BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//New York Photography, Prints, Portraits, Events, Workshops - ECPv6.16.5.1//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://jamesmaherphotography.com
X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
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
END:VEVENT
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
END:VEVENT
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
END:VEVENT
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
END:VEVENT
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251107
DTEND;VALUE=DATE:20251221
DTSTAMP:20251125T174648Z
CREATED:20251125T174648Z
LAST-MODIFIED:20251125T174648Z
UID:10000097-1762473600-1766275199@jamesmaherphotography.com
SUMMARY:Robert Calafiore | As My Eyes Open and You Disappear
DESCRIPTION:CLAMP is pleased to present “As My Eyes Open and You Disappear\,” Robert Calafiore’s second solo show with the gallery. This exhibition brings together Calafiore’s newest nude studies\, conceived as staged\, theatrical tableaux. Drawing on art historical precedents\, from Greek and Roman statuary to odalisques\, as well as the expressive positioning of George Platt Lynes and the story tale sequencing of Duane Michals\, each composition unfolds like a scene from a play\, where gesture\, posture\, and illumination orchestrate both narrative and affect. The bodies appear simultaneously present and ephemeral\, illuminated with the translucency of stained glass. \nRobert Calafiore shoots analogue\, entirely without digital technologies\, constructing custom pinhole cameras which expose light directly onto chromogenic sheets of paper. Producing singular color prints through extremely prolonged exposures ranging from several minutes to hours\, this method requires models to hold poses with disciplined stillness while the camera records their presence. Any movement creates blur and distortion\, collapsing time into layered\, ghost-like traces. Each figure emerges as a luminous\, sculptural presence—its monumentality achieved through scale and tonal depth\, its vulnerability through the body’s translucent rendering and exposed gestures. \nThe artist’s practice\, rooted in meticulous engagement with and mastery of optical technology\, recalls early 19th-century experimental photography while opening a dialogue with classical representations of the human form. \nAs early photography pioneer William Henry Fox Talbot described his own camera obscura images\, these are pictures “drawn by the hand of nature” rather than the artist’s hand—a world made visible through the camera’s unique vision. \nCalafiore’s choice to work with the most primitive photographic technology is a deliberate response to our digital age. Observing his students at Hartford Art School increasingly challenged by the construction of functional pinhole cameras and the sensitive handling of physical materials\, he recognized how digital shortcuts had eroded fundamental skills. In response\, he turned away from digital technology entirely and built his own cameras: “I chose to use the pinhole camera and make work that turned in the opposite direction of new digital technologies. I wanted to make work that was relevant\, felt contemporary\, looked high tech\, but yet was made with the simplest camera to capture an image. I wanted the work to be physical\, labor intensive\, require strong skills in technique and craft.” \nCalafiore presents his images as photographic negatives\, with darkness rendered as light and colors appearing as their approximate opposites. This reversal is not a technical limitation but an artistic choice that reveals a world that cannot be seen otherwise. The negative image demands that viewers engage more directly\, studying each photograph closely to reconstruct mentally what they are perceiving. One must slow down and examine the interplay of light\, form\, and time duration with sustained attention in resistance to the instant nature of contemporary image culture. \nA first-generation Italian-American\, raised within a large\, traditional Roman Catholic family\, Calafiore’s earliest interactions with ritual\, devotion\, and labor inform both the discipline and reverence inherent in his practice. Not only the curious inverted palette characteristic to pinhole prints\, but the artist’s dramatic mis en scène reference religious iconography from stained glass windows to painted biblical depictions. \nCalafiore’s practice functions as a meditation on perception and the materiality of seeing. By privileging labor-intensive\, analog processes\, he foregrounds the tactile and enduring dimensions of the human body\, transforming the nude figure into a site of both aesthetic contemplation and an inquiry of perception. The exhibition stages a dialogue between intimacy and spectacle\, classical reference and contemporary sensibility\, permanence and disappearance. \nBorn in New Britain\, Connecticut\, Calafiore earned a BFA from Hartford Art School and an MFA from the State University of New York at Buffalo. He has exhibited nationally and internationally and continues to shape contemporary photographic discourse as an educator and administrator at Hartford Art School. \nhttps://clampart.com/2025/10/as-my-eyes-open-and-you-disappear
URL:https://jamesmaherphotography.com/event/robert-calafiore-as-my-eyes-open-and-you-disappear/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/Clamp2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251113
DTEND;VALUE=DATE:20260131
DTSTAMP:20260114T042424Z
CREATED:20260114T042424Z
LAST-MODIFIED:20260114T042424Z
UID:10000118-1762992000-1769817599@jamesmaherphotography.com
SUMMARY:Graciela Iturbide: Las Californias
DESCRIPTION:Ruiz-Healy Art is pleased to present Graciela Iturbide: Las Californias\, a solo exhibition showcasing the work of the internationally acclaimed photographer. Graciela Iturbide: Las Californias will be on view at our New York City gallery from November 13\, 2025\, to January 30\, 2026\, with an opening reception on November 13 from 6:00 to 8:00 PM. A fully illustrated catalogue will be published alongside an essay written by Dr. Ricardo Romo\, author of East Los Angeles: History of a Barrio\, first published in 1983. This exhibition marks Iturbide’s second solo show with the gallery and her first at our New York City location. \nGraciela Iturbide is celebrated for her poetic black-and-white photographs\, which blend documentary storytelling with deep explorations of identity and culture. For over fifty years\, Iturbide has captured\, among others\, the lives of Indigenous Mexican communities\, rituals in India\, and landscapes across the United States. Iturbide describes her work as “photo essays\,” drawing inspiration from Henri Cartier-Bresson\, Tina Modotti\, and Manuel Álvarez Bravo\, with whom she worked in the early 1970s; her elegant compositions document the world around her while embracing spontaneity and beauty. \nLas Californias showcases Iturbide’s work from East Los Angeles\, California\, to Tijuana\, Baja California\, illustrating the complexities of life in the borderlands. Captured in the East Los Angeles neighborhood of Boyle Heights in 1986\, Iturbide photographed a group of predominantly deaf Mexican American women connected to the White Fence gang. Iturbide first met the White Fence gang while on a tour of the United States alongside fellow photographers for the book A Day in the Life of America. This initial meeting developed into a thirty-three-year friendship and an extensive photographic story spanning 1986 to 2019. \nIn her White Fence series\, Iturbide focused on hearing-impaired cholas — Lisa\, Arturi\, Cristina\, Rosario\, and her baby\, Boo Boo —all living in an apartment in Boyle Heights\, portraying their daily lives with empathy and respect. Cholo/a is a term originating in Spanish Colonial-era Mexico that designated people of mixed race\, Indigenous people\, or people of low social status within the caste system. After the Second World War\, the term was adopted in California as a subculture. \nWhite Fence is a Mexican heritage gang formed in the 1920s that initially served as a partner of La Purisima Church. After WWII\, the gang separated from the church\, renaming itself permanently to the White Fence gang\, a reference to a white fence in Boyle Heights that separated Mexican and White residents in LA. In the White Fence series\, many of the subjects are captured using sign language\, which serves to communicate both their gang affiliation and their daily interactions as hearing-impaired women. In the photograph Cholas I (con Zapata\, Juárez y Villa)\, White Fence\, East LA\, Iturbide notes a disconnect between Chicano culture and Mexican history. In an interview with the Los Angeles Times\, she recalls the moment she captured this photograph: “For me\, it was very interesting because they have a nostalgia about Mexico that isn’t always based in fact. A group of them told me\, ‘We want you to photograph us by the mural of the mariachis.’ It was a mural of Mexico’s historical heroes: Benito Juárez and Pancho Villa [and Emiliano Zapata]. They can be really mistaken about Mexico\, but they still have a profound nostalgia for it.” \nDuring one of her trips to California\, to visit the White Fence gang\, Chicana artist Ester Hernández introduced Iturbide to the renowned farmworkers’ leaders and civil rights advocates\, César Chávez and Dolores Huerta\, founders of the United Farm Workers (UFW). Iturbide’s portraits of the Chicano icons reflect the collective spirit of the Chicano struggle\, a movement in which Mexican Americans reclaimed their history\, culture\, and identity. Figures like Huerta and Chávez\, along with cultural symbols such as the Thunderbird and the Virgen de Guadalupe\, represented this transformation. The once-pejorative term “Chicano” grew into a symbol of cultural pride and resistance\, celebrated through art\, music\, protests\, and fashion. Iturbide also photographed Mexican nationals in Tijuana\, Mexico\, a city bordering San Diego County\, California\, who longed for a life in the United States and to pursue the American Dream. These photographs formed the La Frontera series. \nIn the exhibition\, Las Californias\, Iturbide’s gaze is neither distant nor merely anthropological: it is one of closeness and respect. Before taking a photograph\, Iturbide always obtains permission from her subjects\, allowing them to express themselves as they wish. Both of these series\, La Frontera and White Fence\, serve as symbols of collective resistance\, aspiration\, and identity. In White Fence\, the work offers no fixed narrative but instead a collection of fragments: fences\, walls\, shadows\, and gestures. The La Frontera series explores themes of belonging\, separation\, and hope. Las Californias does not simply depict a geographic or social space: it encourages reflection on belonging\, identity\, the marks of migration\, and the power of the image as an act of memory and intercultural dialogue. The exhibition invites viewers to consider not only the history of Chicano identity in California but also the universal themes of migration\, community\, and the delicate yet powerful search for home. \nhttps://ruizhealyart.com/exhibitions/186-graciela-iturbide-las-californias/
URL:https://jamesmaherphotography.com/event/graciela-iturbide-las-californias/
LOCATION:Ruiz-Healy Art\, 74 E 79th St #2d\, New York\, NY\, 10075\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/ruiz.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251118
DTEND;VALUE=DATE:20251215
DTSTAMP:20251209T041236Z
CREATED:20251209T041236Z
LAST-MODIFIED:20251209T041236Z
UID:10000112-1763424000-1765756799@jamesmaherphotography.com
SUMMARY:Bad Girl: Marcia Resnick Memorial Exhibit
DESCRIPTION:Bad Girl – Marcia Resnick Memorial Exhibition\nCurated by Tay Wright\, Marcia’s studio assistant\, archivist\, and School of Art student. Bad Girl is a retrospective exhibition of Marcia’s iconic photographs as well as archival prints\, contact sheets\, and slides. \nThe exhibit will open on Tuesday\, November 18\, in the Cooper Union Library’s atrium. On Wednesday\, guests attending the Memorial are welcome to view the exhibition in the Library. \nBad Girl will be on view until December 14th\, and open to the public during the Library’s regular hours. \nhttps://library.cooper.edu/blog/ahead-of-her-time-marcia-resnick-memorial-1950-2025
URL:https://jamesmaherphotography.com/event/bad-girl-marcia-resnick-memorial-exhibit/
LOCATION:The Cooper Union Library\, 7 E 7th Street\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/Marcia_Resnick.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20260129
DTSTAMP:20251125T174139Z
CREATED:20251125T174139Z
LAST-MODIFIED:20251125T174139Z
UID:10000095-1763596800-1769644799@jamesmaherphotography.com
SUMMARY:Spark of a Nail
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to announce Spark of a Nail\, an exhibition of new and recent works by photographer Morgan Levy. On view from November 20\, 2025 – January 28\, 2026\, this selection of Levy’s participatory\, lens-based pieces situate women and non-binary individuals at the intersection of photography\, labor\, and the built environment. Throughout her work\, Levy takes an interest in photography’s generative potential\, its capacity to probe and visualize what is often hidden or ignored\, frequently turning her lens towards environments or landscapes in flux or transition. For Spark of a Nail\, Levy collaborated with tradespeople in both apprenticeship programs and professional settings\, providing a forum for conversation and demonstration of expertise. The resulting images enact a form of world-making\, where acts of labor and gestures of rest unfold within physical and material spaces that women and non-binary people build and transform of their own volition. \nCombining documentary\, staged photography\, and performance\, Levy places this body of work in dialogue with two distinct visual histories: early 20th-century images of U.S. labor\, which largely excluded minority groups and often served political goals\, as well as feminist photographic practices of the 1970s and ‘80s\, such as those of the various photographers included in The Woman’s Carpentry Book and photographer and investigative reporter Betty Medsger. Levy also draws inspiration from sculptural works of that era\, such as Lynda Benglis’ radical “pours\,” whichsubvert expectations about industrial materials. \nThrough research\, observation\, sketching\, and discussion with her collaborators\, Levy stages re-performances of acts or work that she has observed. This method of making enables the artist to disrupt the ways in which patriarchal power is traditionally modeled as a hierarchical system in hypermasculine professional realms. Deliberate framing choices leave cis-men at the periphery of the photographs\, as Levy constructs a world almost exclusively populated by women and non-binary individuals engaged in a collective and speculative building project. \nABOUT MORGAN LEVY \nMorgan Levy is a photo-based artist and educator originally from Philadelphia\, PA. She is a recipient of the 2025 V&A Parasol Foundation Prize for Women in Photography and was a Barbara Deming Memorial Foundation and a Puffin Foundation grantee in 2024. In 2023 she was a finalist for the Aperture Portfolio Prize and participated in UnionDocs’ Research & Development lab.\nHer work is currently on view at Large Glass gallery in London in the group exhibition Light Industry\, was recently on view at Copeland Gallery in London as part of the 2025 V&A Parasol Foundation Prize\, and was included in the group exhibition On Land and Place at the Vermont Center for Photography. In 2024\, her work was shown as a part of group exhibitions at the Throughline Collective in Houston\, TX and Gallery Kannski in Reykjavik\, Iceland. Previous group exhibitions include the Print Center\, Philadelphia\, PA (2021)\, Archive/Project Space\, Pittsfield\, MA (2021)\, and Society for Photographic Education\, Philadelphia\, PA (2018).\nHer photographs have been published in contemporary art journals including Artforum\, 1000 Words Magazine\, Valentine Editions\, and Capricious Magazine. Her work has also been published in numerous publications including The New York Times\, The New Yorker\, The Guardian\, Time\, and The New Republic. \nLevy received her MFA in Photography from the Yale School of Art in 2020 and a BFA from Tisch School of the Arts at New York University in 2007. She is currently a part-time faculty member in the Photography Department at Parsons School of Design in New York\, NY. She lives with her partner Håkan\, their cat\, and their child in Brooklyn\, NY. \nhttps://www.baxterst.org/events/spark-of-a-nail/
URL:https://jamesmaherphotography.com/event/spark-of-a-nail/
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/2025/11/Baxter2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251120
DTEND;VALUE=DATE:20260129
DTSTAMP:20251125T173946Z
CREATED:20251125T173946Z
LAST-MODIFIED:20251125T173946Z
UID:10000094-1763596800-1769644799@jamesmaherphotography.com
SUMMARY:Phantom Sun: Ohan Breiding
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to present Phantom Sun\, an exhibition of works by Swiss-American artist and filmmaker Ohan Breiding\, curated by Mathilde Walker-Bilaud\, BAXTER ST’s 2025 – 2026 Guest Curatorial recipient. \nOn view from November 20\, 2025 – January 28\, 2026\, the lens-based presentation elevates landscapes as witnesses to ecological\, political\, and cultural issues\, foregrounding what has been erased or cast aside. \nIn Phantom Sun\, Breiding\, an interdisciplinary artist who employs photography\, video\, as well as archives to examine ecological care\, pulls from the “killed negatives” a trove of rejected photographs once belonging to the Farm Security Administration (FSA)\, the government agency established in the mid-1930’s to provide aid to farmers during the Great Depression. These photographic negatives were hole punched\, marking them as unprintable\, often for failing to reinforce the public narrative shaped by the FSA and by Roy Stryker\, Chief of its Historical Section. \nBreiding revives these discarded negatives to give them new agency. By reanimating these fragmented views of the Great Depression\, the artist reframes the New Deal’s vision of American farm life against today’s political climate. A combination of archival images and newly produced works\, the installation overlays past and present histories of ecological precarity and resilience\, exploring ways of caring for the land and its memory in the American context. \nThe project unfolds as a material meditation on a government information campaign\, revealing how both its subject (rural dwellers) and its medium (photography) depend on natural resources and processes of extraction. Shifting the focus from the human to the nonhuman\, from the social to the environmental\, Breiding juxtaposes a selection of day-to-day images of terrains and agrarian activities with recent photograms\, collages on aluminum\, still lifes on silver gelatin and inkjet prints\, and candle drips–the artist’s own experiments with light\, minerals\, and animal-derived products\, three essential elements in the making of photography. The result is a capacious sculptural riff on the landscape tradition: a post-nature\, post-industrial tableau in which the narrative of crisis extends to the land\, and the nostalgia for pastoral America dissolves into the uncanny. \nConceived in dialogue with curator Mathilde Walker-Billaud\, Phantom Sun deploys the motif of the black hole–floating surreally and threateningly over the photographs–to confront the failures of the public archive\, while annotating and expanding the genre of social and environmental documentary photography that the FSA photographers (1) were instrumental in establishing. \n(1) FSA photographers were those hired between 1935 and 1944 by the Farm Security Administration (FSA) and later the Office of War Information (OWI) to document life across the United States. They included Walker Evans\, Dorothea Lange\, Gordon Parks\, Arthur Rothstein\, Ben Shahn\, Margaret Bourke-White\, Russell Lee\, Jack Delano\, Carl Mydans\, Marion Post Wolcott\, John Vachon\, Esther Bubley\, Edwin Rosskam\, John Collier Jr.\, Theodor Jung\, Charlotte Brooks\, Alan Fisher\, and Paul Carter. The creators of the “killed negatives” remain unidentified\, but they came from within this group. \nhttps://www.baxterst.org/events/phantom-sun/ \n 
URL:https://jamesmaherphotography.com/event/phantom-sun-ohan-breiding/
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/2025/11/Baxter1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251121
DTEND;VALUE=DATE:20260125
DTSTAMP:20251125T175859Z
CREATED:20251125T175859Z
LAST-MODIFIED:20251125T175859Z
UID:10000101-1763683200-1769299199@jamesmaherphotography.com
SUMMARY:Tommy Kha: Leftovers
DESCRIPTION:https://higherpictures.com/exhibitions/tommy-kha/
URL:https://jamesmaherphotography.com/event/tommy-kha-leftovers/
LOCATION:Higher Pictures\, 45 Main Street #723\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/Higher-Pictures.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251122
DTEND;VALUE=DATE:20251222
DTSTAMP:20251125T174903Z
CREATED:20251125T174903Z
LAST-MODIFIED:20251125T174903Z
UID:10000098-1763769600-1766361599@jamesmaherphotography.com
SUMMARY:Evan Michael Solís: The Texas Oral History Project
DESCRIPTION:The Texas Oral History Project is an ongoing documentary archive capturing intimate portraits and interviews that reveal the diverse stories\, memories\, and aspirations of Texans in the 21st century. \nhttps://www.bronxdoc.org/bronx-documentary-center/exhibits/current-exhibits/evan-michael-solis/
URL:https://jamesmaherphotography.com/event/evan-michael-solis-the-texas-oral-history-project/
LOCATION:Bronx Documentary Center\, 614 Courtlandt Ave\, Bronx\, NY\, 10451\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/BronxDoc.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251125
DTEND;VALUE=DATE:20260323
DTSTAMP:20260310T012847Z
CREATED:20260310T012847Z
LAST-MODIFIED:20260310T012847Z
UID:10000130-1764028800-1774223999@jamesmaherphotography.com
SUMMARY:Resistance in Memory - Visions of Sudan
DESCRIPTION:Exhibiting artists: Suha Barakat | Altayeb Morhal | Mohamed Zakaria | Fakhr Aldein | Ammar Yassir | Abdelsalam Abd Allah | Marwan Mohamed | Altayeb Abd Allah | Jood Elsheikh | Mohamed Abuagla | Shaima Merghani | Al Mujtaba Ahmed  \n  \nResistance in Memory: Visions of Sudan is a group photography exhibition presenting 42 works by 12 emerging Sudanese photographers\, including six still residing in Sudan. Structured chronologically across nine thematic axes\, the exhibition charts the arc from the 2019 revolution through the ongoing war\, exile\, displacement\, and enduring hope\, offering intimate and urgent visual narratives from the Sudanese struggle.  \nDubbed ‘The Forgotten Crisis’ by TIME magazine\, the conflict in Sudan is considered one of the largest humanitarian crises known to date. The lives claimed by mass casualty incidents and famine are manifold\, the number of those displaced in the millions—and yet\, much of the world turns a blind eye to the devastation and injustice.  \nResistance in Memory: Visions of Sudan examines the memory of an ever-changing Sudan and the strength and resilience of its people who refuse to be forgotten or defined by those beyond its borders. The photographs draw from the enduring memory of 2019\, when men and women took to the streets seeking revolution\, only to have it thwarted by warlords in a continuous coup d’état. It also draws from the memory of families forced to make the painful choice of who leaves in exile and who stays to wait for peace. Deep within these remembrances\, a dialogue develops. Between past and present\, between generations\, and the hope of those displaced again and again.  The Africa Center’s presentation of Resistance in Memory is curated and edited by Edith Arance\, Director\, Galería Sura\, in collaboration with Evelyn Owen\, Associate Director\, Curatorial Projects\, The Africa Center\, with new texts by Dalia Elhassan. \nExhibition production by Photoville. \nhttps://theafricacenter.org/event-detail-page/details/190/Resistance-in-Memory-Visions-of-Sudan
URL:https://jamesmaherphotography.com/event/resistance-in-memory-visions-of-sudan/
LOCATION:The Africa Center\, 1280 5th Ave\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/sudan.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251128
DTEND;VALUE=DATE:20260330
DTSTAMP:20250908T004437Z
CREATED:20250908T004437Z
LAST-MODIFIED:20250908T004437Z
UID:10000067-1764288000-1774828799@jamesmaherphotography.com
SUMMARY:Stirring the Melting Pot: Photographs from The New York Historical Collection
DESCRIPTION:View the immigrant experience in New York through the faces and places photographers have captured over time. \n\n\n\n\n\nOur new exhibition mines the vast photography collections of the Patricia D. Klingenstein Library as a lens to view the immigrant experience in New York through the faces and places photographers have captured over time. Featuring more than 100 photographs and objects\, the exhibition explores how immigrants transformed the city as a whole and created communities in their new home. Among the highlights are photographs that document the impact of the 1904 General Slocum steamboat disaster on one family\, illustrating how the tragedy reshaped a community and city neighborhoods\, as well as images spanning the 20th century that capture a vast range of immigrant life. Photographs show children at play and in school\, seniors at recreational centers\, workers in sweatshops and factories\, families at home\, and visitors to festivals and parades—all making a life for themselves after leaving places like Bosnia\, Cambodia\, China\, Cuba\, Ethiopia\, Germany\, Greece\, Haiti\, Italy\, Philippines\, Russia\, Ukraine\, and Vietnam\, among others. Depictions of Greek Orthodox churches\, Cambodian Buddhist temples\, Jewish synagogues\, and Sikh temples highlight the city’s diverse faiths\, while images of street vendors and storefronts chart how food has played a transformative role in New York’s landscape. \nCurated by Valerie Paley\, Senior Vice President and Sue Ann Weinberg Director of the Patricia D. Klingenstein Library\, with Keren Ben-Horin\, Curatorial Scholar. \nJoin us at The New York Historical—both in person and online—for a suite of exhibitions\, programs\, and a digital project called On Our 250th that has a nationwide coalition of history museums inviting Americans to share their hopes for our democracy. \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. \n\n\n\n\n\n\n\n\nhttps://www.nyhistory.org/exhibitions/stirring-the-melting-pot-photographs-from-the-new-york-historical-collection \n 
URL:https://jamesmaherphotography.com/event/stirring-the-melting-pot-photographs-from-the-new-york-historical-collection/
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/2025/09/aC8-pCdWJ-7kSc6w_ArrivinginAmerica-HesterStreetMarketatNorfolk.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251204
DTEND;VALUE=DATE:20260301
DTSTAMP:20260114T042953Z
CREATED:20260114T042953Z
LAST-MODIFIED:20260114T042953Z
UID:10000119-1764806400-1772323199@jamesmaherphotography.com
SUMMARY:Graciela Iturbide: Vintage
DESCRIPTION:(Collaboration with Rose Gallery) \nNEW YORK — Graciela Iturbide: Vintage\, on view at Throckmorton Fine Art from December 4\, 2025\, through February 28\, 2026\, focuses on recently discovered works created by the artist between the late 1960s and early 1980s. The exhibition offers a profound exploration of Iturbide’s early artistic journey and her deep immersion in the diverse cultures of her homeland of Mexico. Having trained under the renowned Mexican photographer Manuel Álvarez Bravo\, Iturbide developed a signature style that blends a documentary approach with a deeply personal and poetic vision\, capturing the complexities\, rituals\, and spirit of Mexico in powerful\, evocative images. She was recently awarded the 2025 Princess of Asturias Award for the Arts\, .an honor that recognizes her five-decade career capturing Mexico’s cultural essence and global human experiences. A concurrent retrospective\, Graciela Iturbide: Serious Play\, is on view at the International Center of Photography in New York through January 12\, 2026. The exhibition at Throckmorton Fine Art will open with a reception on December 4 from 6-8 p.m. \nA talk with the artist will be held at the gallery on December 9 from 6-8 p.m. Graciela Iturbide: Vintage\, presented in collaboration with ROSEGALLERY\, Santa Monica\, will feature vintage prints of iconic images from her foundational series\, including her work with the indigenous Seri people in the Sonoran Desert\, where she documented their daily lives and customs\, including the powerful Mujer Ángel\, Desierto de Sonora\, 1979 (Angel Woman\, Sonoran Desert). Also included are images from her long stay in Juchitán\, Oaxaca\, capturing the strength and resilience of the Zapotec women in their matriarchal society\, a project considered central to her genius. These early\, gelatin silver prints\, developed by Iturbide in the darkroom\, showcase her masterful use of natural light and shadow\, creating a raw and haunting quality that she believes is “more truthful” to her subjects. \nBridging documentary realism and poetic symbolism\, themes of life and death\, tradition and modernity\, and the interplay of indigenous and Spanish heritages run throughout the exhibition\, offering nuanced insights into a nation in constant transformation. \nAbout Graciela Iturbide: Born in 1942 in Mexico City\, Graciela Iturbide abandoned film studies in 1969 to train with her photography mentor Manuel Álvarez Bravo\, becoming his assistant. Bravo\, who died at 100 in 2002\, was one of the most important figures in 20th century Latin American photography. Iturbide went on to take photographs in many countries — including in Cuba\, Germany\, India\, Madagascar\, Hungary\, France and the U.S. — but has always remained deeply rooted in Mexico’s cultural landscape. A late 1970s project documenting Mexico’s Seri and Juchitán communities in the Sonoran Desert yielded her seminal 1989 book “Juchitán de las Mujeres\,” showcasing matriarchal Zapotec life. \nIturbide is also recognized for her series depicting Frida Kahlo’s bathroom\, shot 20 years ago at the Casa Azul (Frida Kahlo Museum) in Coyoacán. Some of her photos of Kahlo’s prosthetic leg\, corsets and other medical objects (needed after she suffered traumatic injuries in a 1925 bus-streetcar collision) were shown in the 2023 exhibit “Kahlo Without Borders.” Exhibitions at the Centre George Pompidou in Paris\, San Francisco’s Museum of Modern Art and the Hokkaido Museum of Photography in Japan cemented her global stature. Her commitment to honest\, evocative storytelling has made her a pivotal figure in contemporary photography\, earning her the 2025 Princess of Asturias Award for the Arts. \nhttps://throckmorton-nyc.com/
URL:https://jamesmaherphotography.com/event/graciela-iturbide-vintage/
LOCATION:Throckmorton\, 145 E 57th St\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/throckmorton.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251205
DTEND;VALUE=DATE:20260201
DTSTAMP:20251203T225327Z
CREATED:20251202T063540Z
LAST-MODIFIED:20251203T225327Z
UID:10000108-1764892800-1769903999@jamesmaherphotography.com
SUMMARY:Danny Lyon: The Texas Prison Photographs
DESCRIPTION:Howard Greenberg Gallery will present Danny Lyon: The Texas Prison Photographs from December 5\, 2025 through January 31\, 2026. A landmark depiction of incarceration\, the exhibition features photographs\, films\, drawings\, and ephemera from 1967-68. The Texas Prison Photographs marks acclaimed photographer and filmmaker Danny Lyon’s first show with Howard Greenberg Gallery following the announcement of the Gallery’s representation of Lyon in April 2025. The exhibition will open with a reception on December 5 from 5:30 to 7:30 p.m. with the artist in attendance. \nDanny Lyon revolutionized documentary photography in the 1960s with his radical participatory approach\, notably in the Civil Rights Movement and with the Chicago Outlaws motorcycle club\, which led to his book\, The Bikeriders. His New Journalism style was rooted in involvement\, as he explained: “I was a participant who also happened to be a photographer.” \nIn 1967\, Lyon gained unprecedented access to seven Texas penitentiaries for 14 months\, aiming to record the reality of incarceration. He was free to enter the prisons at any time of the day or night\, and photographed men in their cells\, in the fields and factories where they worked\, eating at the cafeteria\, in isolation and during shakedowns. This resulted in raw\, empathetic images of marginalized individuals\, published in 1971 as the highly regarded photobook Conversations with the Dead. Known for his immersive approach\, Lyon’s style broke from traditional journalism by blending personal perspective with documentary storytelling. Revolutionary for its time\, Conversations with the Dead was among the first photobooks to incorporate ephemera\, setting a new standard in journalism and photography and influencing generations. \nPresenting Lyon’s record of Texas prisons\, the exhibition will showcase primarily vintage prints alongside select modern work and original artwork by the incarcerated\, as well as drawings\, letters\, prison-related documents\, audio interviews\, and 16mm film footage. Taken as a whole\, the exhibition offers not only a rare and intimate glimpse into life inside seven Texas penitentiaries in the late 1960s but highlights the relationships Lyon built with inmates. On view for the first time\, the exhibition will also present unpublished pictures by Lyon from his visits to the Goree Unit\, Texas’s women’s penitentiary. \nAs the copy on the back of the paperback edition of Conversations with the Dead noted\, “This shattering portrait of oppression and futility must be recognized as a plea to American Society—the ultimate warden of all our prisons.” \n“I kept wondering what the story was\, what wasn’t in the papers yet\, what I could discover and make public with my pictures\,” Lyon has stated. “Texas would change my life.” \nConcurrent with the exhibition at Howard Greenberg Gallery\, Lyon’s films\, including Willie (1985) and his films about undocumented Mexican workers\, will be presented at Metrograph and the Roxy Cinema. \nAbout Danny Lyon \nDanny Lyon was born in Brooklyn in 1942 and grew up in Queens. He bought his first camera during a summer trip in Germany before starting at the University of Chicago. In 1962 he hitchhiked to Cairo\, Illinois\, to begin his record of the civil rights movement. He became the first photographer for the Student Nonviolent Coordinating Committee (SNCC) and attended most major civil rights events\, becoming friends and roommates with John Lewis. In 1965\, he spent two years with the Chicago Outlaw Motorcycle Club\, which resulted in the acclaimed book The Bikeriders (Macmillan\, 1968; Twin Palms\, 1997; Chronicle\, 2003; Aperture\, 2014). In 1967\, he moved to Texas to work in the penitentiary system and published Conversations with the Dead (Henry Holt and Co.\, 1971; Phaidon\, 2015). After Texas he moved to New York and lived with the photographer and filmmaker Robert Frank. They formed a company\, Sweeney Films\, and Lyon turned his focus to non-fiction films. Lyon moved to New Mexico in 1970\, then to upstate New York in 1987. In 2023 The Bikeriders was released as a major motion picture. His photography can be found in the collections of major museums including the Metropolitan Museum of Art\, Museum of Modern Art\, and Whitney Museum of American Art\, New York; National Gallery of Art\, Washington\, DC; and the Art Institute of Chicago. Lyon is an active blogger at bleakbeauty.com; his IG is Dannylyonphotos2. He currently lives and works in New York City and New Mexico. \nhttps://www.howardgreenberg.com/exhibitions/danny-lyon
URL:https://jamesmaherphotography.com/event/danny-lyon-the-texas-prison-photographs/
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/2025/12/lyon.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260108
DTEND;VALUE=DATE:20260301
DTSTAMP:20260114T042050Z
CREATED:20260114T042050Z
LAST-MODIFIED:20260114T042050Z
UID:10000117-1767830400-1772323199@jamesmaherphotography.com
SUMMARY:Arthur Tress | The Ramble
DESCRIPTION:CLAMP is pleased to announce “The Ramble\,” an exhibition of photographs by Arthur Tress\, presenting a previously unseen body of work documenting a New York City clandestine queer space in the late 1960s. \nToward the end of 1968\, at the age of twenty-eight\, Tress began bringing his Hasselblad camera to the Ramble\, an overgrown\, derelict woodland in the heart of Central Park that had become a discreet gathering place for gay men and queer people seeking social and erotic contact. Reflecting on the site in 2024\, Tress remarked: “It was like a decaying pier in the city. I was always attracted to that kind of urban neglect.” \nFrom his apartment on 72nd Street and Riverside Drive\, Tress could reach the Ramble in ten minutes\, often passing through on his way to professional appointments or museum exhibitions in the city. The site became both subject and backdrop for Tress’s parallel projects\, including “Open Space in the Inner City\,” a commissioned environmental portfolio\, and a series of surrealist still lifes staged within the Ramble. His photographs from the Ramble range from surreptitious shots of men from a distance to carefully posed tableaux\, exploring homoerotic fantasy\, longing\, and human vulnerability. As Tress explained in conversation with Jordan Tannahill: “I wanted to create a kind of poetic documentary that captured both the real and the imagined\, the danger and the beauty of that hidden world.” \nThe Ramble series also reflects Tress’s ethnographic sensibilities. Having traveled in the 1960s to document the Maya\, Sámi\, and Dogon peoples\, Tress approached this New York subculture with both intimacy and analytical rigor. He conceptualized the project in terms of societal critique\, expressing an interest in acting as “the George Grosz of gay culture\,” offering a sympathetic analysis of his own community while observing it as an outsider. (Tress studied life drawing with Grosz at the Art Students League in New York in 1961.) Jackson Davidow explains: “His intention . . . was not to romanticize cruising\, but rather to treat it as a complex phenomenon of metropolitan gay life.” The series captures both the choreography of cruising and the psychological realities of desire\, secrecy\, and danger\, situating these encounters within the broader landscape of Manhattan at the dawn of gay liberation. \nTress’s compositions draw specific inspiration from painting\, referencing artists such as George Grosz\, Pavel Tchelitchew\, and George Tooker. Scenes echo the Arcadian courtship scenes of Antoine Watteau while simultaneously emphasizing the loneliness and precariousness of loitering and anonymous encounters. \nThe photographs remained under wraps for decades\, considered too taboo to publish or exhibit at the time. Today the series emerges as a landmark visual record of queer life in New York City anticipating later explorations of outdoor cruising by contemporary photographers worldwide. It also underscores Tress’s early mastery of a surrealist-inflected documentary style\, bridging the real\, the staged\, and the psychologically charged. \nArthur Tress was born in 1940 in Brooklyn\, New York. Over the past six decades\, he has published numerous monographs\, and his work is held in the collections of most major public museums across the United States. His traveling retrospective\, “Fantastic Voyage\,” was organized by the Corcoran Gallery of Art in 2001\, and “Rambles\, Dreams\, and Shadows” at The Getty in 2025 chronicled the innovative artist’s early career. Across the decades\, Tress has combined meticulous staging\, narrative depth\, and ethnographic observation\, influencing generations of photographers interested in both constructed imagery and social documentation. \nCLAMP is honored to present “The Ramble\,” offering the public its first sustained look at this pivotal\, previously private series\, inviting reflection on its artistic\, historical\, and social significance. The exhibition coincides with the publication of Arthur Tress’s new monograph titled The Ramble 1969 NYC (STANLEY/BARKER) with an essay by Jackson Davidow. \nhttps://clampart.com/2025/12/the-ramble
URL:https://jamesmaherphotography.com/event/arthur-tress-the-ramble/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/clamp.jpg
END:VEVENT
END:VCALENDAR