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DTSTART;VALUE=DATE:20250626
DTEND;VALUE=DATE:20250830
DTSTAMP:20250717T022806Z
CREATED:20250717T022806Z
LAST-MODIFIED:20250717T022806Z
UID:10000060-1750896000-1756511999@jamesmaherphotography.com
SUMMARY:In Sequence
DESCRIPTION:Bruce Silverstein Gallery is pleased to present In Sequence\, a group exhibition that brings together the works of Adger Cowans\, Elger Esser\, Todd Hido\, Dakota Mace\, Barbara Morgan\, Ed Ruscha\, Keith A. Smith\, Eve Sonneman\, Ryan Weideman\, Francesca Woodman\, and others to explore how sequencing engages rhythmic\, spatial\, and compositional strategies to shape narrative\, guide perception\, or elicit emotion. This exhibition considers how visual sequences structure time and transform the image from a static object into an active participant in a story\, building tension\, resonance\, and pace as the viewer’s attention moves across and beyond the frame. Since the early 20th century\, photography has been associated with the decisive moment\, defined by Henri CartierBresson as the “simultaneous recognition\, in a fraction of a second\, of the significance of an event as well as of a precise organization of forms which give that event its proper expression”\, or simply\, the singular instant arrested from the flow of time. In Sequence proposes an alternative framework\, one that sees meaning in photography as unfolding through sequences. Extending beyond a simple linear progression of images\, this approach suggests that sequencing functions as a deeper structural and conceptual mode akin to the temporal arts of music and poetry. For Keith A. Smith\, the sequence operates as a visual language. In his artist’s books\, the act of flipping through pages becomes a performance—a rhythm of disjointed images coalescing into a unified whole\, only to collapse again as the narrative unfolds. Like a poem or a musical piece\, meaning emerges through rhythm and repetition\, inviting the viewer to inhabit the roles of reader\, listener\, and performer simultaneously. These formal strategies are also visible in Barbara Morgan’s iconic dance studies. The images do not merely document movement; they function like a dance performance\, transforming still images into a kinetic experience. \nTodd Hido and Ed Ruscha\, both operating within the genre of roadside photography\, utilize the sequence to take the viewer on a journey through the American landscape. They offer a mundane yet strangely evocative and minimalistic narrative of travel\, the passage of time\, and the human relationship to the changing American landscape. For Adger Cowans and Francesca Woodman\, the sequence is a way to investigate the fragility and metamorphosis of identity. Adger Cowans’ Self Portrait (Shrouded\, Masked\, Free)\, 1973\, a triptych of three images\, unfolds a visual poem of concealment\, transformation\, and release\, with each image deeply intertwined with the next. By engaging with the conceptual possibilities of sequencing\, the works in In Sequence challenge traditional conceptions of the image as a discrete moment. They reveal the sequence as a tool for constructing narratives\, guiding experience\, and framing perception\, inviting viewers to read these images not as static artifacts\, but as dynamic measures of time. In Sequence is open from June 26th through August 29th\, 2025. \nhttps://brucesilverstein.com/exhibitions/219-in-sequence/overview/
URL:https://jamesmaherphotography.com/event/in-sequence/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250929
DTSTAMP:20250509T205938Z
CREATED:20250509T205938Z
LAST-MODIFIED:20250509T205938Z
UID:10000039-1750291200-1759103999@jamesmaherphotography.com
SUMMARY:Edward Burtynsky: The Great Acceleration
DESCRIPTION:The Great Acceleration\, the first solo institutional exhibition of world renowned photographer Edward Burtynsky’s work in New York City in over twenty years\, reveals the depth of Burtynsky’s investigation into the human alteration of natural landscapes around the world\, showing their present fragility and enduring beauty in equal measure. \nCurated by David Campany\, Creative Director at ICP\, this retrospective exhibition  will present over seventy photographs\, including many of Burtynsky’s landmark images\, some of which have never previously been shown\, along with three ultra high-resolution murals. The exhibition will also include a visual and narrative timeline of Burtynsky’s creative life. Intentionally scheduled to extend through Climate Week NYC in September 2025\, The Great Acceleration will serve not only as an urgent call for action\, but will also give visitors the opportunity to appreciate the sublimity that remains in the landscape\, while also deepening our understanding of the challenges that confront us today. In this way\, The Great Acceleration upholds ICP’s long-standing and core commitment to present concerned photography that can inspire new audiences. \nThe Great Acceleration is an established term used to describe the rapid rise of human impact on our planet according to a range of measures\, among them population growth\, water usage\, transportation\, greenhouse gas emissions\, resource extraction and food production\, each of which Burtynsky has photographed the outward signs of at length and in great detail over the past forty years. From open pit mines across North America to oil derricks in Azerbaijan\, from rice terraces in China to oil bunkering in Nigeria\, Burtynsky has travelled across the world and back again as part of his restless and seemingly inexhaustible drive to discover the ways\, both old and new\, that organized human activity has transformed the natural world. Though already unified by both the precision and formal beauty that Burtynsky deploys to create each photograph\, The Great Acceleration further underscores that\, like their respective subjects\, each project remains fundamentally interconnected. \nhttps://www.icp.org/exhibitions/edward-burtynsky-great-acceleration
URL:https://jamesmaherphotography.com/event/edward-burtynsky-the-great-acceleration/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250929
DTSTAMP:20250509T205636Z
CREATED:20250509T205636Z
LAST-MODIFIED:20250509T205636Z
UID:10000038-1750291200-1759103999@jamesmaherphotography.com
SUMMARY:Sheida Soleimani: Panjereh
DESCRIPTION:The International Center of Photography (ICP) is proud to present Panjereh\, an exhibition by Iranian-American artist Sheida Soleimani. Panjereh—which means ‘window’ or ‘passageway’ in Farsi—builds on Soleimani’s ongoing Ghostwriter series\, in which she explores her parents’ experiences of political exile and migration as a lens to examine broader systems of geopolitics. Known for her intricate\, studio-based compositions that combine photographs\, props\, live animals and even her own parents in surreal\, magical realist scenes\, Soleimani expands her practice in Panjereh with the debut of a new body of work featuring injured birds. These images draw from her work as a wildlife rehabilitator and founder of Congress of the Birds\, a federally licensed wild bird rehabilitation center in Rhode Island. The exhibition will also include a new site-specific wall drawing created specifically for ICP’s galleries.  \nCurated by Elisabeth Sherman\, Guest Curator\, the exhibition will bring together more than forty photographs\, the vast majority of which have never before been shown in New York. Sherman states\, “In her work\, Soleimani uniquely braids together the complex particularities of her family’s history\, deep research into geopolitics and her inherited passion for care work into a visual language completely her own. The magically inventive spaces she creates allow for complexity in telling these stories\, honoring their richness and continually unfolding nature. It is truly an honor to be presenting her first solo exhibition in New York\, specifically at an institution historically dedicated to photography that engages with the politics of our time.”   \nThe Ghostwriter series takes Soleimani’s family history—specifically that of her parents’ flight from Iran as political refugees following the 1979 revolution—as an overarching conceptual framework that informs her creative process\, from the significance of the objects and family ephemera she uses to the compositions of the photographs themselves. The series carries out a form of ‘ghostwriting’ in the way it both narrates and reconstructs the lives of Soleimani’s parents without utilizing their voices directly. The works focus on their lives in Iran as pro-democracy activists before then being forced to flee the country\, enduring both physical and psychological hardship on their way to eventual resettlement in the United States. Soleimani’s mother was forced to give up being a practicing nurse\, leading her to begin caring for wild birds\, a skill which she would eventually pass along to her daughter.   \nWith their personal emphasis\, the Ghostwriter works present a distinct expression of Soleimani’s longstanding interest in Iranian history and the contemporary geopolitics between the West and the Middle East. Rather than address this history using a strictly documentary approach\, Soleimani instead examines storytelling and memory as the primary means through which these stories are transmitted; the construction of her pictures captures the way that detail and meaning are often obscured\, transformed or difficult to fully grasp. This process is expressed by the degree of visual compression and accumulation of detail that Soleimani’s photographs contain\, as specific passages\, details or textures—wildlife and plants\, architecture and landscape—regularly function as stand-ins and metaphors rather than straightforward description. Soleimani situates artifacts from her parents’ journey against backgrounds made up of imagery pulled from a variety of archival family photographs\, resulting in works that are layered composites of multiple stories\, documenting factual traces of history within newly imagined spaces.  \nA new development within the Ghostwriter series are the Flyways photographs\, which draw attention to the plight of migratory birds\, many of whom are wounded on their long journeys through populated areas. Soleimani’s work as a federally licensed wildlife rehabilitator grew out of a care practice that she learned from her mother and forms part of a larger cultural inheritance that has been passed down to her. Assuming the position of primary characters\, the birds that Soleimani photographs and places within her tableaux provide a metaphor for the many social\, political and environmental obstructions met by people forced into flights of their own.  \nThis new group of analog photographs that Soleimani made of rehabilitated birds presents a unique kind of maximalism despite their small scale while also forgoing the complex layering of reference and imagery typical of the Ghostwriter series. Shot in extreme close-up\, these works render the bodies of birds as intensely detailed and complex worlds unto themselves\, where feathers\, talons and eyes are as richly described as Soleimani’s family history is explored. The acts of care contained within these images highlights the relationship between care and political resistance that has unfolded not only with Soleimani’s own family\, but which remains critically important for our present moment.  \n  \nAbout Sheida Soleimani  \nSheida Soleimani (b. 1990) is an Iranian-American artist\, educator and activist. The daughter of political refugees who escaped Iran in the early 1980s\, Soleimani makes work that excavates the histories of violence linking Iran\, the United States and the Greater SWANA Region. In working across form and medium—especially photography\, sculpture\, collage and film—she often appropriates source images from popular/digital media and resituates them within defamiliarizing tableaux. The composition depends on the question at hand. For example\, how can one do justice to survivor testimony and to the survivors themselves (To Oblivion)? What are the connections between oil\, corruption and human rights abuses among OPEC nations (Medium of Exchange)? How do nations work out reparations deals that often turn the ethics of historical injustice into playing fields for their own economic interests (Reparations Packages)? How may the layering of memory and familial history both report fact and produce a reckoning with the intimate resonances of a geopolitics of violence (Ghostwriter)? In contrast to Western news\, which rarely covers these problems\, Soleimani makes work that persuades spectators to address them directly and effectively.   \nSoleimani’s work is held in permanent collections including the Guggenheim Museum\, Museum of Fine Arts Boston\, Pennsylvania Academy of Fine Arts\, MIT List Visual Art Center and Kadist Paris. Her work has been recognized internationally in both exhibitions and publications such as The New York Times\, Financial Times\, Art in America\, Interview Magazine\, and many others. Based in Providence\, Rhode Island\, Soleimani is also an Associate Professor of Studio Art at Brandeis University and a federally licensed wildlife rehabilitator.  \nhttps://www.icp.org/exhibitions/sheida-soleimani-panjereh
URL:https://jamesmaherphotography.com/event/sheida-soleimani-panjereh/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/sheidasoleimani.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250619
DTEND;VALUE=DATE:20250802
DTSTAMP:20250717T005934Z
CREATED:20250717T005934Z
LAST-MODIFIED:20250717T005934Z
UID:10000056-1750291200-1754092799@jamesmaherphotography.com
SUMMARY:Heatwave
DESCRIPTION:Edwynn Houk Gallery is pleased to present Heatwave\, a group exhibition on view from June 19 – August 1. The show brings together works by Lillian Bassman\, Elliott Erwitt\, Lalla Essaydi\, Robert Heinecken\, Sally Mann\, Joel Meyerowitz\, Abelardo Morell\, Erwin Olaf\, and Herb Ritts. \nThe exhibition explores heat not simply as temperature\, but as sensation\, atmosphere\, and memory. In several works\, its physical effects are rendered with immediacy and sensual intensity. Lillian Bassman’s Touch of Dew (1961)\, Herb Ritts’ Jump\, Paradise Cove (1987)\, and Sally Mann’s Luncheon in the Grasses (1991) each offer distinct visions of summer’s elemental charge—sunlight on skin\, wind in hair\, the charged stillness of long afternoons. Mann has described the context of her Immediate Family series as inseparable from the Southern summer\, writing: “The time is summer. It’s any summer\, but the place is home and the people here are my family… The slow\, wet air of southern Virginia in July and August exerts a hold on me that I can’t define – nothing happens during the other seasons.” In contrast\, Joel Meyerowitz’s 1970s dye transfer print registers a different kind of heat: the weight of the city\, where color becomes oppressive\, and saturation mirrors the density of urban summer. \nWhile this sense of environment courses through the exhibition\, Heatwave moves beyond climate. It approaches heat as a metaphor and a condition—a heightened state of perception\, pressure\, and transformation. In several works\, this tension is enacted through the construction of the image itself. Robert Heinecken’s Recto/Verso series collapses surface and meaning\, fusing front and back pages of mass-market magazines into layered compositions that are seductive\, disruptive\, and difficult to resolve. Abelardo Morell’s tent-camera photographs offer a quieter\, optical intensity: projecting the outside world onto the ground beneath it\, his images blend interior and exterior in a single\, refracted vision inspired by Monet’s gardens and post-Impressionist light. For Erwin Olaf\, heat is emotional and theatrical. His meticulously staged interiors from Palm Springs hold time in suspension—composed yet volatile\, where gesture is restrained and mood simmers just beneath the surface. Lalla Essaydi’s photographs\, by contrast\, burn more slowly: their tension lies in the layering of visual codes. Through textiles\, calligraphy\, and gaze\, she reclaims and reconfigures the historical terms of representation.  \nThe works in Heatwave come together to show that photography\, like heat\, is not neutral. It has the power to shape\, reveal\, distort\, and intensify. Across the exhibition\, each artist uses the medium to transform perception into form\, whether capturing atmosphere\, reframing cultural narratives\, or reimagining surface and space. Taken together\, they reflect the sensory richness of photography and its ability to convey not only how the world looks\, but how it feels. \nhttps://www.houkgallery.com/exhibitions/137/works/
URL:https://jamesmaherphotography.com/event/heatwave/
LOCATION:Edwynn Houk\, 693 Fifth Avenue\, 6th Floor\, New York\, NY\, 10022\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250613
DTEND;VALUE=DATE:20250719
DTSTAMP:20250613T195520Z
CREATED:20250613T195520Z
LAST-MODIFIED:20250613T195520Z
UID:10000049-1749772800-1752883199@jamesmaherphotography.com
SUMMARY:Physique\, from the collection of Vince Aletti
DESCRIPTION:Dashwood Projects is proud to announce our next show Physique\, from the collection of Vince Aletti\, on view June 13th thru July 18th\, 2025\, an exhibition of over forty rare physique photography prints from the private collection of renowned critic and curator Vince Aletti.  Spanning the 1930s to the early 1960s\, these photographs chronicle a hidden\, coded world of homoerotic imagery. Once sold discreetly through mail-order catalogues and physique magazines\, the prints point to an emergent queer sensibility and visibility.  \nThe exhibition and accompanying book\, published by SPBH (Self Publish Be Happy)\, traces the historical and political significance of these images\, firmly establishing their place in the canon of photography. Celebrates the artistry of the photographers\, models\, and studios like Bruce of Los Angeles and Western Photography Guild that brought the photographs to life. Physique reveals a forgotten chapter of American gay culture in which photographic prints served as a lifeline\, connecting a community of men under threat while also providing solace\, pleasure\, and empowerment amid oppression.  \nhttps://dashwoodprojects.com/vince-aletti
URL:https://jamesmaherphotography.com/event/physique-from-the-collection-of-vince-aletti/
LOCATION:Dashwood Projects\, 63 East 4th Street\, New York\, NY\, 10003\, United States
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250607
DTEND;VALUE=DATE:20250623
DTSTAMP:20250409T194558Z
CREATED:20250327T033315Z
LAST-MODIFIED:20250409T194558Z
UID:10000023-1749254400-1750636799@jamesmaherphotography.com
SUMMARY:Photoville
DESCRIPTION:“New York City’s free premier photography destination \nThe annual Photoville Festival will return to Brooklyn Bridge Park and in all five boroughs of NYC in June 2025! \nEach year brings a special and outstanding group of artists and programming partners to curate and present free outdoor photo exhibitions across all five boroughs of NYC. With stories highlighting hope\, joy\, and compassion\, while honoring experiences of adversity and heartbreak\, Photoville aims to elevate the power of visual storytelling by fostering empathy and understanding within our communities. \nStay tuned for the announcement of the festival dates and the open call for exhibition and programming submissions! \nThe festival opening weekend will bring two full days of family-friendly activities\, carefully curated photography workshops for professionals and lovers of the craft\, engaging tours\, and a powerfully captivating night of visual storytelling. \nAnd not to mention\, free public programming throughout the month of June! \nPhotoville 2024 featured the return of the Photo Village in Brooklyn Bridge Park and our classic shipping containers\, in addition to open air exhibits in Brooklyn Bridge Park and around all 5 boroughs. It also featured in-person and virtual workshops and special events\, including artist talks\, professional development workshops\, tours and more. We displayed 87 exhibitions dispersed throughout New York City. \nOver 1\,000\,000 visitors engaged with our free and public exhibitions in the five boroughs\, showcasing the incredible work of over 200 artists\, collaborating with partners including The New York Times\, National Geographic\, The Schomburg Center for Research in Black Culture\, Alice Austen House\, Doctors Without Borders\, Magnum Foundation\, Pulitzer Center and more. \nWorking with parks and city officials to safely install exhibition banners and custom structures throughout parks and public spaces in New York City\, exhibitions remained on view for several months so that communities could enjoy them while using these open spaces as a place to recharge\, exercise\, and relax. \nDaytime programming at the 2024 Festival included 100+ workshops and special events presented with and by artists and industry professionals\, with partners such as Diversify Photo\, Leica Camera\, Adobe\, ICP\, PhotoWings\, and more. Professional development workshops had over 600 attendees. \nOver 700 students and educators across New York City attended our 2024 Festival education program which was proudly supported by our partner PhotoWings and the NYC Mayor’s Office of Media & Entertainment. Throughout the week\, participants were able to meet exhibiting photographers to hear them speak about their work\, while also attending panel discussions of student photographers beginning their journey in visual storytelling.” \nhttps://photoville.nyc
URL:https://jamesmaherphotography.com/event/photoville/
LOCATION:Photoville\, 17 Water St\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/photoville.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250605
DTEND;VALUE=DATE:20250818
DTSTAMP:20250510T005402Z
CREATED:20250510T005402Z
LAST-MODIFIED:20250510T005402Z
UID:10000044-1749081600-1755475199@jamesmaherphotography.com
SUMMARY:Diane Arbus: Constellation
DESCRIPTION:“Her memorable work … transformed the art of photography (Arbus is everywhere\, for better and worse\, in the work of artists today who make photographs)\, and it lent a fresh dignity to the forgotten and neglected people in whom she invested so much of herself.”\n—The New York Times \n“The main impression left by this extraordinary exhibition\, which provides a full view of Arbus’s manifold achievement\, is how much great work she produced in her 15-year career and how fresh it continues to feel more than fifty years after her death.”\n—The Guardian (UK) \n\nDiane Arbus is one of the most original and influential photographers of the twentieth century\, best known for her stark\, documentary style of capturing people outside the boundaries of ordinary society. For decades\, her innovative artistry has influenced countless artists with iconic images that seem to reflect Arbus’s restless attraction to the unfamiliar in all its guises. \nThese dynamic pictures are given an evocative new life at the Armory in an immersive installation that brings together all of the photographs (some still unpublished) from the set of more than 450 prints by Neil Selkirk\, a photographer and student of hers and the only person authorized to make prints from her negatives. This unconventional constellation of images allows viewers to find their own path to discover what lies between the pictures\, what connects them to each other\, and the imperceptible architecture underlying all creations: chance\, chaos\, and exploration. Marking the largest and most complete showing of her works in New York to date\, this unprecedented collection of Arbus’s works provides a diverse and singularly compelling portrait of humanity.
URL:https://jamesmaherphotography.com/event/diane-arbus-constellation/
LOCATION:Park Avenue Armory\, 643 Park Ave\, New York\, NY\, 10065\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/dianearbus.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250604
DTEND;VALUE=DATE:20250817
DTSTAMP:20250510T010411Z
CREATED:20250510T010411Z
LAST-MODIFIED:20250510T010411Z
UID:10000046-1748995200-1755388799@jamesmaherphotography.com
SUMMARY:Qiana Mestrich: The Reinforcements
DESCRIPTION:BAXTER ST at CCNY is pleased to announce the inaugural exhibition at its new location at 154 Ludlow Street with The Reinforcements\, a solo presentation by 2024 BAXTER ST Resident Artist and writer Qiana Mestrich\, opening June 4\, 2025.\nA powerful series of photo collages begun in 2023\, The Reinforcements visualizes the labor history of Black and immigrant women of color in the American corporate workplace. Drawing from archival images—including photographs of Mestrich’s own mother\, who worked in sales at Rugol Trading Corporation in New York City in the late 1960s—the work explores the everyday realities and systemic inequities that have long defined professional life for women of color.\nThis body of work stems from Mestrich’s broader\, ongoing research project @WorkingWOC: Towards a History of Women of Color in the Workplace\, an independent digital archive aimed at documenting and interpreting the role of women of color in the American labor force from the Civil Rights Act of 1964 to the early 2000s.\nDespite the founding of the Equal Employment Opportunity Commission in 1965\, Black and other women of color continue to face racial and gender discrimination\, limited pathways to leadership\, and persistent wage inequality. In response to the absence of robust archival material addressing these inequities\, Mestrich has created speculative visual narratives by collaging images from vintage fashion and office supply magazines. The resulting works are imagined interventions into a historical record that too often neglects the labor\, agency\, and ambitions of these women.\nThe Reinforcements not only centers the experiences of its subjects but also asks viewers to reckon with the ongoing erasure of women of color in corporate and institutional histories. With this inaugural exhibition\, Baxter St renews its commitment to presenting urgent\, socially engaged work by emerging and mid-career lens-based artists. \nABOUT QIANA MESTRICH\nQiana Mestrich (b. 1977\, NYC) is an interdisciplinary artist and photo historian whose work critically engages with themes of Black and mixed-race identity\, motherhood\, women’s labor\, and the empowering role of fashion. Informed by her upbringing as the daughter of immigrants from Panama and Croatia\, Mestrich’s artistic practice is complemented by significant contributions to the field of photography history. Her artwork has garnered international attention\, with exhibitions at the RAY Fotografieprojekte Frankfurt/RheinMain and London Art Fair’s Photo50\, and inclusion in collections such as the Peggy Cooper Cafritz collection. A graduate of the ICP-Bard College MFA program\, her insightful perspectives have been recognized through awards like the 2025 Saltzman Prize and CPW Vision Award\, as well as the 2022 Magnum Foundation’s Counter Histories grant for her research on women of color in the corporate workplace. Mestrich’s dedication to expanding the discourse around photography is evident in her 2007 founding of Dodge & Burn: Decolonizing Photography History. This groundbreaking initiative\, which evolved from a blog into a vital critique group\, actively championed photographers of color. Her newly released book (Routledge\, March 2025)\, features 35 updated interviews from the blog along with 7 critical essays on photography. Mestrich lives and works between Brooklyn and New York’s Hudson Valley. \nABOUT BAXTER ST\nFounded in 1884\, Baxter St at the Camera Club of New York is one of New York City’s oldest artist-run nonprofit spaces committed to lens-based arts. Today\, the organization is a socially engaged art incubator that prepares lens-based artists for their debut and helps them create sustainable practices to move forward with integrity. In addition to a year-round exhibition schedule\, the organization hosts artist residencies\, critique groups\, and a public series of artist talks and workshops. Baxter St promotes artists of all ages\, races\, ethnicities\, and identities whose work connects with global conversations on culture\, human rights\, environment\, and equality. The organization is committed to uplifting artists by sharing ideas and resources and learning together to create profound and lasting change in our organization and communities. \n\n \n\n\n\n\n\n\n\nhttps://www.baxterst.org/events/the-reinforcements/
URL:https://jamesmaherphotography.com/event/qiana-mestrich-the-reinforcements/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/baxter2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250604
DTEND;VALUE=DATE:20250814
DTSTAMP:20250510T010212Z
CREATED:20250510T010107Z
LAST-MODIFIED:20250510T010212Z
UID:10000045-1748995200-1755129599@jamesmaherphotography.com
SUMMARY:Thomas Holton: The Lams of Ludlow Street
DESCRIPTION:Baxter St at the Camera Club of New York is pleased to present the inaugural exhibition at its new location at 154 Ludlow Street\, The Lams of Ludlow Street\, a solo exhibition by photographer Thomas Holton\, presented as part of the organization’s Mid-Career Initiative. Spanning over two decades\, this deeply personal body of work chronicles the evolving lives of a single Chinese-American family in Manhattan’s Chinatown\, offering an intimate exploration of identity\, belonging\, and the everyday moments that shape our understanding of home.  \nSince 2003\, Holton has immersed himself in the life of the Lam family\, capturing both the private and public dimensions of their world with an unfiltered\, empathetic lens. What began as an artistic inquiry into his own Chinese heritage has evolved into a lifelong commitment to storytelling—one that reflects the complexities of family\, migration\, and cultural hybridity in contemporary America. \nA lifelong New Yorker of mixed Chinese and American descent\, Holton has long grappled with a sense of detachment from his Chinese roots. His photographic journey with the Lams became both a creative and personal act of connection\, a way to bridge the gaps in his own identity through the lens of another family’s experiences. The resulting images document adolescence\, marriage\, resilience\, and the quiet\, unscripted moments that define family life. \nPresented at a time when Chinatown\, like many immigrant communities\, faces profound social and economic shifts\, The Lams of Ludlow Street serves as both a visual archive and a meditation on what it means to belong. Holton’s images remind us of the power of long-term storytelling—of what it means to bear witness to time\, change\, and human connection. \nAbout Thomas Holton \nThomas Holton is a photographer and educator based in New York City. He received a BA from Kenyon College and a MFA in photography from the School of Visual Arts. His ongoing project\, The Lams of Ludlow Street\, has documented the life of a single Chinese-American family living in Manhattan’s Chinatown over 20 years. The project was published as a book in 2016 by Kehrer Verlag and has been shown in the United States and abroad at venues including The Smithsonian National Portrait Gallery\, The Museum of the City of New York\, the New York Public Library\, and the Photoville photography festival . The work has also been featured by the New York Times\, Aperture\, The Guardian and many other periodicals. He has taught at the International Center of Photography and was co-founder of SVA’s VisuaLife photography program\, working with at-risk teenagers in collaboration with the Children’s Aid Society in New York City. He is currently a photography educator in New York City where he lives with his family. \nAbout BAXTER ST’s Mid-Career Initiative \nBaxter St’s Mid-Career Initiative is dedicated to supporting lens-based artists who occupy the space between emerging and established careers. This initiative advances Baxter St’s mission to foster belonging in the cultural sector by providing mid-career artists with vital opportunities for solo exhibitions\, public engagement\, and professional growth. \nAbout BAXTER ST at CCNY \nFounded in 1884\, BAXTER ST at the Camera Club of New York is one of New York City’s oldest artist-run nonprofit spaces committed to lens-based arts. Today\, the organization is a socially engaged art incubator that prepares lens-based artists for their debut and helps them create sustainable practices to move forward with integrity. In addition to a year-round exhibition schedule\, the organization hosts artist residencies\, critique groups\, and a public series of artist talks and workshops. Baxter St promotes artists of all ages\, races\, ethnicities\, and identities whose work connects with global conversations on culture\, human rights\, environment\, and equality. The organization is committed to uplifting artists by sharing ideas and resources and learning together to create profound and lasting change in our organization and communities. \nhttps://www.baxterst.org/events/the-lams-of-ludlow-street/
URL:https://jamesmaherphotography.com/event/thomas-holton-the-lams-of-ludlow-street/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/baxter1.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250530
DTEND;VALUE=DATE:20250915
DTSTAMP:20250613T200009Z
CREATED:20250613T200009Z
LAST-MODIFIED:20250613T200009Z
UID:10000050-1748563200-1757894399@jamesmaherphotography.com
SUMMARY:Arresting Beauty: Julia Margaret Cameron
DESCRIPTION:“I longed to arrest all beauty that came before me\, and at length the longing has been satisfied.” —Julia Margaret Cameron \nArresting Beauty: Julia Margaret Cameron explores the path-breaking career of photography’s first widely recognized artist. Cameron (1815–1879) was born in Calcutta (modern day Kolkata) to a French mother and an English father; in 1848\, with her husband and children\, she moved to England\, where her sisters introduced her to the elite cultural circles in which they traveled. Residing on the Isle of Wight\, where she was close neighbors with the poet Alfred Tennyson\, Cameron acquired her first camera at age 48. In only eleven years she would create thousands of exposures and leave an enduring image of the Victorian era as an age of intellectual and spiritual ambition. \nCameron’s prodigious drive helped her become a probing portraitist of leading writers\, artists\, and scientists\, such as Tennyson\, Thomas Carlyle\, G.F. Watts\, and Charles Darwin\, while her absorption with fine art\, notably Renaissance painting\, led her to create staged tableaux in a mode that has been perpetually rediscovered by photographers down to the present. Most distinct of all was Cameron’s wholly personal handling of her medium. Heedless of  contemporary conventions of technique\, alert to the happy effects of accident\, and indifferent to critical scorn\, she embraced a style of spontaneous intimacy that distanced her from the photographic establishment of her time and class. Motion blur\, highly selective focus\, and even fingerprints on the glass negatives (which required developing before their emulsions dried) are among the idiosyncrasies of her singular oeuvre. \nCameron was quick to exploit publishing and promotional opportunities: at London’s South Kensington Museum (today the Victoria and Albert Museum) she secured not only an exhibition in 1865 but\, a few years later\, studio space\, and she was the first photographic artist to be collected by the institution. Arresting Beauty features prints from its initial purchase and from subsequent additions to its holdings\, which have grown to number nearly one thousand. The exhibition includes Cameron’s large camera lens (all that survives of her apparatus)\, pages from her unfinished memoir manuscript Annals of My Glass House\, and portraits she made in Ceylon (now Sri Lanka) after Cameron and her husband moved there in 1875. \nhttps://www.themorgan.org/exhibitions/arresting-beauty
URL:https://jamesmaherphotography.com/event/arresting-beauty-julia-margaret-cameron/
LOCATION:The Morgan Library and Museum\, 225 Madison Ave\, New York\, NY\, 10016\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/06/Julia-Margaret-Cameron-signature.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250529
DTEND;VALUE=DATE:20250802
DTSTAMP:20250613T210045Z
CREATED:20250613T210045Z
LAST-MODIFIED:20250613T210045Z
UID:10000052-1748476800-1754092799@jamesmaherphotography.com
SUMMARY:Sign of the Times & Mark Cohen: Low Ideas
DESCRIPTION:What makes a photograph emblematic of its time? A new exhibition at Howard Greenberg Gallery\, exploring photographs from 1932 to 2012 that are rooted in their particular eras\, will be on view from May 28 through July 31\, 2025. Sign of the Times will present more than 30 works from major photographers including Bob Adelman\, Edward Burtynsky\, William Gedney\, Frank Gohlke\, Henry Gruyaert\, Danny Lyon\, Nathan Lyons\, Vivian Maier\, Mary Ellen Mark\, Steve Schapiro\, Ed Van Der Elsken\, and Weegee.  \nSign of the Times serves as a poignant visual chronicle\, freezing specific moments within the flow of history. Initially snapshots of their eras\, these images have gradually accrued layers of significance\, their meanings deepening and evolving with the passage of time. Collectively\, the photographs on view coalesce into powerful and iconic reflections on the enduring struggles and triumphs of civil rights\, the burgeoning waves of feminism\, the stark realities of poverty\, climate change\, and other pivotal social and cultural forces that have shaped our world. \nSome images whisper the story of their time through subtle yet telling details – the sleek lines of a particular automobile\, the distinctive character of a typeface on a storefront\, or the unmistakable silhouette of a hairstyle. These visual cues act as quiet markers\, anchoring the photographs firmly within their historical context. Other images\, however\, deliver their messages with a far more direct and assertive voice. Consider\, for instance\, Vivian Maier’s 1971 photograph of a newsstand where an issue of LIFE boldly proclaims on its cover: “Saucy Feminist that Even Men Like” – a statement that encapsulates the shifting social dynamics and evolving perceptions of women during that era. \nIntriguingly\, many of the messages embedded within these historical frames continue to resonate with profound relevance in our present day. In a stark 1963 photograph by Bob Adelman\, the word “Equality” is etched onto the frosted window of a Freedom Riders bus. Similarly\, a 1966-67 shot by William Gedney captures a couple seated on the trunk of a car in a seemingly ordinary parking lot\, yet their silent protest is amplified by a hand-held sign emblazoned with the stark truth: “Under Paid.” Anxieties and uncertainties echo in Steve Schapiro’s 1966 photograph\, where a woman reclines\, engrossed in a newspaper whose screaming headline declares with chilling foreboding\, “The Worst is Yet to Come.”  \nAs curator David Campany has written\, “A photograph can be a document and an imagining\, a record and a possibility\, all at the same time.” Sign of the Times is curated by the gallery staff with each member making a specific selection of three works.  \nhttps://www.howardgreenberg.com/exhibitions
URL:https://jamesmaherphotography.com/event/sign-of-the-times-mark-cohen-low-ideas/
LOCATION:Howard Greenberg\, 41 East 57th Street\, Suite 801\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/06/PF114821.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250529
DTEND;VALUE=DATE:20250712
DTSTAMP:20250717T022201Z
CREATED:20250613T205635Z
LAST-MODIFIED:20250717T022201Z
UID:10000051-1748476800-1752278399@jamesmaherphotography.com
SUMMARY:Maria Antelman: Conjurer
DESCRIPTION:Yancey Richardson is proud to present Conjurer\, an exhibition by Greek artist Maria Antelman\, her first with the gallery. Bringing together work made over the past five years\, the exhibition highlights Antelman’s unique approach to photography in which her lyrical and experimental approach to imagery and montage is combined with a sculptural sensibility and attention to the photograph as an object in three dimensions. Through her merging and splicing together of images—those from the body and from nature—Antelman endeavors to re-mystify our understanding of the natural world. On Saturday\, May 31\, the gallery will host a conversation between Antelman\, Jenny Calivas and independent curator Katerina Stathopoulou. \nOver the past twenty-five years Antelman has worked across and at the intersection of several mediums\, including sculpture\, video and photography\, to explore not only the rapid development of technology and the near total entanglement of it with our personal lives\, but also how these same technologies reshape our experience of the world. Rather than see it as merely being a tool or appendage\, Antelman understands technology as having the capacity to create a new reality around us which\, when considered alongside the ever-increasing capacity of science to explain how nature functions\, disrupts our ability to connect with and relate to the natural world in more spiritual\, even magical\, ways.  \nConjurer features Antelman’s photographic works that show the intertwining of humankind and nature\, though in ways that defy logical or rational explanation. Working predominantly with 35mm film\, her works are often composites of multiple images\, with fragments of the body—a limb\, a nose\, a pair of eyes or set of hands—set alongside or even interrupted by an image of a natural form\, such as a tree trunk or a stone. Antelman constructs her works to communicate metaphoric meaning\, first through the image and then the object as a whole. More than simply providing a container for the images\, she treats the frame as a form in its own right and explores its relationship to the space of the image. Instead of functioning as a passive or neutral component\, she instead uses the frame to dynamically shape what the images show. In some cases\, the frame even provides a graphic quality as well\, as their rounded and curved shapes evoke the organic forms found in nature. \n\n\nThinking of these juxtapositions as a kind of montage\, Antelman is able to create novel and unexpected combinations\, with some that reflect upon how we instrumentalize nature\, while others show how we can still be reunited with it. Just as often\, she merges these different worlds together into a single visual field\, resulting in images that recall the bizarre\, subconscious spaces of Surrealism or the photomontages of early modern photography. Though they remain beguiling for their novelty and invention\, these works also consistently reveal moments of contemplative and serene beauty\, moments which are philosophical in their construction yet poetic in tone. \nAntelman both deconstructs the body and then reassembles it\, not just as a way of imagining a deeper connection with nature\, but also as a way of expressing how malleable the very idea of it has become. In place of a techno-utopianism\, in which the steady advance of technology is uniformly celebrated\, Antelman expresses an atavistic position instead\, one which delights in the complexity of nature rather than seeking to explain or instrumentalize it. Her work reminds us that what is mysterious in the world often connects us to what is mystical in it as well. \nBorn 1971 in Athens\, Greece\, Maria Antelman received her MFA in New Genres from Columbia University and a BA in Art History from the Complutense University\, Madrid. Her work has exhibited internationally\, including at the Bemis Center of Contemporary Art\, Omaha\, NE; Pioneer Works\, New York; Macedonian Museum of Contemporary Art\, Thessaloniki; Visual Arts Center at the University of Texas\, Austin; Botanical Garden I&A Diomidos\, Athens; National Museum of Contemporary Art\, Athens; Onassis Cultural Centre\, Athens; Benaki Museum\, Athens; Centro Nacional de Arte Contemporaneo\, Cerillos\, Chile and Yerba Buena Center for the Arts\, San Francisco. Antelman’s work was included in Companion Pieces: New Photography 2020 at the Museum of Modern Art\, New York. She has been the recipient of grants from the Onassis Foundation USA\, as well as the National Museum of Contemporary Art and the J.F. Costopoulos Foundation\, Athens. Antelman has taken part in artist residences including Silver Art Projects\, Pioneer Works and the International Studio & Curatorial Program in New York. Antelman currently lives and works in Athens. \nhttps://www.yanceyrichardson.com/exhibitions/maria-antelman
URL:https://jamesmaherphotography.com/event/maria-antelman-conjurer/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/06/58ba7bfb65fcf4915b5d5615f43dd092.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250527
DTEND;VALUE=DATE:20250803
DTSTAMP:20250717T004144Z
CREATED:20250717T003851Z
LAST-MODIFIED:20250717T004144Z
UID:10000055-1748304000-1754179199@jamesmaherphotography.com
SUMMARY:Susan Meiselas: 44 Irving Street\, 1970-1971
DESCRIPTION:Higher Pictures presents Susan Meiselas’ earliest series of photographs\, 44 Irving Street 1970 – 1971\, following its exhibition at Harvard Art Museums. This is the artist’s fourth solo exhibition with the gallery. \nIn 1970\, while still a student at the Harvard Graduate School of Education\, Susan Meiselas was living in a boarding house at 44 Irving Street in Cambridge\, Massachusetts. Boarding houses\, like the one at 44 Irving Street\, often began as large\, single-family homes in cities or college towns. As average family sizes decreased and the socioeconomic makeup of neighborhoods changed\, these homes were then divided up into smaller units while maintaining a shared kitchen\, bathrooms\, and common areas. As a result\, each of the rooms at 44 Irving Street retained some of the home’s original single-family character. \nAt Harvard\, Meiselas enrolled in a photography course and chose to photograph her neighbors for a class project. Though she didn’t know any of them\, she began knocking on their doors and asking to take portraits of them in their rooms. “The camera was this way to connect\,” Meiselas remembers. Once she had developed the film\, she would make contact sheets to share with her neighbors\, initiating a dialogue about how they saw themselves. Their written responses\, which Meiselas presented alongside the photographs\, provide insights into their lives and how they felt the pictures did or did not capture them. By incorporating their perspectives into the work itself\, Meiselas draws out a crucial tension between socially engaged photography as a historical genre and the subjects it purports to depict. The photographs and letters on view in this exhibition are the fruits of those exchanges. \nThough boarding houses are often transitory living spaces\, Meiselas was drawn to the individuality and self-expression she discovered in each room. This comes across in the images themselves\, which show her subjects at home and in situ\, surrounded by their personal effects. In return\, the letters they wrote are sometimes strikingly honest and revelatory\, a written punctum—Roland Barthes’ term for something that pierces the viewer—as a counterpoint to the photographs. This series helped Meiselas develop her conception of “photography as an exchange in the world.” “It wasn’t about the formalism of photography\,” she says\, “It was about the narrative and the connectivity.” \nThe exhibition is accompanied by the first monograph of 44 Irving Street\, 1970-1971 by Susan Meiselas published in partnership with TBW Books + Higher Pictures. The dates for the opening and book signing are to be announced during the run of the show. Stay tuned! \nSusan Meiselas (b. 1948) received her BA from Sarah Lawrence College and her MA in visual education from Harvard University. She was a 1992 MacArthur Fellow and is the recipient of a Guggenheim Fellowship (2015) and the Deutsche Börse Photography Foundation Prize (2019)\, among other awards. Mediations\, a retrospective exhibition of Meiselas’ work\, was initiated by the Jeu de Paume\, Paris\, in 2018 and traveled to eight venues including SFMOMA\, San Francisco (2018); Instituto Moreira Salles\, São Paulo (2020)\, Kunst Haus Wien\, Vienna (2021); and C/O Berlin (2022). She has been a member of the photographic collective Magnum Photos since 1976 and has been the president of the Magnum Foundation since 2007. She lives and works in New York City. \nhttps://higherpictures.com/exhibitions/susan-meiselas-irving-street/
URL:https://jamesmaherphotography.com/event/susan-meiselas-44-irving-street-1970-1971/
LOCATION:Higher Pictures\, 45 Main Street #723\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/07/SM_IrvingStreet-23.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250517
DTEND;VALUE=DATE:20250602
DTSTAMP:20250509T210211Z
CREATED:20250509T210211Z
LAST-MODIFIED:20250509T210211Z
UID:10000040-1747440000-1748822399@jamesmaherphotography.com
SUMMARY:2025 ICP Recent Graduates Exhibition
DESCRIPTION:On view will be images from graduates of four of ICP’s education programs: the full-time\, onsite One-Year Certificate Programs in both Creative Practices and Documentary Practice and Visual Journalism\, the 2024 One-Year Certificate class from the Documentary Practice: Visual Storytelling Online program\, and Teen Academy Imagemakers program.   \nThis exhibition is curated by Sara Ickow\, ICP’s Associate Director\, Exhibitions.  \nPlease note: ICP is closed to the public Sunday\, May 18\, for ICP Commencement.  \nArtists\nOne-Year Certificate Programs \nAndrés Altamirano\nKenna Beban\nFederica Bianchi di Casalanza\nStephen Cummings\nCailin Curtis\nMila De La Torre\nAlexis Gines\nArisa Haboshi\nCarolina Herrera\nWalaa Ibrahim\nMaximilian Ihlenburg\nDaniel Eugene Kaminski\nSofia Kayumova\nSonam Choekyi Lama\nIgor Martiniouk\nDaniela Name\nGloria Ning\nPuja Parakh\nJose Miguel Pareja P.\nSantiago Pinzon\nTamar Shemesh\nUliana Storoshchuk\nJulia Toro\nZhi-Da Zhong\nLaura Alvear Roa\nRebecca Cai\nSavannah Carroll\nPoyenchen\nGianni Civile\nRicky Day\nViktor Feliciano (Vi!K)\nMaria Gawryluk \nAsherde Amoy Gill\nSemin Jang\nDavid Kaminsky\nJenny Yiyun Kuo\nNabil Hamliri\nTyler Andrew “6” Nelson\nKatherine Pekala\nKyle Puglisi\nHector Ruiz Cardenas\nMariana Valente\nKentaro Yasu\nAbdul-Haqq Mahama\nDedipya Basak\nRicky Quinones\nJenison Tang\nTatjana von Stebut\nPhoenix Robles \n  \nTeen Academy Imagemakers\nEasub Y.\nParker Thomas-Hamlin\nMaggie Birdsell\nSebastian Reents\nMaria Cury\nOliver Levinson\nMatthew Hantgan\nHazel Perez\nPatricia Martinez\nRónán Selby-Curran\nMerlina Flores\nJasmine Hernandez\nK. Sage Gonzalez\nRuby Patterson\nHeaven Murphy  \nhttps://www.icp.org/exhibitions/look-2025-icp-recent-graduates-exhibition
URL:https://jamesmaherphotography.com/event/2025-icp-recent-graduates-exhibition/
LOCATION:NY
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/icp-students.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250515
DTEND;VALUE=DATE:20250803
DTSTAMP:20250509T201851Z
CREATED:20250509T201851Z
LAST-MODIFIED:20250509T201851Z
UID:10000036-1747267200-1754179199@jamesmaherphotography.com
SUMMARY:Elliott Erwitt: Last Laughs
DESCRIPTION:Elliott Erwitt was that rare thing – an original. His elegantly composed photographs\, always recognizable\, are known for their wit\, irony\, and humanity. With charm and lack of pretense\, Erwitt captured people both young and old and had a special affinity for animals. Although he avoided intellectualizing his pictures\, Erwitt’s razor-sharp observations reveal his empathy and an innate understanding of the surrealism and humor of daily life. \nAn unconventional childhood contributed to Erwitt’s unusual perspective on life. Born in Paris in 1928 to Russian-Jewish parents\, the family moved to Italy and immigrated to the US with the rise of fascism in 1939. Finding himself on his own in Los Angeles as a teenager\, Erwitt acquired a camera and took up photography. He soon found success as a commercial photographer\, but always carried two cameras: one for the job and one for personal observations. In 1953\, he joined Magnum: the renowned photography collective where\, in the late 1960s\, he served as president for three years. \nOver the years\, Erwitt has been the subject of multiple solo museum exhibitions at the Museum of Modern Art\, New York; the Art Institute of Chicago; and the Barbican Centre\, London\, among others. Organized by Staley-Wise Gallery in collaboration with the Erwitt family\, this presentation coincides with the publication of Last Laughs (teNeues): a new book of photographs chosen by Erwitt before his death in 2023. The exhibition celebrates Elliott Erwitt’s incredible legacy and reveals his humor\, humanity\, and genius in every picture. \nhttps://www.staleywise.com/exhibitions/elliott-erwitt/press-release
URL:https://jamesmaherphotography.com/event/elliott-erwitt-last-laughs/
LOCATION:Staley Wise\, 100 Crosby Street\, Suite 305\, New York\, NY\, 10012\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/elliott-erwitt_new-york-city-1974-dog-legs.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250514
DTEND;VALUE=DATE:20250525
DTSTAMP:20250516T174200Z
CREATED:20250516T174200Z
LAST-MODIFIED:20250516T174200Z
UID:10000048-1747180800-1748131199@jamesmaherphotography.com
SUMMARY:Bárbara Sánchez-Kane y Sofía Alazraki: Fortuna y Fetiche
DESCRIPTION:Bárbara Sánchez-Kane in the past five years has established herself as an important\, original voice in contemporary art. She represented Mexico with the video and sculptural installation Prêt-À-Patria at the 60th Venice Biennale (2024) and is represented by influential gallery Kurimanzutto in Mexico City and New York. Her work resists the traditional notions of Mexicanidad and its relationship with the feminine and masculine. Whether through fashion\, performance\, painting or installation\, all of her work presents the anxieties and fears of daily life to question pleasure and domination within a hegemonic masculine society. \nSofía Alazraki is a photographer and set designer working across art\, fashion\, and film. Formed as an art historian\, her practice focuses on still life photography and installation\, where she builds carefully choreographed assemblages with objects and unconscious mechanisms as active characters. Her work investigates how desire is projected onto objects and shaped within systems of consumption and representation\, unfolding as a multiplicity of symbolic and affective layers. \nThe collaboration between Bárbara Sánchez-Kane (Mérida\, Yucatán\, 1987) and Sofía Alazraki (Buenos Aires\, Argentina\, 1991) began as an exchange of letters between two friends. Love letters in odd formats. Like throwing a dart from one end of the world to the other. \nAt first glance\, these photos give the impression of an exquisite corpse\, sculptures made with parts that are added without a rational order (their logic is unconscious\, rather). Sometimes they look like little Frankensteins made of borrowed parts to animate a strange animal; at other times they have the comic qualities of collage\, of the sudden laughter provoked by the juxtaposition of two things that contradict each other. They are also erotic cyborgs\, representing the fetishes of their authors. Made up of second-hand objects\, they also raise the question of their past and the future that awaits them. They are sculptures made by two artists who love to manipulate religious\, lesbian\, and fashion symbols. \nJust as the objects have changed hands and had many lives\, the photographs are a testimony to the relationship between Sánchez-Kane and Alazraki\, which has also gone through many stages; they are a labor of love that keeps changing shapes\, an exercise in abandoning the ego to create a single and shared universe\, with no clear authorship\, but which cannot exist without the other. \nText by Guillermo Osorno \nThis show\, comprised of 11 (16 x 20 inch) pigment prints by the two artists and one sculpture by Bárbara Sánchez-Kane\, was made in collaboration with Speciwomen\, the non-profit arts organization committed to womxn and LGBTQIA+ artists.  \nThere will be a book published by Dashwood Books in May 2025 designed by Studio Lin in New York that accompanies the exhibition. \nhttps://dashwoodprojects.com/b%C3%A1rbara-s%C3%A1nchez-kane-y-sof%C3%ADa-alazraki
URL:https://jamesmaherphotography.com/event/barbara-sanchez-kane-y-sofia-alazraki-fortuna-y-fetiche/
LOCATION:Dashwood Projects\, 63 East 4th Street\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/2.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250501
DTEND;VALUE=DATE:20250608
DTSTAMP:20250509T195109Z
CREATED:20250509T195109Z
LAST-MODIFIED:20250509T195109Z
UID:10000035-1746057600-1749340799@jamesmaherphotography.com
SUMMARY:Miguel Calderón: Neurotics Anonymous
DESCRIPTION:kurimanzutto presents a selection of sculptures\, drawings\, photographs\, and a film in Neurotics Anonymous\, Miguel Calderón’s first solo exhibition at kurimanzutto New York. Drawing on the visual language of the twelve-step program “Neurotics Anonymous\,” founded in 1964\, Calderón explores themes of desperation\, anxiety\, and vulnerability. Known for work that incisively and humorously examines human behavior\, emotional turbulence\, and the social rituals that shape our lives\, Calderón brings together a wide-ranging body of work that underscores the breadth of his practice.The exhibition continues his ongoing investigation into the porous boundaries between personal experience and fiction. \nA key piece in the show is a marble sculpture in which Calderón reinterprets the visual identity of the “Neurotics Anonymous” program—its flyers\, brochures\, posters\, and graphic motifs—transforming chaotic depictions of inner turmoil into a form that echoes classical allegories of ideals such as Justice\, Wisdom\, Victory\, and Peace. The work also carries personal resonance\, as the artist’s mother was involved in a similar support group\, grounding the project in intimate experience. \nAnother major work in the exhibition is the ongoing film Cocteleitors\, presented here as a fragment of a larger project. In it\, Calderón explores the subculture of los cocteleros (“cocktail hunters”)—a group of characters who crash art openings in Mexico City using fake press passes. For them\, these events and their complimentary cocktails have become a means of survival. The cocteleros form a tight-knit group\, bonded by shared experience. Their gatherings offer a space where they are neither judged nor excluded\, providing a sense of belonging in contrast to their broader social marginalization. While their lifestyle may appear superficial\, it is often rooted in deeper ideological and political positions. By following them through their relentless pursuit of free food and drinks\, Calderón constructs a surreal yet biting exploration of access\, performance\, and the blurred lines that define the contemporary art world. Beyond the film\, the exhibition also includes a portrait of one coctelero and a sculptural series that expands this critique\, satirizing the coded behaviors and unspoken rules of social life.  \nSocial Climber is a standout sculptural work consisting of five large metal panels that resemble climbing walls. Embedded with faux stones designed to mimic primitive anthropological carvings\, the panels address the desire for social ascent and the performative nature of success. From a distance\, the structures read as abstract compositions; up close\, they reveal faces with distinct phenotypes\, subtly evoking systems of hierarchy and classification. \nAlso included in the exhibition is Revisited Ex-Voto\, a deeply personal work drawn from Calderón’s family history. In 1974\, his father\, a professional race car driver\, survived a severe crash. As a gesture of gratitude for what he saw as divine intervention\, he created an ex-voto—a traditional votive offering\, often in the form of a plaque—using crash site photographs and typed messages of thanks. Decades later\, Calderón discovered a photograph by tabloid photographer El Buitre (“ The Vulture”)\, who had often documented his father at races. Taken from a cliff above\, the image captured a wreck that transported Calderón back to the moment of near-tragedy. In response\, he recreated the scene from memory in Revisited Ex-Voto\, a large-scale photograph that blurs the line between fact and fiction\, raising questions about spectacle\, memory\, and the compulsion to document catastrophe.  \nAnother key series\, Studies for Monumental Sculptures\, features works made from bent speedometer needles that function as speculative models for imagined public monuments. Presented as archaeological artifacts\, these pieces evoke both the mythology of speed and Calderón’s personal connection to car racing through his father. \nThe exhibition also includes a collection of 19 ink drawings developed over time as a form of introspective release. Combining automatic drawing with focused observation\, these works map a symbolic universe drawn from Calderón’s subconscious. A bizarre real-life event—a snakebite to the artist’s forehead while he was asleep in his home— recurs throughout the imagery\, serving as both a literal memory and a metaphor for transformation. \nAdditionally\, the exhibition features several photographic series\, including one exploring a chromatic range within shades of black\, and another from 2005 titled SOS\, in which the artist attempted to place a phone call from every emergency phone booth along a Colombian highway after becoming stranded when his car broke down.  \nWith Neurotics Anonymous\, Calderón offers a sharp\, ironic\, and deeply personal meditation on identity and the structures that shape our emotional lives. Blending intimacy with satire\, and documentary with invention\, the exhibition invites viewers to reflect on the strange rituals we create to endure\, connect\, and survive. \nhttps://www.kurimanzutto.com/exhibitions/miguel-calderon-neurotics-anonymous
URL:https://jamesmaherphotography.com/event/miguel-calderon-neurotics-anonymous/
LOCATION:Kurimanzutto\, 516 w 20th street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/MCal1015_03.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250428
DTEND;VALUE=DATE:20250524
DTSTAMP:20250428T223243Z
CREATED:20250428T223243Z
LAST-MODIFIED:20250428T223243Z
UID:10000033-1745798400-1748044799@jamesmaherphotography.com
SUMMARY:Zanele Muholi: Sawubona
DESCRIPTION:Yancey Richardson is proud to present Sawubona\, an exhibition bringing together work from five different series made between 2002–2013 by South African artist and visual activist Zanele Muholi. Their fifth exhibition with the gallery\, Sawubona reveals both the historical depth and visual complexity of Muholi’s overarching project of empowering the Black LGBTQIA+ community in South Africa through a collaborative process of representation. Sawubona will also be the first gallery exhibition outside of Africa to feature their early work. The exhibition will be on view from April 17 through May 23\, 2025. An opening reception will be held on Thursday\, April 17 from 6–8PM. \nFor more than twenty years Muholi has studied the multifarious and ever-evolving nature of Black\, queer life in South Africa\, specifically through a group of projects centered around forms of portraiture both intimate and disarming\, personally descriptive and socially incisive. Though widely-known and celebrated for their ongoing series of self-portraiture titled Somnyama Ngonyama (“Hail\, the Dark Lioness”)\, which they began in 2012\, Muholi had by that point either completed or begun several other bodies of work that addressed the discrete circumstances and challenges—including for basic civil rights and for visibility and recognition free from stereotypes—being faced by different members of the queer community in South Africa. These early projects\, including Only Half the Picture (2002–2006)\, Being (2006)\, Beulahs (2006)\, Faces and Phases (2006–ongoing) and Miss Lesbian (2009)\, each seek to empower Muholi’s participants and by extension the queer community at large\, with images defined by affirmation\, dignity and joy rather than struggle\, tragedy or trauma.  \nMuholi’s first project\, Only Half the Picture\, grew out of their work with the Forum for the Empowerment of Women\, which works with survivors of hate crimes living across South Africa and its townships and which Muholi co-founded in 2002. Rather than emphasize the visceral details that would attest to the suffering endured by each participant (a term Muholi uses in place of “subject”)\, these photographs instead show fragments of bodies at rest or in repose and faces that are contemplative rather than vindictive. Muholi often isolates body parts and garments as well\, creating pictures that complicate whatever normative assumptions about gender and identity we may hold. \nThe challenge to stereotypical and queerphobic representations was further developed by Muholi with their series’ Being and Beulahs. For the former\, Muholi made portraits of queer couples in settings and circumstances at times intimate and domestic\, in others casual and public. Each photograph demonstrates the bond of love between two people regardless of personal difference or public challenge. If the Being photographs were largely situated in private spaces\, those Muholi made for the series Beulahs were just as often situated outdoors and in public spaces. In South Africa the term “beulah” refers to a gay man that the queer community deems beautiful. The “beulahs” that Muholi photographed demonstrate how malleable masculinity can be—their self-presentation is their own as opposed to being socially prescribed. \n\n\nIn their Miss Lesbian series Muholi used the conventions of pageantry as the aesthetic and conceptual framework to critique social definitions of beauty and success. These self-portraits take the staging and presentation used by beauty pageants as a pretext for exploring how they have historically expressed gender as a social construct and how that has defined what “success” or “acceptance” so often looks like. \nMuholi’s project Faces and Phases is a vast collective portrait that both commemorates and archives the lives of Black LGBTQIA+ people in South Africa. Many of these portraits are the result of long and sustained relationships and collaboration\, as Muholi often returns to photograph the same person over time. In the title\, “Faces” refers to the person being photographed\, while “Phases” can signify the transition from one stage of sexuality or gender expression to another\, while also marking the changes to the participants’ daily lives. As with so much of their work\, Faces and Phases acts as a living archive that visualizes Muholi’s belief that “we express our gendered\, racialized and classed selves in rich and diverse ways.” \nZanele Muholi was born in Umlazi\, South Africa and currently lives and works in Cape Town\, South Africa. They studied Advanced Photography at the Market Photo Workshop in Newtown\, Johannesburg and in 2009 completed an MFA: Documentary Media at Ryerson University\, Toronto. Their work has been exhibited at the 2020 Biennale of Sydney; the 58th International Venice Biennale; Documenta 13; the South African Pavilion at the 55th Venice Biennale and the 29th São Paulo Biennale. They are currently the subject of a mid-career survey at the Instituto Moreira Salles\, Sao Paolo. In 2024 they were the subject of a retrospective exhibition at the San Francisco Museum of Modern Art and in 2020\, the Tate Modern mounted a major mid-career survey which traveled to Martin Gropius Bau\, Berlin; Maison Européenne de la Photographie\, Paris and Bildmuseet\, Sweden.  \nOther notable solo exhibitions have taken place at the Tate Modern\, London; Sprengel Museum\, Hannover; Stedelijk Museum\, Amsterdam; Kulturhistorek Museum\, Oslo; Schwules Museum\, Berlin and Brooklyn Museum\, New York. They received an Infinity Award from the International Center of Photography in 2016\, a Chevalier de l’Ordre des Arts et des Lettres in 2016\, an Honorary Fellowship of the Royal Photographic Society in 2018\, and the Spectrum International Prize for Photography in 2021. Their work is included in the collections of the Boston Museum of Fine Arts; the Brooklyn Museum; the High Museum of Art; the Carnegie Museum of Art; the Guggenheim Museum; the Museum of Modern Art\, New York; the San Francisco Museum of Modern Art; the Tate Modern\, London; the Victoria and Albert Museum\, London; Centre Pompidou\, Paris; the Art Institute of Chicago and the Museum of Fine Arts\, Houston\, among many others. \nhttps://www.yanceyrichardson.com/exhibitions/zanele-muholi5
URL:https://jamesmaherphotography.com/event/zanele-muholi-sawubona/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/zanele-muholi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250423
DTEND;VALUE=DATE:20250428
DTSTAMP:20250316T233658Z
CREATED:20250316T233658Z
LAST-MODIFIED:20250316T233658Z
UID:10000003-1745366400-1745798399@jamesmaherphotography.com
SUMMARY:The AIPAD Photography Show
DESCRIPTION:“The Photography Show presented by AIPAD\, the longest-running fair dedicated\nto photography in the world\, will take place April 23-27\, 2025 at the Park Avenue\nArmory\, with exhibitors from around the globe unveiling an exciting and diverse mix\nof work that reflects a fluid and dynamic understanding of the photographic\nmedium. \nThe Photography Show showcases exceptional presentations by esteemed\nmembers of the Association of International Photography Art Dealers (AIPAD)\, along\nwith guest exhibitors and galleries new to the fair. The upcoming iteration of the fair \nrepresents its continued evolution since returning to the Park Avenue Armory in\n2024\, with an emphasis on emerging artists\, young galleries and new curatorial\napproaches being placed in dialogue with canonical photographers and legacy\nphotography institutions. \nAIPAD welcomes new members Galeria Alta\, Galerie Julian Sander\, LARGE GLASS\nand Ungallery\, coming to New York in April from Andorra; Cologne\, Germany;\nLondon\, UK and Buenos Aires\, Argentina. Exhibiting at The Photography Show for\nthe first time\, their presentations will push the boundaries of photography and\nprovide new perspectives alongside the many established\, long-time exhibitors.\nComplementing these presentations and in tandem with an added day for this\nyear’s fair\, The Photography Show will feature an expanded and robust slate of\nprogramming. Four days of AIPAD Talks\, hosted by thought leaders in the arts and\nculture space\, will be accompanied by insightful walkthroughs and educational\nevents. The celebration of the prestigious AIPAD Award\, presented annually to a\npioneer in the community\, recognizing them for changing the ways we perceive\nphotography\, will take place during the new Opening Night Party on Wednesday\,\nApril 23. The fair will utilize a new layout and floor plan that will see publishers brought into the main exhibition space\, the Wade Thompson Drill Hall\, highlighting the importance of book publishing within the landscape of contemporary\nphotography. \nDISCOVERY SECTOR \nAIPAD will debut its reenvisioned Discovery Sector for the 2025 edition of The\nPhotography Show. Reflecting its renewed commitment to platforming new and\nemerging galleries\, these booths will showcase single-artist or theme presentations\nalongside focused historical exhibitions. The Discovery Sector will provide viewers\nwith opportunities to not only encounter new examples of photography and\ncuration\, but to re-discover the work of some of the medium’s most iconic\npractitioners as well. \nEXHIBITORS \n\n19th Century Rare Book & Photograph Shop | New York\, NY\nAndrew Smith Gallery | Tucson\, AZ\nBildhalle | Zurich\, Switzerland | Amsterdam\, The Netherlands\nBruce Silverstein | New York\, NY\nCandela Gallery | Richmond\, VA\nCatherine Couturier Gallery | Houston\, TX\nCavalier Galleries | New York\, NY | Greenwich\, CT | Nantucket\, MA | Palm Beach\, FL\nCharles Isaacs Photographs | New York\, NY\nCLAMP | New York\, NY\nContemporary/Vintage Works | Chalfont\, PA\nDaniel / Oliver Gallery | Brooklyn\, NY\nDanziger Gallery | New York\, NY\nDeborah Bell Photographs | New York\, NY\nEcho Fine Arts | Cannes\, France\nForm. Gallery | Dinard\, France\nGaleria Alta | Andorra\nGalerie Johannes Faber | Vienna\, Austria\nGalerie Julian Sander | Cologne\, Germany\nGALERIE XII | Los Angeles\, CA | Paris\, France\nGalerija Fotografija Gallery | Ljubljana\, Slovenia\nGilman Contemporary | Ketchum\, ID\nGitterman Gallery | New York\, NY\nHackelBury | London\, UK\nHans P. Kraus Jr. Inc. | New York\, NY\nHigher Pictures | Brooklyn\, NY\nHolden Luntz | Palm Beach\, FL\nHoward Greenberg Gallery | New York\, NY\nIlaria Quadrani Fine Art | New York\, NY\nJackson Fine Art | Atlanta\, GA\njdc Fine Art | San Diego\, CA\nJoseph Bellows Gallery | La Jolla\, CA\nKeith de Lellis Gallery | New York\, NY\nKoslov Larsen | Houston\, TX\nLa Galerie de L’Instant | Paris\, France\nLARGE GLASS | London\, UK\nMarshall Gallery | Los Angeles\, CA\nMichael Hoppen | London\, UK\nMIYAKO YOSHINAGA | New York\, NY\nMonroe Gallery of Photography | Santa Fe\, NM\nNailya Alexander Gallery | New York\, NY\nObscura Gallery | Santa Fe\, NM\nOlivier Waltman Gallery | Miami\, FL | Paris\, France\nPatricia Conde Galería | Mexico City\, Mexico\nPaul M. Hertzmann\, Inc. | San Francisco\, CA\nPeter Fetterman Gallery | Santa Monica\, CA\nPhoto Discovery | Paris\, France\nPOLKA Galerie | Paris\, France\nRichard Moore Photographs | Oakland\, CA\nRick Wester Fine Art | New York\, NY\nRobert Klein Gallery | Boston\, MA\nRobert Mann Gallery | New York\, NY\nRose Gallery | Santa Monica\, CA\nSasha Wolf Projects | New York\, NY\nScheinbaum & Russek Ltd. | Santa Fe\, NM\nScott Nichols Gallery | Sonoma\, CA\nStaley-Wise Gallery | New York\, NY\nStephen Bulger Gallery | Toronto\, ON\nStephen Daiter Gallery | Chicago\, IL\nThrockmorton Fine Art | New York\, NY\nToluca Fine Art | Paris\, France\nUngallery | Buenos Aires\, Argentina\nVasari | Buenos Aires\, Argentina\nWeston Gallery\, Inc. | Carmel\, CA\nYancey Richardson | New York\, NY\n\nPHOTOBOOK + PARTNERS \n\n10×10 Photobooks | New York\, NY\nAmerican Photography Archives Group | New York\, NY\nAperture | New York\, NY\nAtelier EXB | Paris\, France\nConvoke | New York\, NY\nDatz Press | Seoul\, South Korea\nGOST Books | London\, UK\nGravy Studio | Philadelphia\, PA\nKGP MONOLITH | New York\, NY\nL’Artiere | Bologna\, Italy\nLe Plac’Art Photo | Paris\, France\nLight Work | Syracuse\, NY\nMW Editions | New York\, NY\nNearest Truth Editions | Slovakia\nSaint Lucy Books | Baltimore\, MD\nSetanta Books | London\, UK\nThames & Hudson | London\, UK | New York\, NY\nTIS Books | New York\, NY\nWorkshop Arts | Brooklyn\, NY\n\nAbout AIPAD\nOrganized in 1979\, AIPAD\, with its global membership across six continents\, is the\ncollective expert voice for fine art photography dealers. Through its acclaimed\neducation initiative\, AIPAD Talks and its flagship event\, The Photography Show\, the\norganization enhances the confidence of the public\, museums\, institutions and\nothers in responsible fine art photography collecting. \nPresented by AIPAD\, The Photography Show is the longest-running exhibition\ndedicated to the photographic medium in the world. The 2024 edition marked the\nexciting return of the fair to the iconic Park Avenue Armory on the Upper East Side\nof Manhattan.” \nhttps://www.aipad.com/show
URL:https://jamesmaherphotography.com/event/the-aipad-photography-show/
LOCATION:Park Avenue Armory\, 643 Park Ave\, New York\, NY\, 10065\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-2.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250422
DTEND;VALUE=DATE:20250614
DTSTAMP:20250428T215748Z
CREATED:20250428T215748Z
LAST-MODIFIED:20250428T215748Z
UID:10000031-1745280000-1749859199@jamesmaherphotography.com
SUMMARY:Being There: Lee Shulman & Omar Victor Diop
DESCRIPTION:Being There is a bold and timely reimagining of 20th-century visual history. Conceived through a vibrant collaboration between British-French artist and filmmaker Lee Shulman—founder of The Anonymous Project\, an expansive archive of mid-century amateur color photography—and Senegalese artist Omar Victor Diop\, the series places Diop within original vernacular photographs\, creating imagined yet believable scenes that invite viewers to reconsider who is seen\, remembered\, and included. \nThis US debut is a symbolic homecoming. Many of the original slides were taken in the United States\, capturing family rituals\, leisure moments\, and the texture of daily life from the 1950s through the 1980s. Photography has long played a powerful role in both shaping and reflecting the American dream\, especially through images made by everyday people\, capturing joy\, connection\, and aspiration. Shulman’s placing of Diop inside these nostalgic moments expands their meaning with curiosity and grace. Diop doesn’t disrupt these images—he inhabits them\, reclaiming space with poise\, humor\, and imagination. \nRather than critique from a distance\, Being There joins the archive in a spirit of play and purpose\, offering a warm and generous invitation to reshape history. Blending performance\, photography\, and archival excavation\, the project reshapes the American story quietly but powerfully\, underscoring how visibility—especially within the imagery of the everyday—is not just symbolic\, but essential to belonging. It speaks to the complexity of the nation’s cultural imagination\, honoring its history while questioning who that history has served and who it has left out. \nThe accompanying film\, premiering at Edwynn Houk Gallery\, brings these still moments into motion\, transforming the archive into a living montage that deepens the series’ invitation to look again\, and look closer. \nhttps://www.houkgallery.com/viewing-room/21-the-anonymous-project-presents-being-there/ \n\n\n\n\n 
URL:https://jamesmaherphotography.com/event/being-there-lee-shulman-omar-victor-diop/
LOCATION:Edwynn Houk\, 693 Fifth Avenue\, 6th Floor\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/edwynnhoukgallery-lee-shulman-omar-victor-diop-being-there.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250422
DTEND;VALUE=DATE:20250510
DTSTAMP:20250428T210119Z
CREATED:20250428T210119Z
LAST-MODIFIED:20250428T210119Z
UID:10000029-1745280000-1746835199@jamesmaherphotography.com
SUMMARY:Selections from the Polaroid Collection
DESCRIPTION:Selections from the Polaroid Collection presents works from the institutional collection of the camera maker that revolutionized instant photography. Offered in advance of Photographs from the Polaroid Collection on May 29th\, the exhibition showcases the company’s outsized impact and influence on art and visual culture\, with highlights that include David Hockney’s large-format Polacolor Interior\, Pembroke Studios\, London\, a 1990 Polaroid portrait of Jeff Koons by Timothy Greenfield-Sanders\, and further Polaroid-based works from Sarah Moon\, Richard Hamilton\, Dawoud Bey\, William Wegman\, Harold Edgerton\, and many
URL:https://jamesmaherphotography.com/event/selections-from-the-polaroid-collection/
LOCATION:Rago Wright Auctions\, 501 W 20th St\, New York\, NY\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/polaroid.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250417
DTEND;VALUE=DATE:20250601
DTSTAMP:20250430T141228Z
CREATED:20250430T141228Z
LAST-MODIFIED:20250430T141228Z
UID:10000034-1744848000-1748735999@jamesmaherphotography.com
SUMMARY:Malick Sidibé: Regardez-moi
DESCRIPTION:Jack Shainman Gallery is thrilled to announce Regardez-moi\, an exhibition of photographs by the Malian photographer Malick Sidibé. The exhibition\, the title of which translates to “Look at Me”\, marks the gallery’s latest celebration of Sidibé’s unparalleled ability to capture the heartbeat of Bamako\, Mali following the country’s liberation from colonial rule in 1960. \nFeaturing a vibrant selection of photographs — some of which have never before been exhibited — this presentation invites viewers into the bustling parties\, joyous gatherings\, and tender moments that defined the transformative era of a young nation relishing to establish its own national identity. In today’s cultural climate\, where visibility and representation hold immense weight\, Sidibé’s work and legacy remain as significant as ever. \nPresented in conjunction with this exhibition is the publication of Painted Frames\, a monograph by Loose Joints\, and the first exploration of Sidibé’s synergistic painted frame photographs. In these works\, Sidibe collaborated with local Malian artists to blend his iconic photography with the traditional West African art of reverse-glass painting. Regardez-moi presents a selection of these painted frames; reaffirming the sanctity of African photography as a medium of memory and identity. The publication also features an essay by writer\, independent researcher\, and collector-archivist Amy Sall\, in which she makes a case for the continued and ever-expanding importance of Sidibé’s oeuvre: \nMalick Sidibé was witness to\, and preserver of\, a nascent\, burgeoning postcolonial society in which a new modernity was being constructed by way of transcultural osmosis. From his studio to the soirées\, and even to the banks of the Niger River\, Sidibé and his camera were at the center of it all. He was not only chronicling Malian history and culture\, but making pivotal contributions to it…. The night clubs\, living rooms\, and courtyards he photographed were spaces of freedom and community. Sidibé’s oeuvre reflects dialectic expressions of being because he captured his subjects as their imagined and authentic selves. From his widely recognized Nuit de Noël (Christmas Eve\, Happy Club) (1963) to his series Vues de dos\, the framed images carry the same undercurrents of power and rebellion\, tenderness and joy that flow throughout Sidibé’s entire archive. \nRegardez-moi underscores Sidibé’s role as a pioneer who sculpted the visual identity of the African diaspora\, offering a window into a Malian nation that boldly joined a global youth movement. His photographs transcend their historical context\, speaking to contemporary dialogues about identity\, agency\, and the power of being seen. Sidibé’s photographs don’t just freeze time\, they transform these scenes into vibrant stages where his subjects — young couples excited to be married\, or older men or women reclaiming their freedom of expression — assert their presence and identity. In Dansez le Twist (1963-2010)\, Sidibé captures a young man and a woman in a state of joy while dancing the twist\, an American rock ‘n’ roll dance that became a global cultural phenomenon from 1959 to the early 1960s\, which was known for its simple yet lively steps that encouraged freedom of movement and expression. By providing his subjects with ways to be seen and celebrated\, Sidibé’s lens offers a powerful counterpoint to our tech-filtered world\, reminding viewers of the raw\, unscripted joy of human connection. One of Sidibé most celebrated series\, Vues de Dos — with examples from the series held in the collections of numerous museums such as the Getty Museum\, The National Gallery of Art\, as well as the Metropolitan Museum of Art — provides viewers with a deeper understanding of the photographer’s curatorial eye\, depicting women in his studio with their bare backs to the camera against a signature backdrop of striped walls. Sidibé’s photography serves as both a reflector and a loudspeaker\, magnifying the vibrant\, intimate essence of Bamako’s people in the wake of gaining independence from French colonial rule. The works capture a liberated people that resonates with a contemporary urgency now more than ever. \nMalick Sidibé (b. 1935\, Soloba\, Mali; d. 2016\, Bamako\, Mali) was a photographer known for his black and white images chronicling the exuberant lives and culture—often of youth—in his native Bamako\, Mali. Much of Sidibé’s work documented a transitional moment as Mali gained its independence\, transforming from a French colony steeped in tradition to an independent country looking toward the West\, and Sidibé played a pivotal role in sculpting the fresh\, global appearance of the African diaspora. \nThis political expression often took shape through individual and collective presentation\, such as fashion\, music\, and dance – something made palpable by Sidibé’s rhythmic compositions. Often capturing his subjects in the midst of ceremonial action or in joyous moments of nightlife\, Sidibé built the narrative of a specific time and space that empowered a culture to dictate their own stories. There is a distinct sense of chronicle felt in the movement of Sidibé’s subjects\, who boldly occupy both the photograph’s frame and their recently decolonized nation’s public and leisure spaces. Beyond his candid shots\, Sidibé ran a formal portrait studio with a deliberately dramatic décor as a backdrop. In order to capture his sitters’ characters and lives\, he orchestrated them into relaxed positions encouraging them to bring along beloved personal objects\, like a new motorcycle or a James Brown record. It was through his portraiture that Sidibé documented the changing fashions and aspirations of generations in Bamako. \nhttps://jackshainman.com/exhibitions/malick_sidib_regardez_moi
URL:https://jamesmaherphotography.com/event/malick-sidibe-regardez-moi/
LOCATION:Jack Shainman\, 46 Lafayette St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/malick.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250411
DTEND;VALUE=DATE:20250721
DTSTAMP:20250330T050419Z
CREATED:20250317T014153Z
LAST-MODIFIED:20250330T050419Z
UID:10000009-1744329600-1753055999@jamesmaherphotography.com
SUMMARY:The New Art: American Photography\, 1839–1910
DESCRIPTION:“This exhibition presents a bold new history of American photography from the medium’s birth in 1839 to the first decade of the 20th century. Drawn from The Met’s William L. Schaeffer Collection\, major works by lauded artists such as Josiah Johnson Hawes\, John Moran\, Carleton Watkins\, and Alice Austen are shown in dialogue with extraordinary photographs by obscure or unknown practitioners made in small towns and cities from coast to coast. Featuring a range of formats\, from daguerreotypes and cartes de visite to stereographs and cyanotypes\, the show explores the dramatic change in the nation’s sense of itself that was driven by the immediate success of photography as a cultural\, commercial\, artistic\, and psychological preoccupation. In 1835\, even before the nearly simultaneous announcement of the invention of the new art in Paris and London\, the American philosopher essayist Ralph Waldo Emerson noted with remarkable vision: “Our Age is Ocular.” \nhttps://www.metmuseum.org/exhibitions/the-new-art-american-photography-1839-1910
URL:https://jamesmaherphotography.com/event/the-new-art-american-photography-1839-1910/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-7-scaled.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250410
DTEND;VALUE=DATE:20250608
DTSTAMP:20250424T165626Z
CREATED:20250424T165626Z
LAST-MODIFIED:20250424T165626Z
UID:10000028-1744243200-1749340799@jamesmaherphotography.com
SUMMARY:Photographer as Sculptor\, Sculptor as Photographer
DESCRIPTION:Bruce Silverstein Gallery is pleased to present Photographer as Sculptor\, Sculptor as Photographer\, the inaugural exhibition of its new gallery space. This exhibition brings together sculptures and photographs by some of the most influential sculptors and master photographers of the 19th and 20th centuries to reveal the shared conceptual approaches that unite these seemingly distinct mediums. Including works by Constantin Brâncuși\, Man Ray\, Henry Moore\, Auguste Rodin\, and David Smith\, alongside photographs by Bernd and Hilla Becher\, Imogen Cunningham\, Karl Blossfeldt\, Bill Brandt\, André Kertész\, Barbara Morgan\, Aaron Siskind\, Frederick Sommer\, Edward Steichen\, and Edward Weston\, the exhibition challenges traditional distinctions of photography and sculpture\, unveiling a convergence between these artistic practices. Viewing these sculptures and photographs side by side\, the exhibition highlights how\, by shifting the boundaries of materiality\, space\, perception\, and form\, photographing becomes a sculptural act\, and photography becomes sculpture. \nSince its inception\, photography has played a crucial role in sculpture\, allowing sculptors to conceptualize\, refine\, and reimagine their works. Auguste Rodin\, the first sculptor to gain widespread recognition for his use of photography\, treated the medium as an extension of his sculptural practice. With the help of skilled artisans\, he shaped light and shadow with the same precision he applied to bronze and marble\, even going as far as coating his prints with potassium dichromate\, creating a pigmented surface of deep greens and browns that mirrored the natural patina of his sculptures. Constantin Brâncuși\, on the other hand\, used photography to alter how his sculptures were perceived\, capturing fleeting moments of illumination\, reflection\, and silhouette. In doing so\, he created a new form of sculpture– as the physical object’s shadows and contours blur together\, there is no clear separation between the material and the ephemeral. \nDavid Smith utilized the camera to study and document his welded metal constructions within their natural environment—the open fields surrounding his Bolton Landing home. His photographs demonstrate a profound understanding of photography’s ability to convey scale\, reflection\, form\, and texture. Set against the mountainous terrain and silhouetted against an ever-changing sky\, these “portraits” enhance the anthropomorphic and linear qualities of his sculptures\, transforming steel objects into seemingly animated forms that tower against the landscape. \nHenry Moore harnessed the power of photography to manipulate the perception of his sculptures\, using the medium to exaggerate their scale and emphasize elements that might otherwise go unnoticed. By shooting his maquettes from a low angle\, often set against stark\, minimalist backdrops or nestled in the gardens of his Hertfordshire studio\, Moore transformed these works into monumental figures\, commanding attention. His tightly cropped details often bordered on the abstract\, whether highlighting negative-space or transforming the folds of a draped garment into a rocky landscape. \nPhotographers\, too\, have sought to distill sculptural essence within their frames. By isolating organic forms as botanical studies\, Karl Blossfeldt elevated natural structures to the realm of sculpture. Imogen Cunningham pushed this further\, using light\, shadow\, and unconventional cropping; intricate textures of leaves\, stems\, and buds take on the solidity of carved or cast material. In Amaryllis\, 1933\, a single leaf curves and separates\, its sharp\, white edges delineating the form with precision. Its cool\, rich surface evokes the sleekness of polished steel or the fluidity of plastic. Similarly\, the Bechers’ typologies of industrial architecture reframe utilitarian structures as sculptural monoliths\, their repetition and precise composition amplifying their sculptural presence. Bill Brandt’s stark nudes echo the undulating masses of Moore’s bronzes\, while Man Ray’s surreal cropping of classical statues blurs the line between human figure and sculpted object. \nThe exhibition also underscores the ways photography births new sculptural realities. For Man Ray\, the camera itself becomes a tool for transformation\, capable of altering perception and actualizing modern sculpture. By carefully framing found objects–clothespins\, an egg tray–and photographing them under sharp lighting\, he plays a game of simulation\, turning household items into humanoid sculpture\, reinforced by a title “L’homme.” Aaron Siskind’s textural abstractions reimagine natural elements as readymade sculptures. Edward Weston’s nude\, Anita Brenner\, Mexico\, 1924\, embodies a Jean Arp-like form\, transforming the human body into a soft sculptural surface defined by form and isolation. Abstracting curves and contours\, Weston blurs the boundary between flesh and sculpture\, while Barbara Morgan’s kinetic compositions capture the body’s motion as though it were chiseled into time. \nThrough these juxtapositions\, Photographer as Sculptor\, Sculptor as Photographer reaffirms that the photograph is not a surrogate for the object but a site of transformation. By challenging traditional divisions between disciplines\, this exhibition signals a new direction for Bruce Silverstein Gallery—one that embraces a fluid\, interdisciplinary approach across all mediums of art\, united by vision and creativity. \nFor more information please contact milly@brucesilverstein.com or visit www.brucesilverstein.com
URL:https://jamesmaherphotography.com/event/photographer-as-sculptor-sculptor-as-photographer/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/brucesilverstein-barbara-morgan-valerie-bettis-desperate-heart-1943.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250403
DTEND;VALUE=DATE:20250511
DTSTAMP:20250402T004628Z
CREATED:20250402T004628Z
LAST-MODIFIED:20250402T004628Z
UID:10000024-1743638400-1746921599@jamesmaherphotography.com
SUMMARY:The Safety Net: Stacy Kranitz and Chris Verene
DESCRIPTION:“New York\, NY (opens April 3\, 2025) – Psychic Readings* is pleased to announce “The\nSafety Net\,” a two-person exhibition that examines life in today’s American small towns\,\nthrough the work of documentary photographers Stacy Kranitz and Chris Verene. The\nexhibit highlights the resilience of human spirit and the importance of mutual aid. It\nfeatures a selection of new works and images from throughout the photographers’\ncareers. The exhibition will open at Psychic Readings* gallery at 629 E 6th Street New\nYork\, NY 10009 on Thursday\, April 3\, 2025\, and will run through May 10\, 2025. \nKranitz and Verene focus on a unique\, sensitive\, and intensely personal approach to the\ndocumentary tradition. They have dedicated their careers to photographing communities\nwhich are often overlooked and underserved. Verene has been photographing his family\nand friends in the small midwestern town of Galesburg\, Illinois since the late 1980s\, while\nKranitz has documented communities in the Appalachian region for the past fifteen years.\nThese communities share similar situations thousands of miles apart. The artists show us\nthat the government’s social safety net doesn’t work for people living near the poverty line. \nStacy Krantiz explains\, “On paper\, there are resources available through government\nprograms\, but in reality\, they are nearly impossible to access. I find this is the biggest\ndisconnect for people. If you have never needed these resources\, you do not understand\nhow difficult they are to obtain and keep.” \nKravitz and Verene both work in communities where the safety net does not provide\naccessible and adequate resources. Both see declining rural health care (rural hospital\nclosures\, maternity care deserts) the rise in rural homelessness and the lack of economic\nopportunity as significant factors in declining quality of life. Verene writes\, “The local\ngovernment condemned my friend’s home\, arrested the occupants for trespassing when\nthey tried to return\, then bulldozed houses they deemed to be where people used drugs.\nNow\, those people have no where to live and the situation is far worse.” \nThe exhibition’s curator\, Ani Cordero\, has long worked in grassroots organizing\, and aims\nto highlight the intersection of art and activism with this project. Cordero notes the artists’\ncommitment to harm reduction and their active encouragement of positive change from\nwithin the community through their work. \nStacy Kranitz and Chris Verene are both recent Guggenheim Fellows\, and both have\nmonographs including these topics published by the prestigious Twin Palms Press. \nAbout Stacy Kranitz: Stacy Kranitz is an American photographer born in Kentucky and\ncurrently lives in the Appalachian Mountains of eastern Tennessee. She has received\nnumerous awards including the Michael P. Smith Fund for Documentary Photography and a\nCenter for Documentation Fellowship. She recently collaborated with ProPublica on a\nproject about abortion rights in Tennessee. Her work is included in public collections\nincluding The Harvard Art Museum\, The Museum of Fine Art\, Houston\, and The Duke\nUniversity Archive of Documentary Arts. Krantiz’ work has been featured in publications\nincluding The Atlantic\, Bomb Magazine\, The New York Times\, Time Magazine and The\nWashington Post. \nAbout Chris Verene: Chris Verene\, born in DeKalb\, Illinois in 1969\, began photographing\nhis father’s small hometown of Galesburg in 1987. For nearly four decades\, he has\ncontinued intensively photographing the stories of his family members\, friends\, and their\ncommunity in the same area. Verene is currently working on the third book in his series.\nVerene’s work is in numerous museum collections including The Met\, The Whitney\, The\nJewish Museum\, The Getty\, and SFMoMA\, and has been featured in many major art\npublications\, including ArtForum\, Art In America\, The New York Times\, Frieze\, and Parkett. \nAbout Ani Cordero: Ani Cordero is a Puerto Rican singer\, composer\, activist\, and co-\nfounder of Puerto Rican Independent Musicians and Artists (PRIMA)\, which has provided\nsupport in Puerto Rico in the aftermath of Hurricane María. She has been featured on\nDemocracy Now\, All Things Considered\, and profiled in The New Yorker. Cordero is the director of Chris Verene’s ongoing performance work\, The Self-Esteem Salon®\, is Verene’s long-time artistic collaborator and partner. Cordero worked with the North American Congress on Latin America (NACLA). Cordero is partnered with Action Lab\, a strategy\ncenter for social movements that sparks political and personal liberation. \nPsychic Readings* is an artist-run gallery in the East Village neighborhood of New York City\, in full time operation since 2021.” \nhttps://www.psychicreadingsgallery.com/
URL:https://jamesmaherphotography.com/event/the-safety-net-stacy-kranitz-and-chris-verene/
LOCATION:Psychic Readings\, 629 E 6th St\, New York\, NY\, 10009\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/thesafetynet.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250322
DTEND;VALUE=DATE:20250525
DTSTAMP:20250317T015204Z
CREATED:20250317T015204Z
LAST-MODIFIED:20250317T015204Z
UID:10000011-1742601600-1748131199@jamesmaherphotography.com
SUMMARY:Reflections: Rahim Fortune
DESCRIPTION:“Reflections marks the first solo exhibition of photographer Rahim Fortune\, who hails from Texas. Over the past decade\, Rahim has used photography to explore collective history and cultural visual language in the American South by intertwining documentary and personal narratives. This exhibition showcases two bodies of work: I Can’t Stand To See You Cry (2021) and Hardtack (2024). \nRahim Fortune\, born 1994\, is a visual artist from the Chickasaw Nation of Oklahoma. He uses photography to ask fundamental questions about American identity. Focusing on the narratives of individual families and communities\, he explores shifting geographies of migration and resettlement and the way that these histories are written on the landscapes of Texas and the American South. \nFortune’s previous book\, I Can’t Stand to See You Cry\, was published by Loose Joints in 2021 and was nominated for the Paris Photo-Aperture Photobook of the Year and the winner of the Rencontres d’Arles Louis Roederer Discovery Award 2022. His 2024 monograph\, Hardtack (Loose Joints)\, has garnered international attention\, earning a nomination for the Deutsche Börse Photography Foundation Prize 2025. His work has been featured in exhibitions worldwide and many permanent collections\, including the High Museum of Art\, Atlanta\, GA; LUMA Arles\, France; the Victoria and Albert Museum\, London; the Virginia Museum of Art\, Richmond; the Nelson Atkins Museum\, Kansas City\, MO and the Boston Museum of Fine Art. Fortune is represented by Sasha Wolf Projects\, New York\, NY. \nI Can’t Stand To You Cry explores Texas\, the surrounding states\, and the people fixed within its complex landscape. Fortune analyses relationships between family\, friends\, and strangers\, all caught in a flood of health and environmental issues while working to maintain grace. The artist uses his experiences to explore the friction between public and private life and the unspoken tensions in daily life through an approach rooted in the landscape. Moreover\, Fortune’s biographical approach to photography attempts to unpack his identity and experience amid a pandemic\, civil unrest\, a cross-country move\, a career\, and the loss of a parent\, thinking about the future and the past. \nIn Hardtack\, Fortune borrows from the language of vernacular and archival photography to interrogate his community’s historical relationship to photography. Rooted in the landscape\, Fortune often uses sites of historical and cultural interest as a guide but not a subject\, implying the deep ties that bind modern Black communities resiliently to their regions in the face of adversity and joy. A significant theme in Hardtack is Fortune’s striking portraits of coming-of-age traditions. Inside\, young bull riders\, praise dancers\, and pageant queens inherit and gracefully embrace these forms of community ritual. Fortune’s dignifying eye pays tribute to these cultural performances’ rigor\, discipline\, and creative flair and the intergenerational conversation between young people and elders who pass down these traditions.” \nhttps://www.howardgreenberg.com/exhibitions/rahim-fortune
URL:https://jamesmaherphotography.com/event/reflections-rahim-fortune/
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/2025/03/image-9.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250315
DTEND;VALUE=DATE:20250512
DTSTAMP:20250327T031308Z
CREATED:20250316T050452Z
LAST-MODIFIED:20250327T031308Z
UID:10000002-1741996800-1747007999@jamesmaherphotography.com
SUMMARY:Floridas: Anastasia Samoylova and Walker Evans
DESCRIPTION:Metropolitan Museum of Art \n“Nothing in Florida is quite what it seems. A popular tourist destination since the early twentieth century\, it is a place where fantasy and reality collide\, a subtropical paradise threatened by hurricanes and rising sea levels\, a refuge for extremism and eccentricity. This exhibition brings together photographs and paintings of Florida by two artists of different generations who have sought to understand its complexity and contradictions: Anastasia Samoylova (born 1984)\, a Russian-American photographer based in Miami\, and Walker Evans (1903–1975)\, an influential originator of documentary-style American photography. \n“Florida is ghastly and very pleasant where I am\,” Evans wrote to a friend during his first visit there\, in 1934. Over the next forty years\, he returned repeatedly\, creating a large but little-known body of work depicting the state’s unique natural and cultural landscape: palm trees and pelicans\, real estate billboards and souvenir stands\, Gilded Age mansions and “tin can” tourist camps. In addition to photographs\, the exhibition includes paintings\, negatives\, and postcards drawn from The Met’s Walker Evans Archive. \nSamoylova has been photographing Florida since 2016\, crisscrossing the state in a series of meandering road trips\, from the southernmost Keys to the state’s borders with Alabama and Georgia. Building on Evans’s legacy\, she creates vibrant photographs and mixed-media paintings that temper the shimmering seductions of the Sunshine State with an awareness of the troubling consequences of climate change\, gentrification\, and political extremism. \nThe exhibition is made possible by The Robert Mapplethorpe Foundation\, Inc.” \nhttps://www.metmuseum.org/exhibitions/floridas-anastasia-samoylova-and-walker-evans
URL:https://jamesmaherphotography.com/event/floridas-anastasia-samoylova-and-walker-evans/
LOCATION:Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York\, NY\, 10028\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-1.jpeg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250315
DTEND;VALUE=DATE:20250420
DTSTAMP:20250408T215520Z
CREATED:20250408T215520Z
LAST-MODIFIED:20250408T215520Z
UID:10000027-1741996800-1745107199@jamesmaherphotography.com
SUMMARY:New Construction(s)
DESCRIPTION:“Edwynn Houk Gallery is delighted to announce New Construction(s)\, the inaugural exhibition at our new location at 693 Fifth Avenue. This exhibition celebrates artistic innovation and reinvention\, mirroring the gallery’s own transformation as we embark on an exciting new chapter. \nInspired by our relocation and the complete redesign of our space\, New Construction(s) marks a moment of renewal. After nearly three decades at our previous flagship\, this exhibition reflects both the evolution of our artists and the gallery itself. Featuring recent works that explore new materials\, techniques\, and conceptual approaches\, the exhibition offers a glimpse into the future of each artist’s practice. \nThe title New Construction(s) underscores the creative possibilities that emerge in times of change. It also reaffirms our commitment to championing artists who push the boundaries of their medium\, embracing experimentation and reinvention. \nThe exhibition includes works by Valérie Belin\, Gregory Crewdson\, Lalla Essaydi\, Sissi Farassat\, Adam Fuss\, Sally Mann\, Abelardo Morell\, Ron Norsworthy\, Matthew Pillsbury\, Robert Polidori\, Stephen Shore\, Jessica Wynne\, and Lee Shulman & The Anonymous Project. By bringing together artists who have long defined our contemporary program with those newly presented by the gallery\, New Construction(s) highlights continuity and transformation in equal measure.” \nhttps://www.houkgallery.com/exhibitions/108/works/
URL:https://jamesmaherphotography.com/event/new-constructions/
LOCATION:Edwynn Houk\, 693 Fifth Avenue\, 6th Floor\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/gregorycrewdsonedwynnhouk.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20250314
DTEND;VALUE=DATE:20250804
DTSTAMP:20250317T141831Z
CREATED:20250317T031433Z
LAST-MODIFIED:20250317T141831Z
UID:10000014-1741910400-1754265599@jamesmaherphotography.com
SUMMARY:Consuelo Kanaga: Catch the Spirit
DESCRIPTION:“The retrospective exhibition Consuelo Kanaga: Catch the Spirit presents the work of Consuelo Kanaga (1894–1976)\, a critical yet overlooked figure in the history of modern photography. Co-organized with and first exhibited at the Fundación MAPFRE in Barcelona and Madrid\, Spain\, followed by a presentation at the San Francisco Museum of Modern Art (SFMOMA)\, the groundbreaking survey will return to the Brooklyn Museum\, which houses the world’s most extensive Kanaga collection. Catch the Spirit explores the artist’s groundbreaking work in photojournalism\, modernism\, and social documentary\, tracing the evolution of her art both chronologically and thematically through nearly 200 photographs\, ephemera materials\, and film. Catch the Spirit is curated by Drew Sawyer and presented at the Brooklyn Museum by Pauline Vermare\, Phillip and Edith Leonian Curator of Photography\, with Imani Williford\, Curatorial Assistant\, Photography\, Fashion\, and Material Culture. \nOver the course of six decades\, Kanaga captured the urgent social issues of her time\, spanning urban poverty and labor rights to racial terror and inequality. Catch the Spirit charts the artist’s outstanding photographic vision\, from her pioneering photojournalism as one of the only women working in the field in the early twentieth century to her modernist still lifes and celebrated portraits of artists and anonymous sitters alike. Kanaga’s oeuvre includes key figures and moments in early 20th-century North America\, with a particularly strong focus on the lives of African Americans. The Museum holds a unique and invaluable collection of works by Kanaga that features nearly 500 vintage prints\, 2\,500 negatives\, and archival material. Two works by Kanaga are currently on view in the Museum’s recently reinstalled American Art galleries\, Toward Joy: New Frameworks for American Art. \nConsuelo Kanaga began her career as a staff writer and photographer at the San Francisco Chronicle in 1915 before moving to New York in 1922 to work for the New York American newspaper. Soon after\, she met Alfred Stieglitz\, who encouraged her to pursue photography as an art form. After moving back to California in 1924\, Kanaga met the Italian photographer\, actress\, and activist Tina Modotti and organized an exhibition of her photographs in San Francisco in 1926. During the early 1930s\, Kanaga became associated with Group f/64 and was included in its landmark 1932 exhibition at the de Young Museum. In 1935 she returned to New York and began producing photographs for leftist journals such as Sunday Worker. She eventually joined the Photo League\, where she lectured and became a leader of documentary group projects. During the 1940s and 1950s\, she continued her commitment to photographing African Americans\, documenting workers in the South during the Jim Crow era. In 1955 she was included in the landmark exhibition Family of Man at MoMA. \n“Kanaga’s photographs shed light on some of the most critical social issues and actors of her time. Her work and legacy seem all the more important and relevant today\,” says Pauline Vermare\, Phillip and Edith Leonian Curator of Photography. “The Kanaga prints and negatives that Barbara Millstein brought into the photography collection are one of the major treasures of the Brooklyn Museum. We are delighted that this exhibition will bring attention to an incredibly modern and generous artist\, who worked alongside many well-known photographers\, such as Imogen Cunningham and Dorothea Lange. Kanaga was an invaluable mentor to many women photographers of her time. Now is a perfect moment to bring her back into the light. We hope that her life and work will inspire new generations of image makers and critical thinkers.” \nThe title of the show comes from a quotation by the artist: “When you make a photograph\, it is very much a picture of your own self. That is the important thing. Most people try to be striking to catch the eye. I think the thing is not to catch the eye but the spirit.” The quotation encapsulates Kanaga’s use of photography to “catch the spirit” of the people she chose to focus on and of the times they lived in.The exhibition is organized largely chronologically and by bodies of work\, broken into the following sections: “Photojournalism and the City\,” “Portraiture\,” “Americans Abroad\,” “Photography and the American Scene\,” “Portraits of Artists\,” “Travels to the U.S. South\,” and “Nature Studies.” \nUsing modernist visual language to address social and economic inequities\, Kanaga’s work is visually arresting and unique when compared to that of her peers. The artist was committed to using photography to address difficult social issues from labor rights to discrimination\, focusing on representing individuals who had either been misrepresented or ignored by mainstream media and artists. Considered modern and progressive for its time\, her work—and the societal issues they capture—continues to resonate today. Catch the Spirit boldly brings history into the present to raise awareness for important contemporary issues. \nThe retrospective is accompanied by a catalogue highlighting Kanaga’s remarkable oeuvre and presenting new scholarship on this under-recognized artist. The publication includes an essay by Drew Sawyer with additional essays by Shalon Parker\, Ellen Macfarlane\, and Shana Lopes. Copublished by the Brooklyn Museum\, Fundacion MAPFRE\, and Thames & Hudson\, it is the first major publication on the artist’s work in 30 years.” \nhttps://www.brooklynmuseum.org/en-GB/press/the-brooklyn-museum-presents-consuelo-kanaga-catch-the-spirit
URL:https://jamesmaherphotography.com/event/consuelo-kanaga-catch-the-spirit/
LOCATION:Brooklyn Museum\, 200 Eastern Parkway\, Brooklyn\, NY\, 11238\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-12.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250314
DTEND;VALUE=DATE:20250420
DTSTAMP:20250408T214801Z
CREATED:20250408T214801Z
LAST-MODIFIED:20250408T214801Z
UID:10000026-1741910400-1745107199@jamesmaherphotography.com
SUMMARY:Andreas Gursky: Inherited Images
DESCRIPTION:“Andreas Gursky stands out as one of the most important photographers of his generation. His monumentally scaled works have redefined the medium in the twentieth and twenty-first centuries\, capturing the circumstances of modern-day life in condensed form. \nInterested in the workings of globalization\, consumerism\, and social phenomena as they relate to society\, Gursky investigates the realities of our changing planet. In this unique solo exhibition at Sprüth Magers’ New York gallery\, Gursky’s new and recent works as well as a selection of his well-known photographs are placed in an intertextual dialogue with Old Masters. Engaging with the images inscribed into our collective memories by the history of painting – from Pieter Bruegel the Elder to J.M.W. Turner and Carl Gustav Carus – the show examines how contemporary images relate to ones of the past\, prompting viewers to consider their function as a silent foundation of the way we see. \nFor this exhibition\, Gursky pairs his photographs with blown-up facsimiles of Old Masters to explore the conditions of image-making and uncover the conscious and unconscious relationships between images created centuries apart. \nUpon entering the gallery\, viewers are confronted with Gursky’s Eisläufer and Bruegel’s Winter Landscape with Skaters and a Bird Trap. Despite being separated by some five hundred years since their creation\, both works display similarities in structure and composition. We see the harshness of winter and humankind’s capacity to adapt to and overcome extreme and precarious conditions. Gursky’s work\, however\, introduces a contemporary reference as crowds maintain social distance during the Coronavirus lockdown while walking and skating on the frozen Rhein in Düsseldorf. \n‘I have always spent a lot of time in museums and was able to see the paintings that have been recognized as masterpieces of Western history and its visual canon. This experience and influence have had an impact on my own work—I realized there were similarities to Old Masters that I had not intended; they weren’t conscious decisions in the genesis of my works.’ –Andreas Gursky” \nhttps://spruethmagers.com/exhibitions/andreas-gursky-new-york/
URL:https://jamesmaherphotography.com/event/andreas-gursky-inherited-images/
LOCATION:Sprüth Magers\, 22 East 80th Street\, New York\, NY\, 10075\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/04/gursky.jpg
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