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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
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260115
DTEND;VALUE=DATE:20260309
DTSTAMP:20260114T041509Z
CREATED:20260114T041509Z
LAST-MODIFIED:20260114T041509Z
UID:10000115-1768435200-1773014399@jamesmaherphotography.com
SUMMARY:2025 Paris Photo–Aperture PhotoBook Awards Shortlist
DESCRIPTION:Paris Photo and Aperture are pleased to announce the 2025 Paris Photo–Aperture PhotoBook Awards Shortlist exhibition at Printed Matter—an annual celebration of the photobook’s enduring role within the evolving narrative of photography. Now in its thirteenth year\, the awards recognize excellence in three major categories of photobook publishing: First PhotoBook\, PhotoBook of the Year\, and Photography Catalog of the Year. \nFor the 2025 awards\, over one thousand books were submitted from fifty-five countries. Two juries of international team members deliberate to determine the winners. For the 2025 awards\, a shortlist jury met in New York\, September 17 to 19\, for three concentrated days of review and deliberation. The team included: Brendan Embser\, senior editor\, Aperture; Florian Koenigsberger\, technologist and photographer; Paul Moakley\, executive producer\, The New Yorker; Anna Planas\, artistic director\, Paris Photo; and Keisha Scarville\, artist. \nOn November 13\, a final jury\, on site at Paris Photo\, selected the winners from among the thirty-seven shortlisted titles. The team included Coralie Gauthier\, director of programming\, communications\, and events\, Librairie 7L; Shanay Jhaveri\, head of visual arts\, Barbican Centre; Manuel Krebs\, designer and publisher\, NORM; Emily LaBarge\, contributing writer\, The New York Times; and Guinevere Ras\, curator\, Nederlands Fotomuseum. \n“Across the thirty-seven books that we had the incredible opportunity to spend time with and deliberate on\, some things that surfaced were a sense of investigating the archive and intergenerational conversations\,” says juror Shanay Jhaveri. “The shortlist and the winners show the vitality of the form of the book itself\, one that is essential today in a culture where images have been dematerialized.” \nhttps://aperture.org/exhibitions/2025-paris-photo-aperture-photobook-awards-shortlist-printed-matter/
URL:https://jamesmaherphotography.com/event/2025-paris-photo-aperture-photobook-awards-shortlist/
LOCATION:Printed Matter\, 231 11th Ave\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/paris-photo-awards.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260122
DTEND;VALUE=DATE:20260322
DTSTAMP:20260114T041903Z
CREATED:20260114T041903Z
LAST-MODIFIED:20260114T041903Z
UID:10000116-1769040000-1774137599@jamesmaherphotography.com
SUMMARY:Between Order and Chaos: André Kertész and M.C. Escher
DESCRIPTION:Bruce Silverstein Gallery is pleased to announce Between Order and Chaos: André Kertész and M. C. Escher\, an exhibition that brings together two extraordinarily influential artists who each uniquely and independently redefined how visual reality is perceived. Though one worked with the camera and the other with the tools of printmaking\, both artists pursued parallel investigations into perception\, geometry\, and illusion\, treating order and chaos not as abstract opposites but as interdependent conditions through which reality is structured and transformed. The exhibition will feature a focused selection of original prints by M. C. Escher alongside vintage photographs by André Kertész spanning his eight-decade career\, many of which have never before been exhibited. \nBorn within four years of one another\, André Kertész (Budapest\, 1894–New York\, 1985) and M. C. Escher (Leeuwarden\, 1898–Laren\, 1972) each pursued independent paths apart from the dominant artistic movements of their time. Driven by deeply personal ways of seeing that resisted categorization\, they approached reality as something open to reorganization and reinterpretation. Both were shaped by displacement and solitude; Kertész moved from Hungary to Paris and later to New York\, while Escher traveled extensively through Italy and Spain before returning to a changed Netherlands. From these experiences emerged an outsider’s point of view\, enabling each to recognize the extraordinary where others might have seen the ordinary and contributing to a detached yet deeply perceptive engagement with the world. \nIn their work\, structure is both revealed and destabilized. Through his extraordinary artistry and skillfully rendered prints\, Escher isolates patterns and systems that ordinarily exist beyond human perception—ripples\, reflections\, recursive spaces—and renders them logical and intelligible\, transforming architectural order into disorienting\, impossible constructions that challenge spatial logic. In Ripple (1950)\, Escher captures a fleeting moment as ripples spread across a pool of water\, reflecting leafless branches and a full moon\, transforming motion that ordinarily escapes direct human perception into a precise\, legible pattern. In Order and Chaos (1950)\, he centers a transparent geometric form—a glass sphere combined with a dodecahedron—as a momentary embodiment of order\, surrounded by fractured and irregular elements that suggest disorder\, making visible his belief that structure and instability are inseparable and continually give rise to one another. \nKertész\, by contrast\, achieves a comparable sense of visual tension in his photographs by employing unconventional vantage points\, reflection\, distortion\, and radical cropping\, demonstrating how working within physical constraint can yield a richness and complexity of vision equal to that of constructed imagery. Where Escher constructs impossible realities\, Kertész extracts improbable ones\, reorganizing the visible world into images that are at once precise and uncanny. In Puddle\, Empire State Building (1967)\, Kertész discovers a moment where reality loosens\, as reflection quietly destabilizes one of the most ordered symbols of the modern city. Deforming nude reflections from his Distortions series and unconventional angles from his Fifth Avenue windows find resonance with Escher’s mirrored spheres\, infinite staircases\, and recursive spatial worlds. \nThrough different means\, both artists challenge the stability of representation and invite viewers to question the reliability of what they see. The presence of carefully observed real-world elements is essential\, as this grounding allows moments of visual disruption or improbability to register as plausible rather than purely abstract. In Escher’s work\, tension emerges through the collision of exacting real-world detail\, strict order\, and fantastical construction\, generating a sense of drama and wonder. In Kertész’s photographs\, the same tension unfolds within lived experience\, producing a quieter instability in which poetic meaning emerges from scenes that might otherwise appear ordinary. \nTheir influence radiated outward in distinct yet parallel ways. Escher’s rigorous explorations of impossible architecture\, recursion\, and visual instability informed the imagination of artists\, architects\, filmmakers\, and theorists alike; figures such as Bridget Riley\, Zaha Hadid\, Christopher Nolan\, and Roger Penrose have acknowledged his impact on their thinking about perception\, space\, and paradox. Kertész’s influence extended through multiple generations of image-makers\, shaping the development of modern photography and the broader visual culture it helped define\, as photographers including Brassaï\, Henri Cartier-Bresson\, and Lee Friedlander recognized his influence on their understanding of composition\, intuition\, and the poetic possibilities of everyday life. Working through media long situated outside the traditional hierarchy of painting and sculpture\, both artists helped redefine the possibilities of visual experience\, demonstrating how practices once considered marginal could exert lasting influence across disciplines. \nFor both André Kertész and M. C. Escher\, resonance emerges from the space between order and chaos\, where real-world detail meets imaginative construction and visual logic gives way to uncertainty in perception. In their work\, structure coexists with uncertainty as an essential condition of seeing. Viewed together\, their work asks us to look again at what appears certain. \nhttps://brucesilverstein.com/exhibitions/229-between-order-and-chaos-andre-kertesz-and-m./overview/ \n 
URL:https://jamesmaherphotography.com/event/between-order-and-chaos-andre-kertesz-and-m-c-escher/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/01/silverstein.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260122
DTEND;VALUE=DATE:20260329
DTSTAMP:20260310T011239Z
CREATED:20260310T011239Z
LAST-MODIFIED:20260310T011239Z
UID:10000124-1769040000-1774742399@jamesmaherphotography.com
SUMMARY:North Light
DESCRIPTION:https://www.houkgallery.com/exhibitions/140-north-light/works/
URL:https://jamesmaherphotography.com/event/north-light/
LOCATION:Edwynn Houk\, 693 Fifth Avenue\, 6th Floor\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/NorthLight.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260204
DTSTAMP:20251203T225521Z
CREATED:20251202T064927Z
LAST-MODIFIED:20251203T225521Z
UID:10000111-1769644800-1770163199@jamesmaherphotography.com
SUMMARY:4th Annual Soho Photo Gallery Exhibition
DESCRIPTION:Mark your calendars! APA New York is proud to announce our 4th Annual Juried Photography Exhibition opening late January 2026 at the new Chelsea location of Soho Photo Gallery. \nFounded in 1971 by New York Times photojournalists and avant-garde artists\, Soho Photo Gallery is the city’s longest-running cooperative photography gallery – a space that continues to champion creativity\, experimentation\, and community. \nThis year’s exhibition will be juried by Amanda Hajjar. Amanda is a curator based in the New York City area with over fifteen years of experience in the art and design field. She currently serves as Project Lead and Curator at the American Federation of Arts\, where she develops and produces traveling exhibitions for museums across the country. Previously\, she was the Founding Artistic Director of Fotografiska New York\, leading the museum’s launch and establishing its exhibition program. Earlier in her career\, she was an Artist Liaison at Gagosian\, collaborating with artists and estates—including the Richard Avedon Foundation—and managed more than fifty exhibitions and contributed to six exhibition catalogues.  \nThe show will feature around 75 works from artists across the country\, spanning genres such as editorial\, fine art\, documentary\, fashion\, landscape\, portraiture\, and experimental photography. Together\, these images will celebrate the depth and diversity of contemporary photographic practice. \nJoin us for the opening reception on January 29\, 2026\, at Soho Photo Gallery\, and discover an inspiring collection of work from some of today’s most talented photographers. \nhttps://ny.apanational.org/events/entry/4th-annual-curated-photography-exhibition-at-soho-photo-gallery/
URL:https://jamesmaherphotography.com/event/4th-annual-soho-photo-gallery-exhibition/
LOCATION:Soho Photo Gallery\, 539 W 23 St\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/12/soho-photo-gallery.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20260318T191631Z
CREATED:20251202T050020Z
LAST-MODIFIED:20260318T191631Z
UID:10000106-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:Eugène Atget: The Making of a Reputation
DESCRIPTION:The International Center of Photography presents Eugène Atget: The Making of a Reputation\, curated by ICP’s creative director David Campany. This exhibition takes a new approach to the story of Atget’s career\, drawing particular attention to the role that Berenice Abbott played in shaping Atget’s posthumous rise in influence. \nAbout Eugène Atget \nEugène Atget (1857-1927) was a French photographer best known for his photographs of Paris and its environs. He supplied studies for painters\, architects\, and stage designers\, while also making formally complex pictures. Atget’s subjects included everything from grand buildings to typical street scenes\, storefronts and workers. His photographs\, often taken in the early hours\, are notable for their diffuse light and wide views that give a sense of enigma and mystery. They also document Paris and its rapid changes; many of the areas Atget photographed were soon to be razed as part of widespread modernization projects. \nAtget drew the admiration of a variety of artists\, most notably Man Ray who even used one of Atget’s photographs on the cover of the magazine La Révolution surréaliste. The photographer Berenice Abbott preserved many of Atget’s prints and negatives. She exhibited his work\, wrote about it\, and for decades championed Atget as a forerunner of modern photography. \nhttps://www.icp.org/exhibitions/eugene-atget
URL:https://jamesmaherphotography.com/event/eugene-atget-the-making-of-a-reputation/
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/2025/12/icp-atget.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20251202T045744Z
CREATED:20251202T045744Z
LAST-MODIFIED:20251202T045744Z
UID:10000105-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:Latitudes: Nuits Balnéaires and François-Xavier Gbré
DESCRIPTION:The International Center of Photography presents Latitudes\, an exhibition in partnership with the Fondation d’entreprise Hermès and the Fondation Henri Cartier-Bresson in Paris. In its current iteration\, Latitudes highlights new work by two laureate-artists from Côte d’Ivoire– Nuits Balnéaires and François-Xavier Gbré. \nAbout Latitudes \nLaunched in 2024\, Latitudes is a Fondation d’entreprise Hermès program developed in partnership with the Fondation Henri Cartier-Bresson in Paris and the International Center of Photography (ICP) in New York. \nIt broadens the scope of Immersion\, the former French-American photography commission created in 2014 with the same partners\, a cross-residency between France and the United States. \nThe new program supporting contemporary creation takes its name from a geographical concept\, affirming its ambition to shed light on artists from scenes that are still underrepresented on the international stage. In practice\, the Fondation d’entreprise Hermès\, the Fondation Henri Cartier-Bresson and the ICP select a country from which photographers are invited to submit a project. A jury composed of representatives from the three institutions selects the annual laureate. \nThe chosen photographer receives a grant to produce a new series. The resulting work is exhibited in Paris at the Fondation Henri Cartier-Bresson\, in New York at the ICP\, and finally in the laureate’s home country. \nCôte d’Ivoire is the first country to be honored in the two-year cycle inaugurated in 2024. \nAbout Nuits Balnéaires \nMultidisciplinary artist and poet Nuits Balnéaires was born and raised in Abidjan\, into a family with Akan Agni-Bona and Malinké origins. With intimate connections to both peoples’ traditions\, culture and spirituality\, his work creates a parallel space-time beyond the constraints of geography\, while embracing the universality of oceans as the connective tissue between worlds. \nNuits Balnéaires cultivates powerful ties with the energy of the Gulf of Guinea and  its landscapes\, hence the omnipresence of water in his photographic practice\, films and poetry. Haunted by the duality of life and death\, and the possibility of communication between these states\, his works convey a euphoric sense of tranquillity that feels both classical and contemporary. \nIn 2019\, Nuits Balnéaires settled in Grand-Bassam\, Côte d’Ivoire\, to develop his artistic practice\, drawing on his years as a fashion and conceptual photographer. He secured  a one-year bursary in visual journalism with the World Press Photo Foundation\, and was among the winners of a 2020 call for projects from the Goethe-Institut and the Prince Claus Fund\, which supports cultural and artistic responses to environmental change. Nuits Balnéaires’s work has been exhibited at Art X Lagos\, Paris’s 1-54 Contemporary African Art Fair\, FNB Art Johannesburg\, and in numerous exhibitions across Côte  d’Ivoire\, Canada\, the US\, the UK\, France\, the Netherlands and Australia. \nAbout François-Xavier Gbré \nBorn in 1978 in Lille\, France. François-Xavier Gbré lives and works between La Rochelle (France) and Abidjan (Côte d’Ivoire). \nSteeped in time and geography\, Gbré’s work draws on the language of architecture as a witness to memory and social change. From colonial remains to landscapes redefined by current events\, Gbré explores territories and revisits History. The constant dialogue with his environment leads him to use different scales and exhibition methods\, whether crafting meticulous installations based on thorough investigations of the land\, or using architecture itself to make photography resonate through a physical relationship with the viewer or the public space. \nHis work has been shown in Paris and Abidjan at the Cécile Fakhoury Gallery\, which represents him\, at the Dakar Biennale in Senegal\, the Venice Biennale in Italy\, in Madagascar\, Nigeria\, the United States\, and various European countries. \nHis works are included\, among others\, in the collections of the Centre Pompidou (Paris\, France)\, the Smithsonian Institution (Washington\, USA)\, Tate Modern (London\, UK)\, the Museum of Modern Art (New York\, USA)\, the Walther Collection (Neu-Ulm\, Germany – New York\, USA)\, the Philadelphia Museum of Art (USA)\, the Collection of the Rencontres de la photographie d’Arles (France)\, and the FNAC – Fonds National d’Art Contemporain (France). \nIn 2020\, François-Xavier Gbré was awarded the Louis Roederer Discovery Award at the Rencontres de la photographie d’Arles. In 2024\, he becomes the first laureate of the Fondation d’entreprise Hermès Latitudes program. \nhttps://www.icp.org/exhibitions/latitudes \n 
URL:https://jamesmaherphotography.com/event/latitudes-nuits-balneaires-and-francois-xavier-gbre/
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/2025/12/icpfrancoisxavier.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260129
DTEND;VALUE=DATE:20260505
DTSTAMP:20251202T045835Z
CREATED:20251202T045106Z
LAST-MODIFIED:20251202T045835Z
UID:10000104-1769644800-1777939199@jamesmaherphotography.com
SUMMARY:HARD COPY New York (curated by Aaron Stern & David Campany)
DESCRIPTION:The International Center of Photography presents HARD COPY NEW YORK\, an expanded iteration of Aaron Stern’s ongoing project exploring the contemporary use of the photocopied image. Following previous iterations\, including a 2025 show in Los Angeles\, the group exhibition uses the visual language of the copy machine to evoke nostalgia for a time of more deliberate picture making. \nIn our current moment when digital images proliferate\, fewer physical copies of images are made or exhibited. Through this show\, curators David Campany and Aaron Stern aim to reassert photography’s inherent power: its ability to offer a profound\, democratic\, and tangible experience. \nAbout Aaron Stern  \nAaron Stern is a Manhattan-based curator\, artist and author working between the Americas and Europe. His photographs\, books\, writing and curatorial projects have appeared in publications and institutions such as RoseGallery\, Webber Gallery\, WSA\, Magenta Plains\, Dashwood Books\, Perrotin\, Photo Saint Germain\, International Center for Photography\, Paris Photo\, Los Angeles Art Book Fair\, Index Art Fair\, Purple Magazine\, The Paris Review\, Vogue\, The New York Times\, Dazed&Confused\, and Interview Magazine.  \nArtists \nDaniel Arnold \nDavid Black \nJohn Divola \nJerry Hsu \nShaniqwa Jarvis \nAri Marcopoulos \nRyan McGinley \nThomas Ruff \nCollier Schorr \nStephen Shore \nhttps://www.icp.org/exhibitions/hard-copy-new-york
URL:https://jamesmaherphotography.com/event/hard-copy-new-york-curated-by-aaron-stern-david-campany/
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/2025/12/Aaron-Stern-David-Campany-ICP-Show.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260131
DTEND;VALUE=DATE:20260503
DTSTAMP:20260310T011900Z
CREATED:20260310T011900Z
LAST-MODIFIED:20260310T011900Z
UID:10000127-1769817600-1777766399@jamesmaherphotography.com
SUMMARY:Claudio Perna: Idea como Arte
DESCRIPTION:CURATORS\nOlivia Casa\nClara Prat-Gay\n\n\n\n\n \n\n\n\nThe Institute for Studies on Latin American Art (ISLAA) is pleased to announce Claudio Perna: Idea como Arte\, the first solo exhibition in New York dedicated to the Venezuelan conceptual artist Claudio Perna (1938–1997). Across a complex and prolific practice ranging from photocopies and Polaroids to collaged maps and conceptual photography\, Perna’s work examined the boundary between material record and reality across art and science. Featuring more than forty works from several key series\, this exhibition highlights his exploration of documentation\, authorship\, and national identity\, and experimental approach to artistic production\, between 1968 and the early 1990s. \nBorn in Milan\, Perna moved to Venezuela as a teenager and studied geography\, which informed his explorations of place and nationhood across his work. In his series of collaged maps of Venezuela\, on view in this exhibition\, he challenged the notion of national identity as fixed\, presenting it instead as shaped by personal memory and rooted in lived experience. Starting in the late 1960s\, he launched a series of conceptual experiments with photographic technology\, in which he investigated the media through which information circulates and accumulates. These works included orchestrated photographic scenes in Fotos dirigidas (1967–68)\, photocopied self-portraits and impressions of found objects in Autocopias (1973–75)\, and performative documentation in Fotoinformes (1976–90) and Alineamientos (1976). \nBy tracing Perna’s conception of the “idea as art”—a commonly used term and unifying principle of the diverse strategies of conceptualism—this exhibition positions his work within an international history of conceptualism and foregrounds a moment of radical artistic experimentation in Venezuela\, as artists expanded the languages of abstraction\, embraced experimental media\, and pursued alternative art forms. In doing so\, it highlights Perna’s expansion of artistic production beyond the art object and invites viewers to consider how knowledge is constructed through acts of looking\, recording\, and reinterpreting—concerns that continue to resonate today amid ongoing debates regarding the circulation of information and the authority of images. \nOn view from January 31 to May 2\, 2026\, Claudio Perna: Idea como Arte is curated by Olivia Casa with Clara Prat-Gay. \nImage Caption: Claudio Perna\, Idea como Arte (Idea as Art)\, 1976. © Fundación Claudio Perna \n\n\n\n\n\nhttps://islaa.org/exhibitions/claudio-perna-arte-como-idea/\n\n\n\n 
URL:https://jamesmaherphotography.com/event/claudio-perna-idea-como-arte/
LOCATION:Institute for Studies on Latin American Art (ISLAA)\, 142 Franklin St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/claudio-perna.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260204
DTEND;VALUE=DATE:20260409
DTSTAMP:20260310T005301Z
CREATED:20260114T041140Z
LAST-MODIFIED:20260310T005301Z
UID:10000114-1770163200-1775692799@jamesmaherphotography.com
SUMMARY:A litany for past suns: Zainab Aliyu
DESCRIPTION:BAXTER ST at the Camera Club of New York is pleased to announce A litany for past suns\, a solo exhibition of works by 2025 BAXTER ST Resident\, Zainab Aliyu. On view from February 4 to April 2\, 2026\, this presentation of refigured stereograph images examines the power dynamics inherent to prevailing archival practices\, highlighting the role of technology in the silencing and misreading of lived experience\, particularly within Black communal histories. \nAliyu’s works juxtapose photographs from her familial archive with those from her broader community to create a selection of stereographic pairings\, which will be presented alongside printed matter\, installation\, text and sculpture. Historically tied to early photographic documentation and colonial ways of seeing\, stereoscopy is reworked here as a relational form that links images across place\, time and lineage rather than isolating them as data. Works attend to empathic gaps in collective memory across generational experiences marked by migration and forced displacement\, and trace how systems that organize knowledge are informed by colonial practices designed to classify and control. The stereographic images require viewers to lean in and look closely\, asking for a scale of intimate attention that counters distant and extractive gazes.  \nThis intimacy extends throughout the exhibition\, where material forms and spatial gestures reference the quiet interiors of family life shaped by what is remembered\, what is lost and what is no longer spoken. Within the installation\, domestic objects and architectural cues such as a rug\, curtain rod\, cupboard\, gate fragments\, and jewelry appear in subtle dislocation\, their familiar functions undone. Checkered floor patterns suggest rooms that recall the tiled surfaces of kitchens and bathrooms\, as well as staged West African studio interiors. Fragmented gates bearing Adinkra symbols\, alongside a Yorùbá-inspired paired staff form\, frame access as something that is negotiated. Earth-toned materials mirror the red and blue logic of the anaglyph images\, extending stereoscopy into the gallery and asking viewers to navigate memory by looking through\, around\, and between objects. \nAliyu worked with two bodies of images in parallel: hundreds of photographs scanned from her late grandmother’s home in Nigeria\, and images shared by others through an open invitation. Seeking resonances across these archives\, she initially experimented with code to organize and caption the images\, only to find that these computational processes failed to register their emotional and historical stakes. Machine-generated captions flattened context and misread lived realities\, exposing biases embedded in even the most purportedly neutral systems and reproducing long-standing erasures in the visual record of Black life. These failures are incorporated directly into Aliyu’s stereographs as traces of systems that sort without seeing\, underscoring the fiction of technological objectivity and pointing to the colonial frameworks such systems inherit. Rejecting the authority of computational interpretation\, Aliyu turned instead to a slower\, embodied method: printing each photograph\, laying them side by side on the studio floor\, and forming each pair by hand. Accompanying the images are speculative captions written from memory and oral history\, arranged alongside\, and at times redacting\, machine-generated captions. These texts interfere with one another\, not to correct the record\, but to stage a conflict between ways of knowing. This layered approach affirms that the porous nature of memory exceeds what archives and algorithms can contain. \nPositioned within a lineage of Black feminist archival critique\, A litany for past suns draws on the theoretical frameworks of scholars such as Safiya Noble\, Tina Campt\, and Saidiya Hartman\, who articulate the tensions between machine logic and ancestral memory. The project’s full title\, A litany for past suns labeled rituals / A star lit any and all possible futures\, is a bilateral anagram that mirrors the exhibition’s conceptual structure. Inspired by Nikki Giovanni’s “A Litany for Peppe” (1970) and Audre Lorde’s “A Litany for Survival” (1978)\, Aliyu positions her litany as both remembrance and call to action; it is an invitation for viewers to transform shared histories into shared futures. \nAbout Zainab Aliyu\nZainab “Zai” Aliyu is a Nigerian-American artist\, designer and cultural worker living in Brooklyn\, NY. Her work explores the cybernetic and temporal entanglements within societal dynamics to understand how all sociotechnological systems of control are interconnected\, and how we are all materially implicated through time. She draws upon her body as a corporeal archive and site of ancestral memory to craft counter-narratives through sculptures\, videos\, installations\, virtual environments\, publications\, archives\, and social practice. Zai is a 2025–28 Jerome Hill Artist Fellow\, 2023-24 NYSCA/NYFA Artist Fellow and former co-director of the School for Poetic Computation. Her work has been presented internationally at Gardiner Museum (Toronto\, Canada)\, Vienna Design Week (Vienna\, Austria)\, The Bronx Museum of the Arts (Bronx\, NY)\, Film at Lincoln Center (New York\, NY)\, Museum of Modern Art (New York\, NY)\, Smack Mellon (Brooklyn\, NY)\, Miller ICA (Pittsburgh\, PA)\, Centre for Heritage\, Arts and Textile (Hong Kong\, China)\, among others. She has been awarded residencies at Pioneer Works (New York\, NY)\, MASS MoCA (North Adams\, MA)\, Haystack Mountain School of Crafts (Deer Isle\, ME)\, The Luminary (St. Louis\, MI)\, Casa do Povo (São Paulo\, Brazil)\, and Pocoapoco (Oaxaca\, Mexico)\, among others. \nhttps://www.baxterst.org/events/a-litany-for-past-suns/
URL:https://jamesmaherphotography.com/event/a-litany-for-past-suns-zainab-aliyu/
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/2026/01/baxter-aliyu.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260204
DTEND;VALUE=DATE:20260409
DTSTAMP:20260310T005328Z
CREATED:20260114T041021Z
LAST-MODIFIED:20260310T005328Z
UID:10000113-1770163200-1775692799@jamesmaherphotography.com
SUMMARY:Hard Feelings: Dean Majd
DESCRIPTION:BAXTER ST at the Camera Club of New York is proud to present Hard Feelings\, the debut solo exhibition by Palestinian-American lens-based artist Dean Majd. Curated by Marley Trigg Stewart\, BAXTER ST’s 2025-26 Guest Curatorial Recipient\, the show will be on view February 4 to April 2\, 2026. \nPrompted by a childhood friend’s sudden passing just a week after their reunion\, Majd began documenting the male dynamics within his circle – an insular graffiti crew in his hometown of Queens\, New York. Made largely at night and with point-and-shoot cameras\, the photographs oscillate between moments of revelry and violence\, creating a nuanced portrayal of masculinity\, the cyclical nature of trauma\, and the power of empathy. \nHard Feelings brings together works that offer an unflinching testament to lives deemed invisible yet demand to be seen. Majd’s comprehensive archive of the group’s rituals\, its frictions and intimacies\, began innocently as a record of truth; his lens offered a channel for their collective grief\, the impetus to deepen his burgeoning relationship with the camera.  \nMoving between documentarian and participant\, Majd complicates conventional ideas of distance\, authorship\, and complicity. Over time the boundaries between himself\, his friends\, and his camera dissolved. The tension in the images is palpable\, dominated by the emotional awareness that we as viewers have become privy to things Majd cannot unsee. Wounds cut deep\, psychic or otherwise\, but Majd’s photographs also remind us that scars are signs of healing. \nInvoking the spirituality and tenebrism of Baroque painting through deep shadows and sudden illumination\, as well as a lineage of photographers favoring diaristic intimacy over traditional documentary distance\, Majd has cultivated a visual language that is both formally rigorous and emotionally bare. Without romanticizing their experiences\, the interplay of chroma and contrast form love letters to his collaborators\, to Queens and to New York City itself.  \nPhotographed across the years before and after the COVID-19 pandemic\, Majd mythologizes the stories of lives ravaged by the ever changing nature of New York City. His lens immortalizes the passing of friends\, the chasing of ghosts\, nocturnal quests for ego death\, and masculine rites of passage – trials often faced by the men of color in Majd’s life\, crafting a legacy for those often unseen and unconsidered. Through trust\, his friends – themselves part of a lost generation – bore their cuts and tears to him as affirmations of their existences. \nIn Hard Feelings\, wounds and bruises become tender offerings. The boundary between violence and vulnerability dissipates\, with Majd’s camera insisting on presence – on seeing fully. The photographs become an acknowledgment of pain and spiritual catharsis. His empathetic eye transforms his lens into a mirror that reflects his sitters’ darkest internal conflicts\, and a space for them to face their own shadows; a place to express repressed emotions; a moment of vulnerability for those taught they must be invulnerable to survive. This odyssey resolves as an invitation for hope and healing for all those willing to engage with their hard feelings. \nHard Feelings is presented in dedication to the memory of Subash “Suba” Tamang. \nAbout Dean Majd \nDean Majd (b. 1990) is a self-taught\, lens-based artist born and based in Queens\, New York. Born to Palestinian immigrants\, he studied international relations with a focus on the Middle East at CUNY The City College of New York\, CUNY. Majd began forming his intimate and cinematic visual language after being given his first camera at seven years old by his mother. His diaristic work engages with violence as an imposed center-point of one’s life\, focusing on repressed\, negative emotions within contemporary masculinity in relation to addiction and self-destruction. His work also explores the complexities of the Arab-American dichotomy and the Palestinian diaspora against apartheid\, and how they overlap. \nMajd has been profiled by Aperture\, MATTE Magazine\, AnOther Magazine\, and GQ Middle East. His editorial work has appeared in The New York Times\, Vogue\, and New York Magazine among others. His work has mostly recently been exhibited at the Museum of the City of New York in the exhibition New York Now: Home\, as well as lectured at the International Center of Photography. In fall 2025 he will be an artist-in-residence at the Center for Photography at Woodstock\, and he is one of the recipients of the 2025 En Foco Fellowship Award. He is passionate about cinema\, immensely devoted to his friends (his chosen family)\, and a proud New Yorker. He believes that love\, above all else\, is the driving force behind everything he does. \nAbout Marley Trigg Stewart \nMarley Trigg Stewart (b. Oakland\, CA) is an artist whose practice explores authorship and absence through personal histories. Trigg Stewart’s work has been featured in MATTE Magazine and Musee Magazine\, and his writing has been featured in Aperture. He completed his Bachelor of Fine Arts in Photography at Pratt Institute\, and is currently based in Brooklyn\, New York. \nhttps://www.baxterst.org/events/hard-feelings/
URL:https://jamesmaherphotography.com/event/hard-feelings-dean-majd/
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/2026/01/baxter-majd.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260205
DTEND;VALUE=DATE:20260322
DTSTAMP:20260310T012510Z
CREATED:20260310T012510Z
LAST-MODIFIED:20260310T012510Z
UID:10000129-1770249600-1774137599@jamesmaherphotography.com
SUMMARY:Fragmentary Glimpses:  Alfred Stieglitz and David Vestal in New York
DESCRIPTION:One thing is certain about New York City—it is always changing. We know this on an instinctual level\, but the art of the times is what reveals the city’s shapeshifting energy. As a versatile medium\, photography both documents what a camera views while simultaneously revealing more than what is seen at any given moment. \nRobert Mann Gallery is pleased to present Fragmentary Glimpses: Alfred Stieglitz and David Vestal in New York\, on view starting February 5. This intimate exhibition invites viewers to look at New York through the lens of two photographers who were infatuated with the city’s ever-evolving landscape: Alfred Stieglitz and David Vestal. \nIn the early 1900s\, Alfred Stieglitz hosted modern art exhibitions at his Little Galleries of the Photo-Secession—named after the Pictorialist group he helped found in 1902—and promoted photography as a legitimate art form through the pages of Camera Work. From 1903 to 1917\, this quarterly journal showcased new work by leading artists alongside art criticism and philosophical essays. While the journal primarily featured the work of others\, the October 1911 issue focused on Stieglitz’s own photographic vision and is considered one of the journal’s most important issues. \nFragmentary Glimpses presents the entire collection of images that Stieglitz published for Camera Work\, No. 36 — “snapshots” (as critics called them) of New York at one of its many turning points. Steamboats and locomotives transport people faster and further than ever before\, while airships and newly built skyscrapers usher in an era of reaching new heights. Such iconic works as The Steerage (1907)\, The Terminal (1892)\, and Spring Showers (1900) demonstrate how Stieglitz’s modernist framing and ability to render the city’s changing atmosphere—both natural and man-made—helped initiate a new direction for photography at the turn of the twentieth century. A main figure in and proponent of Pictorialism\, Stieglitz mastered the photogravure technique\, a photomechanical process that allowed for atmospheric and painterly effects while being mass produced. \nDecades later\, David Vestal photographed the city and its people living in modernity’s shadowy aftereffects. Arriving to New York in the late 1940s after studying painting at The Art Institute of Chicago\, Vestal took up photography and joined the renowned Photo League of socialist practitioners. Distinctly more steeped in aesthetic concerns than political ones\, his sensitive compositions and attention to light still skillfully capture the unsettling social realities that lingered like smog in most postwar American cities. \nThe title for this duo show comes from an essay featured in Stieglitz’s October 1911 issue of Camera Work. Referring to New York as “a vision that rises out of the sea\,” the photographer Alvin Langdon Coburn writes how the city “glimmers for a while in the sun…[then] vanishes\, but for fragmentary glimpses….” Both Stieglitz and Vestal knew intimately how their cameras could both capture the city’s insatiable hunger for progress while depicting its illuminous and hazy luster. \nView the exhibition in person and online starting February 5\, 2026. Public visiting hours are Tuesday–Friday\, 10am–6pm\, and Saturday from 11–6pm. For additional hours please make an appointment. For additional information and press materials\, please contact the gallery by email (mail@robertmann.com). \nhttps://robertmann.com/fragmentary-glimpses-stieglitz-and-vestal-in-new-york-press-release
URL:https://jamesmaherphotography.com/event/fragmentary-glimpses-alfred-stieglitz-and-david-vestal-in-new-york/
LOCATION:Robert Mann Gallery\, 508 W 26th St Suite 9F\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/stieglitz.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260206
DTEND;VALUE=DATE:20260302
DTSTAMP:20260205T174340Z
CREATED:20260205T174340Z
LAST-MODIFIED:20260205T174340Z
UID:10000120-1770336000-1772409599@jamesmaherphotography.com
SUMMARY:Clayton Patterson Photographs 1986-2001
DESCRIPTION:CLAYTON PATTERSON PHOTOGRAPHS 1986-2001\nFeb. 6th – Mar 1st\n47 Chrystie Street NY NY 10002 \nOpening reception Friday Feb 6th\, 6-9pm \nOpen to the public\nGallery will be open Friday – Sunday every week in Feb \nhttps://www.instagram.com/p/DUTfbdhkYXy/
URL:https://jamesmaherphotography.com/event/clayton-patterson-photographs-1986-2001/
LOCATION:47 Christie Street\, 47 Christie Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/02/clayton.jpg
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