembled over three decades and across five continents\, his vast collection brings together a diverse group of makers—some celebrated and others still unknown. View Finding: Selections from The Walther Collection introduces his landmark gift of over 6\,500 works and highlights the collection’s pioneering point of view. Presenting international perspectives on hyperlocal subjects\, it showcases the camera as a tool for creativity and critique. With inventive eyes\, the photographers in View Finding study the sidewalks of Nairobi and storefronts of Fifth Avenue. They search public parks from Tokyo to Tangier. In private bedrooms\, parking lots\, and other places easy to overlook\, they focus in\, finding—here and there—unlikely sites of self-reflection and social change. The exhibition is made possible by Joyce Frank Menschel. \n\n\nNow on view at The Met Fifth Avenue in Gallery 851\n\n\n\n\n\n\nhttps://www.metmuseum.org/exhibitions/view-finding-selections-from-the-walther-collection
URL:https://jamesmaherphotography.com/event/selections-from-the-walther-collection/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/MET-1.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251101
DTEND;VALUE=DATE:20260309
DTSTAMP:20251125T180154Z
CREATED:20251125T180154Z
LAST-MODIFIED:20251125T180154Z
UID:10000102-1761955200-1773014399@jamesmaherphotography.com
SUMMARY:Niyū Yūrk: Middle Eastern and North African Lives in the City
DESCRIPTION:Niyū Yūrk explores the often overlooked history of Middle Eastern and North African (MENA) immigration to New York City\, from the first waves in the late 19th century to the present. The exhibition highlights how New York City has shaped the lives\, identities\, and creative practices of MENA communities\, artists\, and writers. It also emphasizes their enduring contributions to the city’s cultural landscape and place in global culture. \nThrough an array of materials—including local newspapers\, rare books\, archival documents\, prints\, artists’ books\, photographs\, music records\, and film—the exhibition showcases how these voices have been preserved and presented. Niyū Yūrk creates a dynamic dialogue across time\, illustrating the evolving nature of MENA migration to the city as well as the Library’s role in documenting this history. While reflecting on new directions in collecting practices\, it also aims to address gaps in those practices and envision a more inclusive archival future. \nThis exhibition is organized by The New York Public Library and curated by Hiba Abid\, Curator for Middle Eastern and Islamic Studies. \nhttps://www.nypl.org/events/exhibitions/niyu-yurk
URL:https://jamesmaherphotography.com/event/niyu-yurk-middle-eastern-and-north-african-lives-in-the-city/
LOCATION:New York Public Library\, 476 5th Ave\, New York\, NY\, 10018\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/NYPL.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251107
DTEND;VALUE=DATE:20251221
DTSTAMP:20251125T174512Z
CREATED:20251125T174427Z
LAST-MODIFIED:20251125T174512Z
UID:10000096-1762473600-1766275199@jamesmaherphotography.com
SUMMARY:Frank Diernhammer: Hollywood Nudes\, 1950s-1970s
DESCRIPTION:CLAMP is pleased to announce “Frank Diernhammer | Hollywood Nudes\, 1950s – 1970s\,” curated by Travis Hutchison. \nThe exhibition is the first public display of the artist’s extensive archive. Hidden away for nearly fifty years\, the collection of vintage photographs\, negatives\, slides\, and 8-mm films was only discovered upon the artist’s death in 2019 at 90 years of age. Consisting primarily of the artist’s private passion\, intimate male nudes\, the holdings also notably include a very rare original print of a 30-minute 8-mm film of men frolicking at one of the famous pool parties at the Hollywood home of director George Cukor in 1958. CLAMP’s show features original vintage gelatin silver prints\, modern gelatin silver enlargements\, contact sheets\, a video presentation of the Cukor film\, along with a printed film still. \nBorn in New York City in 1928 to German parents\, Frank Diernhammer was an American citizen. His father was a violinist who auditioned for Arturo Toscanini at the New York Philharmonic. When he was not selected\, he moved the family back to Munich the following year. \nThe family survived World War II unscathed\, and Frank Diernhammer then enlisted in the US Army working as an interpreter in Germany. In 1948\, he left Germany to study photography at the University of California\, Los Angeles. He later pursued an acting career and appeared in the 1953 film Gentlemen Prefer Blondes with Marilyn Monroe. Diernhammer is one of the handsome male dancers in the famous sequence from the song “Diamonds Are a Girl’s Best Friend.” Throughout the mid-1950s\, he appeared on the cast lists of various films in Germany\, where he changed his name to Frank Holms. But by 1958\, he was back in Hollywood when he filmed the handsome men at one of the infamous pool parties at the home of director George Cukor. \nThroughout the 1960s and 1970s\, Diernhammer worked on assignment for Women’s Wear Daily shooting Hollywood events and celebrity portraits for profiles and interviews. Some of the subjects included Steve McQueen\, Paul Newman\, Truman Capote\, George Cukor\, Barbra Streisand\, Rita Hayworth\, Marlon Brando\, Raquel Welch\, Clint Eastwood\, Robert Mitchum\, Allen Ginsberg\, David Hockney\, Christopher Isherwood\, Joan Crawford\, Jane Russell\, Faye Dunaway\, Henry Fonda\, Natalie Wood\, Ronald Reagan\, James Baldwin\, Shirley MacLaine\, Fred Astaire\, Katharine Hepburn\, and many more. \nAll the while\, Diernhammer continued shooting photographs of the handsome men he met along the way\, including surfers\, models\, hustlers\, and porn stars. Photographing in his home\, the images were meant entirely for his own enjoyment. Though a handful did appear in print\, they are either unattribruted or misattributed to famous photographers of the day\, including Bob Mizer. Nonetheless\, the archive represents the achievement of a previously unknown\, notably prolific\, and particularly gifted beefcake photographer working from the pre-Stonewall era up to gay liberation during the sexual revolution of the 1970s. \nhttps://clampart.com/2025/09/hollywood-nudes-1950s-1970s
URL:https://jamesmaherphotography.com/event/frank-diernhammer-hollywood-nudes-1950s-1970s/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/Clamp1.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251107
DTEND;VALUE=DATE:20251215
DTSTAMP:20251029T030647Z
CREATED:20251029T030647Z
LAST-MODIFIED:20251029T030647Z
UID:10000091-1762473600-1765756799@jamesmaherphotography.com
SUMMARY:Diggin’ in the Frames: A look back by MyEyeGotLazy
DESCRIPTION:From zine to movement—Diggin’ in the Frames showcases how MyEyeGotLazy transforms photography into connection\, creativity\, and community beyond the digital frame. \nWhat began as a small independent zine in late 2022 has grown into a collective platform that uses photography as a tool for connection\, visibility\, and shared experience. Through limited-run publications\, exhibitions\, and public activations\, MyEyeGotLazy has created space for photographers at all levels to share their perspectives beyond social media.  \nAt its core\, Diggin’ in the Frames explores how photography comes to life off the screen—in print\, on walls\, and within communities—revealing its power to connect people and the collective creativity that shapes culture. \nThe exhibition features selections from past issues of MyEyeGotLazy\, archival materials\, and highlights from exhibitions and collaborations that have shaped its identity. It reflects on the collaborative spirit that has fueled the platform’s growth while celebrating the photographers and contributors who have helped build it along the way. \nDiggin’ in the Frames invites reflection on the physical and communal nature of photography. It celebrates photography not only as an art form but as a living community built on collaboration\, creativity\, and intention. \nMyEyeGotLazy is a self-published photography zine and creative platform founded by Francisco Vasquez and Jean-Andre Antoine. Dedicated to showcasing the energy and vision of contemporary street photography\, the platform features work from photographers at all levels\, including emerging artists\, established names\, and those in between. Through limited-run publications\, exhibitions\, and public activations\, MyEyeGotLazy creates space for community storytelling and authentic connection. In an age where most images are consumed on screens\, it promotes photography in its most intentional form: in print and in person. \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/upcoming-exhibits/myeyegotlazy/ \n 
URL:https://jamesmaherphotography.com/event/diggin-in-the-frames-a-look-back-by-myeyegotlazy/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/10/bronxdoc.jpg
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