BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//New York Photography, Prints, Portraits, Events, Workshops - ECPv6.18.2//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:New York Photography, Prints, Portraits, Events, Workshops
X-ORIGINAL-URL:https://jamesmaherphotography.com
X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20260928
DTSTAMP:20260906T155929Z
CREATED:20260906T155929Z
LAST-MODIFIED:20260906T155929Z
UID:10000157-1790208000-1790553599@jamesmaherphotography.com
SUMMARY:The Armory Show 2026
DESCRIPTION:A cornerstone of New York’s cultural landscape since 1994\, The Armory Show opens New York’s fall art season by bringing the world’s leading international contemporary and modern art galleries to the Javits Center each year. The fair emphasizes thoughtful programming\, elevated presentations\, curatorial excellence\, meaningful institutional partnerships\, and engaging public art activations. \nhttps://www.thearmoryshow.com/
URL:https://jamesmaherphotography.com/event/the-armory-show-2026/
LOCATION:Jacob K. Javits Convention Center\, 429 11th Avenue\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/the-armory-show-2026.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260924
DTEND;VALUE=DATE:20260928
DTSTAMP:20260310T001739Z
CREATED:20260310T001739Z
LAST-MODIFIED:20260310T001739Z
UID:10000121-1790208000-1790553599@jamesmaherphotography.com
SUMMARY:Printed Matter NY Art Book Fair
DESCRIPTION:The 2026 NY Art Book Fair\nSeptember 24–27\, 2026\nat MoMA PS1
URL:https://jamesmaherphotography.com/event/printed-matter-ny-art-book-fair/
LOCATION:MoMA PS1\, 22-25 Jackson Ave\, Queens\, NY\, 11101\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/NYABF26_4_5_1080x1350_final.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20261108
DTSTAMP:20260803T152715Z
CREATED:20260803T152434Z
LAST-MODIFIED:20260803T152715Z
UID:10000145-1789689600-1794095999@jamesmaherphotography.com
SUMMARY:Gordon Parks: Voices in the Mirror
DESCRIPTION:Jack Shainman Gallery is pleased to announce Voices in the Mirror\, an exhibition that revisits images by Gordon Parks through the reflections of the people and families he photographed. For the very first time\, the families of Muhammad Ali and Malcolm X\, among others\, have reflected on the photographs Parks made and their enduring power. Marking the 20th anniversary of The Gordon Parks Foundation\, Voices in the Mirror—titled after Parks’ final memoir published in 1990—also looks deeply at the collaborative relationship between Parks\, his subjects and their families as he documented the struggle for equality alongside the perseverance of Black excellence. \nReaffirming the importance of Parks’ legacy in the 21st century\, the exhibition provides fresh insight into his work\, as memory and anecdote animate photographs long-since analyzed\, studied and examined\, revealing levels of detail and depth previously unavailable. Written reflections include those from Kathleen Cleaver (The Black Panthers\, 1970)\, Kate Clark Harris (The Doll Test\, 1947)\, Kyle Johnson (The Learning Tree\, 1969) and Cora Taylor (Segregation in the South\, 1956)\, each direct subjects of Parks’ photographs. Additional reflections have been provided by Lonnie Ali\, widow of Muhammad Ali; Qubilah Shabazz\, daughter of Malcolm X; Gloria Vanderbilt’s son\, CNN Anchor Anderson Cooper and Ingrid Bergman’s daughter\, actress Isabella Rossellini. Contributions have also been made by filmmaker Ava DuVernay; Bryan Stevenson\, Founder and Executive Director of the Equal Justice Initiative; Alice Walker\, author of The Color Purple (1982)\, and her daughter\, writer and producer Rebecca Walker; Thelma Golden\, Ford Foundation Director and Chief Curator of the Studio Museum in Harlem; Deborah Willis\, University Professor and Chair of the Department of Photography & Imaging at Tisch School of the Arts\, New York University; artist Hank Willis Thomas; and Ambassador Andrew Young\, who participated in the 1963 March on Washington that Parks photographed. \n“Over the last twenty years\, The Gordon Parks Foundation has built relationships with many of the people that Gordon Parks photographed and got to know personally. We are honored to have so many of their stories brought together in an exhibition at Jack Shainman Gallery\, one that will allow us to continue learning from them\, so that the past may continue to inspire us\,” said Peter W. Kunhardt\, Jr.\, Executive Director of The Gordon Parks Foundation. \nIn 1947\, Kate Clark Harris’ parents\, Dr. Kenneth Clark and Dr. Mamie Clark\, were photographed by Parks as they conducted their ‘doll tests’—groundbreaking experiments that revealed the psychological effects of segregation on African American children. The tests were conducted using several dolls\, all identical except for skin color\, that were put before Black children\, aged 3–7\, who were asked to identify which one they preferred. The majority preferred the white doll\, leading Drs. Clark to conclude that ‘prejudice\, discrimination and segregation’ damaged their self-esteem and caused Black children to develop a sense of inferiority. In Doll Test\, Harlem\, New York (1947)\, Parks’ photograph shows a young boy in the midst of the test and pointing at a white doll held next to a black one. Harris remembered these tests and their psychological toll at length\, concluding with the following sentiment: “One of the things that Gordon was so good at is getting beyond the surface and getting the feelings beneath. And so the pictures convey that\, you can’t ignore it—you can’t.” \nAs one of his many projects for the magazine throughout his life\, in the summer of 1956\, Life sent Parks to Alabama to document the daily realities of Black Americans living under Jim Crow laws in the rural South. Eschewing a journalistic approach that focused on the leaders and momentous events of the struggle for civil rights\, Parks’ empathetic approach instead portrayed the common humanity of his fellow Americans going about daily life in unjust circumstances. In At Segregated Drinking Fountain\, Mobile\, Alabama (1956)\, Parks photographed a young girl being helped up to drink from the ‘colored only’ water fountain in front of a general store\, as two women look on. In excerpts of her full remarks\, one of these women\, Cora Taylor\, remembers the moment and the photograph: “I wondered what was going on\, because you didn’t know who to trust and who not to trust. I let my mother know about the photograph\, in case anything went wrong. A few weeks later I saw the picture in Life magazine\, and I just couldn’t believe it.” \nOne of Parks’ most indelible portraits\, Eldridge Cleaver and His Wife\, Kathleen\, Algiers\, Algeria (1970)\, was made while on assignment for Life to report on the Black Panthers and their leaders. After serving a prison term\, Cleaver was on parole when authorities ordered him back to prison because of his involvement in a Panther-police incident. He subsequently fled the country and moved to Algiers\, where Parks met and interviewed him and his wife Kathleen Cleaver\, who reflected on that time and the power of photography\, excerpted here: “This photograph was taken in a very remote\, isolated place. If you saw where we lived\, it was not that historic. That’s the joy of photography—you isolate what’s important.” \nAccompanying these intimate stories are the insights from those who collaborated or worked with Parks during his life and were able to observe both his working methods and his personal character\, such as Academy Award-winning filmmaker Ava DuVernay\, who worked as a publicist for Parks’ 2000 documentary\, Half Past Autumn. Encapsulating the importance and poignancy of Parks’ work\, DuVernay’s words offer a powerful summation of what the chorus of contributors to Voices in the Mirror articulate in their own singular way: “He did not bring elegance to Black life. He captured the elegance that is Black life.” \n\nAbout The Gordon Parks Foundation \nThe Gordon Parks Foundation supports and produces artistic and educational initiatives that advance the legacy and vision of Gordon Parks—recognized as the most significant American photographer of the 20th century\, as well as a writer\, musician and filmmaker\, who used the arts to further “the common search for a better life and a better world.” The Foundation was co-founded in 2006 by Parks with his longtime friend and editor at Life magazine\, Philip B. Kunhardt\, Jr.\, to preserve his creative work and support the next generation of artists advancing social justice. \nThrough exhibitions\, publications and public programs\, organized in collaboration with institutions internationally and at its exhibition space in Pleasantville\, New York\, the Foundation provides access to and supports understanding of\, the work and contributions of Gordon Parks for artists\, scholars\, students and the public. The Foundation’s archive houses Gordon Parks’s photographs\, negatives\, contact sheets\, publications and a selection of ephemera related to his work in photography\, film\, music and writing. The archive also includes collections by related artists. \nDrawing inspiration from the pivotal role of a fellowship Parks received early in his career\, the Foundation’s educational and grant-making initiatives are core to its mission and year-round activities. Through fellowships\, prizes and scholarships\, the Foundation provides vital support to artists\, writers and students—current and future generations of creatives whose work continues his legacy. These initiatives are made possible through The Gordon Parks Arts and Social Justice Fund\, established by the Foundation in 2019.
URL:https://jamesmaherphotography.com/event/gordon-parks-voices-in-the-mirror/
LOCATION:Jack Shainman\, 46 Lafayette St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/parks.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20261102
DTSTAMP:20261105T185130Z
CREATED:20261105T185129Z
LAST-MODIFIED:20261105T185130Z
UID:10000138-1789689600-1793577599@jamesmaherphotography.com
SUMMARY:Aperture Loves New York (Inaugural Aperture New York opening show)
DESCRIPTION:It is with tremendous joy that I write to share good news: On September 18\, 2026\, Aperture will open the doors to a permanent home at 380 Columbus Avenue in New York City. \nAlong with my brilliant colleagues and our dedicated board of trustees\, we cannot wait to welcome you to this space for “serious photographers and creative people everywhere\,” as our founders envisioned. Situated on the first two floors of a historic building in a bustling neighborhood on the Upper West Side in Manhattan\, Aperture will be a place to gather\, share ideas\, and engage with photography. From a dynamic program in our gallery and bookstore to a lively calendar of talks and events\, we invite neighbors and visitors alike to kindle a curiosity informed by photography. And we’ll even have a photo booth to commemorate your visit! \nAperture Loves New York is our inaugural installation (curated by yours truly)\, and it will highlight iconic NYC photos alongside beloved Aperture books: from landmark titles by Diane Arbus\, Robert Frank\, Nan Goldin\, and Stephen Shore to more recent favorites featuring Justine Kurland\, Deana Lawson\, Tyler Mitchell\, and Coreen Simpson. If you can’t wait to hear more about it\, we will soon post our recent Aperture PhotoBook Club gathering online\, where an esteemed group of colleagues discuss their most cherished selections from the checklist! \nAperture was conceived in 1952 as a quarterly magazine: a unique forum that has incubated ideas and encouraged urgent conversations for more than seven decades. Our new home builds upon our storied publishing legacy\, anchored—then and now—by the conviction that “creative thinking\, significantly expressed in words and photographs\,” offers vital new perspectives about our world and one another. (The title of my quarterly newsletter is a nod to this quote from an early editorial note.) In our magazine\, books\, public programs\, educational initiatives\, and exhibitions\, we have nurtured young talent\, created frameworks for overlooked achievements\, and offered tools to develop visual literacy\, embracing the complexity and plurality at the heart of the medium. \nI joined Aperture five years ago\, when the need—and the potential—for a permanent home was clear\, but just where this would be and how we would get there were less certain. When you stop by in September\, I’d love to share all I have learned about injection grouting (essentially Botox for old buildings)\, the Department of Vertical Transportation (and our LULA lift)\, and acoustics (just wait until you stand beneath our “StarSilent” ceilings). \nEverything you will encounter in the new space has been made possible thanks to the vision of our talented architects—LEVENBETTS—in partnership with Sciame\, our construction managers\, and the Local Initiative Support Corporation (LISC) who have extended valuable financing. We could not be an independent\, nonprofit publisher nor own this home were it not for the extraordinary generosity of our board of trustees\, a community of individuals and foundations\, and critical support from New York City and New York State. The most significant of these gifts are listed here\, and you can still make a difference with a donation of any amount. \nWe envision Aperture’s new home as a place where the power and democratic spirit of photography will inspire a more curious\, creative\, and equitable world. Whether by contributing to our capital campaign or joining as a member (with special access to our opening events!)\, we would deeply appreciate your help at this critical moment. No matter what\, we hope you will visit us at 380 Columbus Avenue come September. \n-Sarah Meister\, Aperture Executive Director \nhttps://aperture.org/editorial/aperture-welcomes-the-public-to-its-new-home-this-september/
URL:https://jamesmaherphotography.com/event/aperture-loves-new-york-inaugural-aperture-new-york-opening-show/
LOCATION:Aperture\, 380 Columbus Ave\, New York\, NY\, 10024\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/aperture-new-york.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20261025
DTSTAMP:20260906T154838Z
CREATED:20260906T154838Z
LAST-MODIFIED:20260906T154838Z
UID:10000155-1789689600-1792886399@jamesmaherphotography.com
SUMMARY:Jordan Wolfson
DESCRIPTION:Gagosian is pleased to announce an exhibition of new work by Jordan Wolfson at 555 West 24th Street in New York. This is the artist’s first exhibition with the gallery in New York. \nA selection of new uniformly scaled sculptures incorporates emblematic color and black-and-white photographs\, sourced online and from personal and academic archives\, that resonate with art history\, popular culture\, and Wolfson’s own preoccupations. \nIn this video\, Gagosian presents a conversation between Jordan Wolfson and Johanna Burton\, Maurice Marciano Director of the Museum of Contemporary Art\, Los Angeles. The pair discuss Wolfson’s animatronic work of art Body Sculpture (2023). \nhttps://gagosian.com/exhibitions/2026/jordan-wolfson/
URL:https://jamesmaherphotography.com/event/jordan-wolfson/
LOCATION:Gagosian\, 541 West 24th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/jordan-wolfson-gagosian.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20260921
DTSTAMP:20260910T001732Z
CREATED:20260910T001732Z
LAST-MODIFIED:20260910T001732Z
UID:10000166-1789689600-1789948799@jamesmaherphotography.com
SUMMARY:What Holds Us
DESCRIPTION:Alex Prager\, Jack Davison\, Jimmy Chin \nPhotography exhibition featuring original work by three acclaimed artists\, all shot on iPhone 18 Pro. Curated by Kathy Ryan. \nAdmission is free. Capacity is limited\, sign-up on the event page. Public hours: September 18\, 10 a.m.–8 p.m.; September 19\, 10 a.m.–6 p.m.; September 20\, 10 a.m.–6 p.m. \nhttps://events.apple.com/ms/bnGjzDiDJ210QV1Ke0qattq8m-TSK5y3Wd-m_c8On8exkKh-YoIpxiozRtTbPGMBgY6uoilUor22SX4wucZ41dRmubEHIpHQNlroAj7Be3X2YglnraS5xI7qq-EOC_5T7QM5OONkUSxCBI8xxA/registration
URL:https://jamesmaherphotography.com/event/what-holds-us/
LOCATION:Petzel Gallery\, 456 West 18th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/what-holds-us-apple.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260915
DTEND;VALUE=DATE:20261025
DTSTAMP:20260906T160840Z
CREATED:20260906T160840Z
LAST-MODIFIED:20260906T160840Z
UID:10000159-1789430400-1792886399@jamesmaherphotography.com
SUMMARY:Hiroshi Sugimoto: Unnatural Habitat
DESCRIPTION:Hiroshi Sugimoto’s third solo exhibition at Lisson marks a resonant return to New York\, tracing a fifty-year dialogue between the artist and the city that helped shape his vision. In Unnatural Habitat\, Sugimoto revisits the body of work that first revealed his extraordinary ability to suspend both time and reality. Featuring photographs from the artist’s Diorama series\, some of which were created this past year through access to dioramas at the American Museum of Natural History\, recently rediscovered negatives enlarged for the first time\, and new washi paper screens that transform his images into luminous byōbu\, this exhibition unites photographic and sculptural forms to explore perception\, artifice and immersive pictorial depth. Together\, these bodies of work affirm Sugimoto’s enduring investigation into the poetic boundaries of lens-based media. \nWhile visiting the American Museum of Natural History in 1975\, two years after moving to New York\, Sugimoto was struck by the lifelike qualities of its dioramas. Combining painted environments with taxidermied animals\, these constructed habitats offered a means of representing nature through an inherently artificial form. The Diorama series emerged from this encounter and has remained an ongoing body of work since the mid 1970s. Sugimoto’s return to the museum in 2025\, fifty years after he first photographed there\, extends this longstanding engagement\, bringing together works spanning the history of the series. The dioramas on view at Lisson depict a range of subjects from lions\, condors\, jaguars and Homo erectus to expansive landscapes like the Rocky Mountains and a giant cactus forest. Among the earliest are Polar Bear (1975)\, the first image Sugimoto made as an artist\, and Hunting Dogs\, first photographed in 1980 and revisited in 2025 when Sugimoto adjusted an uneven area of sky caused by a burnt-out bulb within the original display. Collectively\, these works demonstrate the enduring tension within the Diorama series between the preservation of a constructed reality and its transformation through photography. \nThe exhibition also introduces a further development through four new color diorama photographs presented as folding screens\, or byōbu. Printed on washi paper and produced through traditional Kyoto craftsmanship\, these screens constitute only the second major use of color in Sugimoto’s photographic practice\, following his Opticks series. The folding-screen format extends the photograph beyond the conventions of the framed image\, giving the works a sculptural and spatial presence while recalling the painted surfaces and constructed perspectives of the dioramas themselves. Their use of color introduces a distinct visual register to a body of work historically defined by Sugimoto’s precise black-and-white photography. \nhttps://www.lissongallery.com/exhibitions/hiroshi-sugimoto-91293d6d-4567-48ba-81a0-3986eb6b1360
URL:https://jamesmaherphotography.com/event/hiroshi-sugimoto-unnatural-habitat/
LOCATION:Lisson Gallery\, 504 West 24th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/hiroshi-sugimoto-unnatural-habitat.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261101
DTSTAMP:20260906T163625Z
CREATED:20260906T163625Z
LAST-MODIFIED:20260906T163625Z
UID:10000162-1788998400-1793491199@jamesmaherphotography.com
SUMMARY:Nature Represented and Reproduced
DESCRIPTION:CLAMP is proud to announce “Nature Represented and Reproduced\,” a group exhibition. \nWork by Aziz + Cucher\, Daniel Handal\, Lori Nix/Kathleen Gerber\, Michael Scandling\, Olaf Otto Becker\, Pia Paulina Guilmoth\, Pipo Nguyen-duy\, Robert Voit\, Stacy Arezou Mehrfar\, and Vija Celmins. \nOpening reception: Thursday\, September 10\, 2026\, 6:00 to 8:00 PM. \nhttps://clampart.com/2026/08/nature-represented-and-reproduced/
URL:https://jamesmaherphotography.com/event/nature-represented-and-reproduced/
LOCATION:Clamp\, 247 West 29th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/nature-represented-and-reproduced-clamp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261025
DTSTAMP:20260906T160718Z
CREATED:20260906T160718Z
LAST-MODIFIED:20260906T160718Z
UID:10000158-1788998400-1792886399@jamesmaherphotography.com
SUMMARY:Deana Lawson
DESCRIPTION:Gagosian is pleased to announce its first solo exhibition of works by Deana Lawson. Opening on September 10 at 541 West 24th Street in New York\, the exhibition of mirror-framed photographs and holograms engages issues of personhood\, surveillance\, and control. \nLawson debuts selections from Edge Control\, a series initiated in 2023 in which she reimagines the monitoring of individuals by beauty supply stores throughout the United States. Recontextualizing surveillance stills taped to windows and entryways\, she preserves the ways in which these images warp identity and posit a mode of figuration\, intervening only to protect the identities of those pictured. \nThe title Edge Control derives from one of the stores’ most frequently stolen products: a gel used to smooth and lay down the baby hairs along women’s and girls’ hairlines\, creating a sleek\, polished look. The phrase refers to both the gel itself and to systems of control in the surveilled frame\, extending to a broader culture of image-based policing. According to Lawson\, “the aesthetic of surveillance imagery—deep-horizon blues and greens—opened my thoughts to an alien view of the supply chain\, and its final landing point in the familiar beauty stores that I often frequent.” The pictures are framed with luminous black mirrors\, underscoring both their reverence and their futurity. The work neither condemns nor valorizes alleged acts of petty theft\, but instead foregrounds the implications of agency and transformative potential of beauty products within our late capitalist society. \nhttps://gagosian.com/exhibitions/2026/deana-lawson/
URL:https://jamesmaherphotography.com/event/deana-lawson/
LOCATION:Gagosian\, 541 West 24th Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/deana-lawson-gagosian.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261018
DTSTAMP:20260906T154329Z
CREATED:20260906T154329Z
LAST-MODIFIED:20260906T154329Z
UID:10000154-1788998400-1792281599@jamesmaherphotography.com
SUMMARY:Manuel Álvarez Bravo
DESCRIPTION:Yancey Richardson is pleased to announce Manuel Álvarez Bravo\, featuring a selection of iconic photographs by the legendary Mexican artist and coinciding with RAGE™\, the gallery’s exhibition of new work by Tania Franco Klein. Considered one of the most important photographers in the history of the medium\, Manuel Álvarez Bravo (1902-2002) is regarded as a towering figure both in Mexico and in the history of Modernism in Latin America more broadly. With photographs that range from nudes\, still lifes and quiet street scenes to portraits and records of political violence\, Álvarez Bravo used photography to explore the subtle mysteries laying just beneath the surface of the perceptible.  \n Initially self-taught\, Álvarez Bravo’s photography developed through his study of foreign and local photography journals\, where he first encountered the work of Edward Weston and Tina Modotti\, both of whom came to Mexico in 1923. Modotti became a close colleague and supporter of Álvarez Bravo\, introducing him to the artists of Mexico’s avant-garde\, including Diego Rivera and Frida Kahlo. Mexico was a cultural hub for many in the international avant-garde in these years\, such as André Breton\, who included Álvarez Bravo in the Paris exhibition Mexique in 1939 and then the Exposition of Surrealism in 1940 in Mexico City. Although Álvarez Bravo downplayed the relationship of his work to Surrealism (his work also appeared in the Surrealist magazine Minotaure)\, the association has endured to this day. \nThe photographs in the exhibition explore the way Álvarez Bravo transformed scenes of quiet and solitude into powerful forms of metaphor and suggestion. In La Buena Fama Durmiendo (Good Reputation Sleeping) and El Sonador (The Dreamer)\, subjects are shown lost in slumber\, while in El ensueño (The Daydream) a young woman is caught up in the transportive act of daydreaming. Each of these figures are etched into their specific material settings while at the same time they are led elsewhere by their imagination and Álvarez Bravo’s framing and treatment of light. In other images\, such as Retrato de lo Eterno (Portrait of the Eternal) and Los agachandos (The Crouched Ones)\, Álvarez Bravo uses light and deep shadow to completely alter otherwise commonplace moments\, showing how the photographic image can introduce a mode of perception that not only expands our understanding of the world\, but also complicates—even unsettles—the presumption of its familiarity. \n Manuel Álvarez Bravo (1902-2002) was one of the founders of modern photography on an international level and is regarded as the leading representative of twentieth-century Latin American photography. During his life\, Álvarez Bravo presented more than 150 solo exhibitions and participated in more than 200 collective exhibitions. \nhttps://www.yanceyrichardson.com/exhibitions/manuel-alvarez-bravo
URL:https://jamesmaherphotography.com/event/manuel-alvarez-bravo-2/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/manuel-alvarez-bravo-yancey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261018
DTSTAMP:20260906T154234Z
CREATED:20260906T154234Z
LAST-MODIFIED:20260906T154234Z
UID:10000153-1788998400-1792281599@jamesmaherphotography.com
SUMMARY:Tania Franco Klein: RAGE™
DESCRIPTION:Yancey Richardson is pleased to announce RAGE™\, an exhibition of new work by Tania Franco Klein\, the artist’s debut solo exhibition with the gallery. Continuing her examination of the anxieties\, stresses and types of psychological response that present-day history elicits\, Franco Klein has taken rage to be the talismanic emotion of our time\, something widely felt in response to world events just as it is manufactured\, manipulated and even deliberately produced by both media and political elites. In her new photographic series\, Franco Klein considers the multivalent nature of rage—as collective action\, personal choice and cultural fabrication—through images that cite advertising and news reporting\, cinema and photography\, while at the same time remaining suffused with an emotion that\, while referential\, is still tangibly\, even urgently\, felt. The exhibition will be on view from September 10 through October 17\, 2026. An opening reception will be held on Thursday\, September 10 from 6–8PM. \n Franco Klein is known for her visually evocative and conceptually intricate photographic series that explore emotion\, psychology and subjectivity as social constructions rather than personal realities. Through her multidisciplinary immersive installations that combine photographs\, murals and videos\, Franco Klein considers how each individual psychological landscape is formed through experience with the world at large\, and is as much a site of collective experience as it is a solitary one. In her constructed images female subjects are regularly depicted in states of tension and ambiguity. Key details and important objects within each composition are imbued with the visceral charge of light and color inside open-ended narratives that function as cinematic fragments as much as they do self-contained worlds. \n In RAGE™\, emotion and psychology form the structure of each picture as Franco Klein examines the contradictions of rage: its creative potential and capacity for destruction\, its perceived irrationality and absolute necessity\, its tendency to be genuinely felt even when deliberately stoked. Key for Franco Klein is the way that rage is manufactured and weaponized by political and cultural forces alike\, a process she invokes by applying the trademark to the exhibition title. Rather than understand it simplistically\, Franco Klein understands rage dialectically\, as both an appropriate response by ordinary people to the conditions of contemporary life and also as an emotional state that those in news and advertising find desirable for the way it drives engagement and activity. In her photographs and video works\, Franco Klein represents this two-sided phenomenon rather than sidestepping entirely.   \nEach work appropriates a different representational and symbolic language from the history of art and mass media\, from canonical paintings to iconic advertising campaigns. Through their referentiality\, the images reinforce one of Franco Klein’s core beliefs that the emotions we feel deeply\, or the thoughts we mull intently\, are ones we absorb rather than generate ourselves. Alongside her characteristically surreal and evocative photographs are works that confront the challenges posed by Artificial Intelligence to representation and interpretation. In other works Franco Klein examines the role that subtitling plays in recontextualizing—at times even manipulating—the meaning of images that might otherwise carry with them clear and incisive emotions. Whether using photography or video\, Franco Klein shows how rage can be a circular experience that consumes itself just as it remains full of political possibility.  \n Born in 1990 in Mexico\, Tania Franco Klein received her BA in Architecture from Centro Diseño\, Cine y Televisión in Mexico City and her MA in Photography from the University of Arts London. Her work is in the collections of the Museum of Modern Art\, New York\, NY; Getty Center\, Los Angeles\, CA; San Francisco Museum of Modern Art\, CA; Museum of Fine Arts\, Houston\, TX; Nelson-Atkins Museum of Art\, Kansas City\, MO; Museum of Contemporary Art San Diego\, CA; Santa Barbara Museum of Art\, CA; and the Norton Museum of Art\, West Palm Beach\, FL. Her first publication\, Positive Disintegration (2019)\, was nominated for the Paris Photo Aperture Foundation First Book Award. Franco Klein lives and works in Mexico City. \nhttps://www.yanceyrichardson.com/exhibitions/tania-franco-klein2
URL:https://jamesmaherphotography.com/event/tania-franco-klein-rage/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/tania-franco-klein-rage.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260910
DTEND;VALUE=DATE:20261004
DTSTAMP:20260918T164215Z
CREATED:20260918T164215Z
LAST-MODIFIED:20260918T164215Z
UID:10000167-1788998400-1791071999@jamesmaherphotography.com
SUMMARY:Jerry Hsu: How About Never
DESCRIPTION:This will be Jerry’s first solo exhibition in NYC and will feature 20 large scale limited edition prints of selected images from the book. For inquiries please email : rectangleemail@gmail.com \n“How About Never” was recently featured in The New Yorker in a piece by Hua Hsu. \nJerry Hsu is a Taiwanese-American artist and the owner/operator of the Sci-Fi Fantasy Corporation. \n“Bringing together photographs Jerry Hsu has made in Los Angeles since 2011\, How About Never is occupied with the almost sentient character of the city. Hsu’s photographs are sensitively attuned to the contradictions of the place\, entangling allusions to hope and despair\, beauty and pain in an atmospheric and uncanny sequence. Images of disfigured fences and physical injuries are interwoven with spontaneous compositions: a discarded toilet\, a blood-stained mattress\, crashed cars\, a bank ominously aflame. Portraits seek an intimacy with their subjects among the disrepair and cruelty of the urban environment. These disparate and dissonant strands reach a beguiling harmony\, together looking to destruction as a potential source of change and rebirth.” – from the publisher MACK \nExhibition & Book Launch. Opening Reception & Signing: Thursday September 10\, 6 – 9. \nhttps://www.rectangleroom.com/pages/nyc-space
URL:https://jamesmaherphotography.com/event/jerry-hsu-how-about-never/
LOCATION:Rectangle Room\, 113 Eldridge St\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/jerry-hsu-how-about-never-rectangle-room.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260801
DTEND;VALUE=DATE:20260905
DTSTAMP:20260803T154325Z
CREATED:20260803T154325Z
LAST-MODIFIED:20260803T154325Z
UID:10000146-1785542400-1788566399@jamesmaherphotography.com
SUMMARY:seeing-eye engine (featuring: Parker Conrad and Guy Grabowsky)
DESCRIPTION:Curated by Milly Cai \nFrisson Gallery presents seeing-eye engine\, a two-person exhibition featuring Parker Conrad and Guy Grabowsky\, marking the artists’ first exhibition at the gallery. Though working in ostensibly distinct mediums\, Conrad in painting and Grabowsky in photography\, both artists share a preoccupation with the image as a constructed\, unstable object rather than a transparent window onto the world. \nGrabowsky’s works\, built through a hybrid of analogue and digital processes including darkroom\, Xerox\, and flatbed scanner\, aim to rupture the moment of eye-camera-lens-subject encounter by exposing the mechanics and materiality of the photographic image itself. Conrad arrives at a parallel rupture from the opposite direction\, sourcing imagery from personal photographs\, online archives\, and text-to-image generation; they use composite digital blueprints as a scaffold for paintings that render speculative\, almost-familiar anatomies like bodies caught between the organic and the mechanical\, the unmediated and the synthetic. \nPlaced together\, the two bodies of work suggest that photography and painting\, however divergent their tools\, are converging on the same set of questions: what happens to an image and to the body or subject it purports to depict once it has passed through multiple layers of technological apparatus? In an image-saturated visual culture where the line between captured and generated\, analogue and algorithmic\, continues to blur\, Parker Conrad and Guy Grabowsky each stage a version of the image on the verge of dissolving into its own process. seeing-eye engine invites viewers to consider not just what these images show\, but what they reveal about how images are produced and reproduced today.
URL:https://jamesmaherphotography.com/event/seeing-eye-engine-featuring-parker-conrad-and-guy-grabowsky/
LOCATION:Frisson Gallery\, 141 Attorney Street\, New York\, NY\, 10003\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/guy-grabowsky.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260730
DTEND;VALUE=DATE:20260830
DTSTAMP:20260724T192737Z
CREATED:20260724T192737Z
LAST-MODIFIED:20260724T192737Z
UID:10000144-1785369600-1788047999@jamesmaherphotography.com
SUMMARY:Sixteen Corners:
Gus Powell
DESCRIPTION:July 30 – August 29
Opening Thursday\, July 30\, 6-9\nRectangle Room
at Primary Photographic
113 Eldridge St
NY NY 10002

Gus Powell @dirtywhitebucks (NYC\, 1974) attended Oberlin College where he majored in comparative religion. His work has been exhibited internationally\, including a solo show at The Museum of The City of New York and group exhibitions at The Art Institute of Chicago\, Museum of Fine Arts Houston and FOAM\, NL. His photographs have been published in Aperture\, Harpers\, Vogue\, M le mag – Le Monde\, Wired\, Fortune\, W\, and The New Yorker. He is a member of the international street photographers’ collective UP and is on the faculty of the MFA Photography\, Video and Related Media Department at the School of Visual Arts\, NY. \nRectangle Room @rectangle.room is an exhibition space and book store run by Tim Barber @timobarber focusing on contemporary photography. \nPrimary Photographic @primaryphotographic is a full-service film lab offering processing\, scanning\, retouching\, printing\, and darkroom services. \nhttps://www.instagram.com/p/DbLIvGqRkKG
URL:https://jamesmaherphotography.com/event/sixteen-corners-gus-powell/
LOCATION:Rectangle Room\, 113 Eldridge St\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/powell.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260716
DTEND;VALUE=DATE:20260829
DTSTAMP:20260813T222021Z
CREATED:20260813T222021Z
LAST-MODIFIED:20260813T222021Z
UID:10000151-1784160000-1787961599@jamesmaherphotography.com
SUMMARY:On the Road
DESCRIPTION:Inspired by Jack Kerouac’s seminal 1957 novel\, this group photography exhibition conveys stories of everyday life through the unique physical and metaphorical lens of each artist.   \nThe exhibition features Edward Burtynsky’s historic work Breezewood\, Pennsylvania (2008)\, which was showcased in his 2025 solo show The Great Acceleration at the International Center of Photography in New York. Also on view are images by Karen Knorr in collaboration with artist Anna Fox from their series and book U.S. Route 1 (After Berenice Abbott)\, which features 150 photographs taken in small towns from Key West\, Florida\, to Fort Kent\, Maine\, between 2016 and 2025.  \nAlongside are celebrated photographs by gallery artists Steve McCurry and Sebastião Salgado. Los Angeles–based visual artist and actor Toby Huss presents images from across his series of photographs documenting the overlooked visual vernacular of the American landscape and the textures of ordinary life that bind it together. \nhttps://www.sundaramtagore.com/exhibitions/on-the-road
URL:https://jamesmaherphotography.com/event/on-the-road/
LOCATION:Sundaram Tagore Gallery\, 542 W 26th Street\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/on-the-road-sundaram-tagore.jpg
GEO:40.7502775;-74.0047639
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Sundaram Tagore Gallery 542 W 26th Street New York NY 10001 United States;X-APPLE-RADIUS=500;X-TITLE=542 W 26th Street:geo:-74.0047639,40.7502775
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260708
DTEND;VALUE=DATE:20260808
DTSTAMP:20260715T150456Z
CREATED:20260715T150405Z
LAST-MODIFIED:20260715T150456Z
UID:10000143-1783468800-1786147199@jamesmaherphotography.com
SUMMARY:Manifest and Sublime
DESCRIPTION:Yancey Richardson is pleased to announce Manifest and Sublime\, an exhibition that considers the ever-evolving relationship between photography and the American landscape. To explore how photography has represented the landscape in ways that have changed as dramatically as the country itself\, the exhibition brings together works that span the medium’s history\, from mammoth plate albumen prints made by Carleton Watkins in Yosemite National Park to contemporary daguerreotypes made by Binh Danh in the very same place. Whether surveying the immensity of nature or lamenting the scale of change being inflicted upon it\, the images in Manifest and Sublime return time and again to a landscape no less beautiful for the way it has been remade by human intervention. Featuring work by Ansel Adams\, Robert Adams\, Diane Arbus\, Binh Danh\, Mitch Epstein\, Terry Evans\, David Hilliard\, Sky Hopinka\, William Henry Jackson\, Lisa Kereszi\, An-My Lê\, Richard Misrach\, Andrew Moore\, Victoria Sambunaris\, Tseng Kwong Chi\, Carleton Watkins and Charles Leander Weed. The exhibition will be on view from July 8 through August 7\, 2026. An opening reception will be held on Wednesday\, July 8 from 6–8PM. \nWorks by 19th-century photographers William Henry Jackson and Carleton Watkins show how\, from its very inception\, photography was used to ‘discover’ and document vast swaths of the American landscape. In these now-canonical images\, the landscape is pictured as pristine\, limitless\, sublime and\, ultimately\, available for settlement. Where humans are present in these pictures it is often as bystanders to the great drama before them\, one defined by mountain ranges and prairies\, by waterfalls and dense forests. \nThe landscape that was depicted in the work of Jackson and Watkins was shown to be awe-inspiring\, overwhelming and untameable. Working throughout the middle of the 20th-century\, Ansel Adams took a different approach\, one that removed explicit traces of human presence in order to present the landscape as spiritually moving as it was beautifully described. The sharp focus and long tonal range in his photographs were used to create pictures that Adams hoped would persuade the public and their elected officials to protect the landscape from being degraded and destroyed. Where Ansel Adams sought to make photographs that idealized the landscape while obscuring the real effects of human society\, the work of Robert Adams looked both soberly and with sorrow at how urbanization and rampant construction throughout the American west had spoiled its fields\, plains and prairies. Though often mourning what had been lost\, Robert Adams did so by creating scenes that were full of natural splendour and possibility\, all the better to remind us of what we still stand to lose. \n\n\nWhere Ansel Adams glorified the landscape and Robert Adams struck something of a plaintive tone\, the work of more recent photographers reflects how the American landscape has gone from being understood as an untouched Eden to a space of commodification. Richard Misrach’s Outdoor Dining\, Bonneville Salt Flats (1992) and David Hilliard’s Final Destination (2013) each highlight the process of commercializing nature\, while Sky Hopinka’s What am I but half asleep daydreaming those teachings (2023) and Mitch Epstein’s Mount Rushmore National Monument\, Six Grandfathers\, South Dakota (2018) reflect on how our ideas of the American landscape are built upon legacies of violence and forced removal. What is retained in each of these images—regardless of tone or emphasis—is a belief in the landscape as a site of beauty\, connection and even spiritual awakening\, as expressed by An-My Lê’s Pleiades Cluster in Taurus\, Joshua Tree National Park\, California\, from Way Station (2025). In these photographs nature can still enrich our lives and\, in the case of Terry Evans’ Fent’s Prairie\, near Salina\, Kansas\, May 28 & 29 (2018)\, remind us that the landscape\, and our experience with it\, is inseparable from the images we have made and the ways we have constructed meaning out of them. \nhttps://www.yanceyrichardson.com/exhibitions/manifest-and-sublime
URL:https://jamesmaherphotography.com/event/manifest-and-sublime/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/yancey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260707
DTEND;VALUE=DATE:20261004
DTSTAMP:20260906T162211Z
CREATED:20260906T162211Z
LAST-MODIFIED:20260906T162211Z
UID:10000160-1783382400-1791071999@jamesmaherphotography.com
SUMMARY:Dakota Mace: Sǫʼ Baa Hane’ 2023-2025
DESCRIPTION:Higher Pictures presents Sǫʼ Baa Hane’\, the gallery’s first exhibition with Diné artist Dakota Mace. The exhibition brings together nine works made between 2023 and 2025 from two series\, Sǫʼ and Distorted Landscapes. \nMace combines traditional and cameraless photographic methods\, including cyanotype\, chemigram\, and natural dyes such as cochineal and Osage orange\, with hand-applied glass beadwork drawn from motifs in Diné weaving and silversmithing. Working across these process-intensive\, labor-dense materials\, she translates Diné cosmology and oral history into a visual language in which design itself functions as a carrier of narrative. In both series\, land operates not as a pictorial subject but as an archive. Land is a repository of ancestral memory and kinship that\, in Mace’s framing\, resists the proprietary logic of Western land ownership and instead figures place as an extension of the self and a site of intergenerational continuity. \nIn Sǫʼ\, Mace honors the tradition of Diné storytelling\, told by campfire beneath the night sky and passed on only at specific times of year\, especially in winter. Created through cyanotype with cochineal and chemical dyes\, each work is unique but tied together\, a reflection of the Diné philosophy that all things are connected even as each carries its own texture and design. Drawing on designs passed down through weaving\, silversmithing\, and the ancestors who came before\, Mace offers a way for a younger generation to understand what it means to remain connected to their stories. \nhttps://higherpictures.com/exhibitions/dakota-mace-s%C7%AB%CA%BC-baa-hane-story-of-the-stars/
URL:https://jamesmaherphotography.com/event/dakota-mace-s%c7%ab%ca%bc-baa-hane-2023-2025/
LOCATION:Higher Pictures\, 45 Main Street #723\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/dakota-mace-higher-pictures.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260618
DTEND;VALUE=DATE:20260725
DTSTAMP:20260714T055154Z
CREATED:20260714T055154Z
LAST-MODIFIED:20260714T055154Z
UID:10000142-1781740800-1784937599@jamesmaherphotography.com
SUMMARY:Ernest Cole: Black America Unseen
DESCRIPTION:Rediscovered Vintage Prints from a South African in Exile \nGoodman Gallery New York is pleased to present a remarkable group of rare vintage prints by the late South African photographer Ernest Cole\, which resurfaced after more than four decades. Together\, these works offer an extraordinary new perspective on Cole’s years documenting Black life in the United States during the late 1960s and early 1970s. The prints\, preserved within the Hasselblad collection for over 40 years\, were recently returned to the Ernest Cole Family Trust. While a number of vintage prints from Cole’s American body of work are held in institutional collections\, including the Museum of Modern Art\, this group offers a new opportunity to encounter works that have remained largely inaccessible for decades. Following the publication of several of these photographs in The True America – the first book dedicated to Cole’s photographs of Black life in the United States – the exhibition reunites a significant body of vintage prints\, many of which have been scarcely exhibited\, offering an exceptionally unusual insight into a pivotal yet underexamined period of his career.Goodman Gallery New York is pleased to present a remarkable group of rare vintage prints by the late South African photographer Ernest Cole\, which resurfaced after more than four decades. Together\, these works offer an extraordinary new perspective on Cole’s years documenting Black life in the United States during the late 1960s and early 1970s. \nThe prints\, preserved within the Hasselblad collection for over 40 years\, were recently returned to the Ernest Cole Family Trust. While a number of vintage prints from Cole’s American body of work are held in institutional collections\, including the Museum of Modern Art\, this group offers a new opportunity to encounter works that have remained largely inaccessible for decades. Following the publication of several of these photographs in The True America – the first book dedicated to Cole’s photographs of Black life in the United States – the exhibition reunites a significant body of vintage prints\, many of which have been scarcely exhibited\, offering an exceptionally unusual insight into a pivotal yet underexamined period of his career. \n\n\n\n\n\n“You try to make peace with exile – its cruel crutches; the exhausting regrets for things left behind – bodies and souls. The experiences\, feelings\, senses\, odors disappear\, with the ever-growing certainty that you will never get back to your roots.” – Raoul Peck\, An Idea of Exile.\n\nhttps://goodman-gallery.com/exhibitions/black-america-unseen-ernest-cole
URL:https://jamesmaherphotography.com/event/ernest-cole-black-america-unseen/
LOCATION:Goodman Gallery\, 23 East 67th Street\, 2nd Floor\,\, New York\, NY\, 10065\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/ernestcole.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260615
DTEND;VALUE=DATE:20260815
DTSTAMP:20260805T023018Z
CREATED:20260805T023018Z
LAST-MODIFIED:20260805T023018Z
UID:10000147-1781481600-1786751999@jamesmaherphotography.com
SUMMARY:Frank Paulin: Unseen Color
DESCRIPTION:Bruce Silverstein Gallery is pleased to present Frank Paulin: Unseen Color\, 1956 – 2008\, the gallery’s fourth exhibition of work by Frank Paulin (1926–2016) and the first devoted exclusively to the artist’s color photographs. Featuring twenty works spanning more than five decades\, from 1956 to 2008\, this exhibition reveals a body of work that remained virtually unknown during the artist’s lifetime. Shot on color film beginning in the mid-1950s\, these photographs were not printed until late in the artist’s career\, making this presentation a unique opportunity to reconsider the history of early color street photography in America. \nPaulin is widely recognized for his black-and-white street photographs of New York City\, work that earned admiring reviews in the New York Times and the Village Voice when it was first exhibited at Helen Gee’s pioneering Limelight Gallery in 1957. What has remained largely hidden is that Paulin was simultaneously working in color\, producing images of remarkable visual complexity on the streets of Times Square\, Fifth Avenue\, Central Park\, and beyond. These color photographs\, made two full decades before William Eggleston’s landmark 1976 exhibition at the Museum of Modern Art that established color as a legitimate fine art medium\, place Paulin among the earliest practitioners of color street photography in the United States\, alongside contemporaries Saul Leiter\, Ernst Haas\, and Ruth Orkin. \nBorn in Pittsburgh in 1926\, Paulin grew up in New York and Chicago. His education in the arts began at the age of sixteen as an apprentice in fashion illustration and photography at the Whitaker-Christiansen Studio in Chicago. In 1944\, he joined the Army and spent two years in the Signal Corps in Europe\, where he developed his documentary eye by photographing the devastation of German cities. After the war\, Paulin enrolled under the GI Bill at the Institute of Design in Chicago\, arriving on the same day Harry Callahan began teaching there. The Institute of Design\, the newly established American successor to the German Bauhaus\, required photography of all students as part of a utopian curriculum that sought to teach students to think in new and experimental ways. Under the direction of László Moholy-Nagy\, Harry Callahan\, and Arthur Siegel\, Paulin refined his documentary skills and absorbed the school’s emphasis on experimentation with light\, form\, and visual structure. \nBy the end of the 1950s\, Paulin’s education also included studies at the New School under the legendary art director Alexey Brodovitch\, whose Design Laboratory classes shaped an entire generation of photographers and designers\, among them Richard Avedon\, Irving Penn\, Art Kane\, and Hiro. The notoriously demanding Brodovitch described Paulin’s Ferry Boat (1957)\, an image of silhouetted figures flanked by the Statue of Liberty seen through geometric reflections of glass\, in a single word: “Monumental.” \nThe color photographs in this exhibition reveal the full expression of these influences. Paulin’s training as a fashion illustrator gave him an instinct for style\, gesture\, and the urban chaos of New York City and the people that inhabit it. His Bauhaus education gave him the tools to see the city as a field of overlapping planes\, reflections\, and collisions of text and image. The result is a body of color work that operates as visual montage: shop windows become screens through which the street is layered against interior displays; neon signage bleeds into the faces of passersby; revolving doors compress the city into kaleidoscopic fragments. The Los Angeles Times\, reviewing the first exhibition of Paulin’s color photographs in 2009\, described them as “vibrant work… layered assemblages of motion\, reflection\, and signage\, the choreography of the city stilled for a brief\, dynamic moment.” \nIn images such as 5th Ave Window Reflection (1956)\, pedestrians on a crowded sidewalk are superimposed against reflections of buildings and sky\, creating a double exposure effect achieved entirely in the camera. Banker Trust and Yellow Cab (1958) compresses the urban landscape through a revolving door into a single swirling frame of glass\, chrome\, marble\, and motion. Window Reflection (1967)\, depicting an advertisement for fever thermometers overlaid with a ghostly street scene\, layers commerce\, the body\, and the city into a single image that reads as both documentation and abstraction. These are not snapshots colored in. They are photographs that could only exist in color\, where the orange of a balloon against an overcast Central Park sky\, the red blur of a Cadillac seen through plate glass\, or the yellow of a taxi dissolving into a chrome door become the structural elements of the image itself. \nThe exhibition also extends beyond midcentury Manhattan. East Hampton 3 Sunz (1997) captures a child and a sunset through layered reflections of a porch window\, and Corn Field (2000) frames a luminous agricultural landscape at the end of a dark motel corridor\, an image that belongs as much to the tradition of American color photography associated with William Eggleston and Stephen Shore as to Paulin’s New York street work. The latest image in the exhibition\, Street Vender & Bunny (2008)\, proves that Paulin never stopped looking at the absurd theater of the American street. \nFrank Paulin’s work is held in over fifty museum and institutional collections\, including the Museum of Modern Art\, Whitney Museum of American Art\, National Gallery of Art\, Smithsonian American Art Museum\, National Museum of American History\, Museum of Fine Arts Houston\, Yale University Art Gallery\, Harry Ransom Center at the University of Texas\, and Center for Creative Photography at The University of Arizona. His only monograph\, Frank Paulin: Out of the Limelight (Silverstein Publishing\, 2007)\, features an introduction by Max Kozloff and was designed by Massimo Vignelli. \nhttps://brucesilverstein.com/exhibitions/240-frank-paulin-unseen-color-1956-2008/overview/
URL:https://jamesmaherphotography.com/event/frank-paulin-unseen-color/
LOCATION:Bruce Silverstein\, 529 W 20th St\, 4th Floor\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/paulin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260929
DTSTAMP:20260618T140441Z
CREATED:20260618T140441Z
LAST-MODIFIED:20260618T140441Z
UID:10000135-1781136000-1790639999@jamesmaherphotography.com
SUMMARY:Photobooks USA 2000–25
DESCRIPTION:Photobooks USA 2000–25 explores how the photobook has emerged as a powerful tool for artists to respond to the forces shaping contemporary life in the United States. Over the past 25 years\, this evolution is reflected in the growing number of publications\, a wider range of publishers\, bold experimentation in design\, and greater inclusivity. \nFeaturing over 50 photobooks—from out-of-print titles to more recent landmark publications—the exhibition presents a cross section of creators\, themes\, forms\, and subjects\, examining how artists have used the photobook to present and circulate their work in powerful and innovative ways.  \nRather than defining a canon or focusing on bestselling or award-winning titles\, the exhibition brings together books that explore different aspects of the United States. Taken as a whole\, they reflect the artistic\, social\, cultural\, political\, environmental and economic conversations shaping the twenty-first century. \nCurated by ICP’s Creative Director David Campany\, Associate Director of Exhibitions Sara Ickow\, and Curatorial Assistant malaika newsome. \nhttps://www.icp.org/exhibitions/photobooks-usa-2000-25
URL:https://jamesmaherphotography.com/event/photobooks-usa-2000-25/
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/2026/06/photobook-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260929
DTSTAMP:20260618T140228Z
CREATED:20260618T140228Z
LAST-MODIFIED:20260618T140228Z
UID:10000134-1781136000-1790639999@jamesmaherphotography.com
SUMMARY:Yves Saint Laurent and Photography
DESCRIPTION:Yves Saint Laurent and Photography explores the powerful relationship Yves Saint Laurent forged between fashion and photography over four decades\, revealing how photography functioned not only as a tool for promotion but also as a creative force that helped define a legacy. Organized in collaboration with the Musée Yves Saint Laurent Paris and the Fondation Pierre Bergé–Yves Saint Laurent\, it brings together nearly 300 iconic photographs and archival objects. \nFeaturing work by celebrated artists such as Richard Avedon\, Cecil Beaton\, Guy Bourdin\, Robert Doisneau\, Horst P. Horst\, William Klein\, Annie Leibovitz\, Steven Meisel\, Duane Michals\, Helmut Newton\, Irving Penn\, David Seidner\, Andy Warhol\, and others\, the exhibition pairs these photographs with contact sheets\, campaign materials\, magazines\, and personal images. Together\, they reveal how Yves Saint Laurent established a blueprint for the way the fashion world is visualized and understood today. \nCurated by Simon Baker\, Guest Curator and photography historian; Nastasia Alberti\, Deputy Head of Collections and Head Archivist; and Clémentine Cuinet\, Head of Photographic Collections\, both of the Musée Yves Saint Laurent Paris. \nAbout Yves Saint Laurent \nYves Mathieu-Saint-Laurent (b. 1936\, Oran\, Algeria) began his career in Paris in 1955 as an assistant to renowned couturier Christian Dior. Following Dior’s sudden death in 1957\, Yves Saint Laurent was appointed artistic director of the Musée Yves Saint Laurent Paris and his designs quickly gained critical acclaim. Dismissed from Dior in 1960 after military service and a subsequent hospitalization for depression\, he founded his own couture house in partnership with Pierre Bergé\, whom he had met in 1958. The first collection was presented in 1962 and the house became known for reinterpreting traditionally masculine garments like pantsuits and trench coats into bold\, feminine looks that redefined the wardrobe of the modern woman.  \nIn 1966\, he launched SAINT LAURENT rive gauche\, a ready-to-wear line with stores opened internationally. Influenced by different cultures\, Yves Saint Laurent’s designs paid tribute to artists including Mondrian\, Picasso and Van Gogh and drew inspiration from faraway places––most notably Marrakech. This prolific output spanned thirty years and was the subject of numerous awards and exhibitions across the globe. Yves Saint Laurent retired and closed the couture house in 2002\, at which point the newly-formed Fondation Pierre Bergé–Yves Saint Laurent assumed responsibility for advancing and safeguarding his work. Yves Saint Laurent died at his Paris home on June 1\, 2008\, at the age of seventy-one. \nIn 2017\, the Fondation Pierre Bergé–Yves Saint Laurent was re-envisioned with the opening of two museums in Paris and Marrakech. These institutions preserve and celebrate one of the twentieth century’s most defining creative legacies. \nAbout Musée Yves Saint Laurent Paris \nThe Musée Yves Saint Laurent Paris\, chaired by Madison Cox\, is the first museum dedicated to one of the greatest couturiers of the twentieth century to open in the capital of fashion. It opened its doors on October 3\, 2017\, fifteen years after the closing of the haute couture house and obtained the designation ‘Musée de France.’ It occupies the historic hôtel particulier at 5 Avenue Marceau where for nearly thirty years\, from 1974 to 2002\, Yves Saint Laurent’s creative genius held sway. The museum’s vast collection includes 12\,000 garments\, including 8\,300 haute couture pieces more than 100\,000 graphic artworks\, including 55\,000 fashion sketches by the couturier and 194\,000 photographs comprising of diapositives\, negatives and vintage and modern prints\, as well as an archive of more than 4\,000 magazines and 60\,000 documents\, including correspondence\, audiovisual materials and personal objects\, completing the collection. This ensemble is the result of the pioneering and systematic archival work initiated by Yves Saint Laurent and Pierre Bergé. The Musée Yves Saint Laurent Paris is temporarily closed for renovations. It is scheduled to reopen in the fall of 2027. \nHeader image: Ensemble worn by Edia Vairelli\, Haute Couture Spring/Summer 1982 collection\, 5 Avenue Marceau\, Paris\, January 1982. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent; Tailored suit worn by Anna Karin\, Haute Couture Autumn/Winter 1991 collection\, 5 Avenue Marceau\, Paris\, July 1991. Polaroid by fashion house staff © All rights reserved © Yves Saint Laurent \nhttps://www.icp.org/exhibitions/yves-saint-laurent-and-photography
URL:https://jamesmaherphotography.com/event/yves-saint-laurent-and-photography/
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/2026/06/yves-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260611
DTEND;VALUE=DATE:20260914
DTSTAMP:20260618T140738Z
CREATED:20260618T140738Z
LAST-MODIFIED:20260618T140738Z
UID:10000136-1781136000-1789343999@jamesmaherphotography.com
SUMMARY:Andrea Hernández Briceño: Fire Becomes Spirit (ICP Incubator Space)
DESCRIPTION:ICP’s Incubator is located on ICP’s ground floor. The space is free and open to the public during café and museum hours.   \nPhotographer and ICP alum Andrea Hernández Briceño has been documenting the indigenous Huöttöja people in the Amazon basin since 2024. Many members of the Huöttöja community feel the pull of the mining industry\, which promises to make them rich but threatens to dilute their culture. Hernández Briceño was invited to document their traditions and ancestral knowledge as a way to preserve them\, but also set herself the goal to avoid being another outsider that left them feeling exploited. She aims to create a body of work that reflects the Huöttöja worldview and spirituality by nurturing a long term relationship with the community and its main goal: to show us that humans are not separate from nature\, but an extension of it.   \nAbout The Artist \nAndrea Hernández Briceño is a Venezuelan journalist\, visual storyteller\, Magnum Foundation fellow\, TEDx speaker and National Geographic explorer based in Caracas. She tells representative stories about gender\, environment and social phenomena that put the dignity of participants in the center of the narrative while using different formats and a perceptive approach to magic. She was awarded the Women Photograph grant in 2024\, three POY Latams (2023 and 2025) and has been shortlisted for the Marilyn Stafford Award twice.  \nHernández Briceño co-founded the all women collectives Ayün Fotógrafas and Solunar. She teaches the Ojo Pelao and MiraVzla free workshops\, making photography education more accessible in her country. She believes in the importance of creating alliances with communities through horizontal practices that combine education\, community building and storytelling initiatives. Her work explores narratives that search for humanity in the space between seemingly opposing ideas as a result of growing up\, documenting and resisting in Venezuela\, a place of deep contradictions.  \nAs part of a team effort she published a book called Mango Season that looks into food insecurity and the resolve to live a dignified life in Venezuela with Raya Editorial and El Archivo. Hernández Briceño collaborates with The Washington Post\, The Guardian\, El País and other international outlets. Her work has been exhibited in New York\, Paris\, Mexico City and Venezuela.  \nAbout the ICP Incubator Space \nICP’s Incubator Space is a new exhibition program designed to highlight the work of emerging photographers who are responding in real time to the world around us. ICP will present a rotating selection of projects by imagemakers experimenting with and pushing boundaries around the documentary tradition. ICP’s Incubator Space is curated by Sara Ickow\, Associate Director of Exhibitions at ICP.  \nHeader image: A light shines upon the tip of the Huöttöja communal home “churuata” in the Amazonas state\, Venezuela\, on April 21\, 2025. In the indigenous Huöttöja people’s worldview\, this branch functions as an antenna connecting the earth with the spiritual realm. The “churuata” is the place where shaman Jattupa tells the stories that conform the Huöttöja way of life\, viewing humans not as separate from nature but as an extension of it. \nhttps://www.icp.org/exhibitions/icp-incubator-space-andrea-hernandez-brice%C3%B1o-fire-becomes-spirit
URL:https://jamesmaherphotography.com/event/andrea-hernandez-briceno-fire-becomes-spirit-icp-incubator-space/
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/2026/06/Briceno-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260605
DTEND;VALUE=DATE:20260725
DTSTAMP:20260713T151200Z
CREATED:20260713T151200Z
LAST-MODIFIED:20260713T151200Z
UID:10000141-1780617600-1784937599@jamesmaherphotography.com
SUMMARY:Manuel Álvarez Bravo
DESCRIPTION:New York Life Gallery is pleased to present Manuel Álvarez Bravo (1902–2002)\, curated by Johann Mergenthaler in collaboration with the Estate of Manuel Álvarez Bravo and the Archivo Manuel Álvarez Bravo. This marks the first presentation of this group of photographs in the Americas\, following its initial exhibition at Galerie Carole Lambert\, Paris (November 11–December 18\, 2025). Expanding on the earlier presentation in Paris\, the exhibition includes several works that have never before been exhibited or published.\n\n\n\n“There is time…” Manuel Álvarez Bravo liked to say. Graciela Iturbide\, his protégée and now a legend of Mexican photography in her own right\, described watching her mentor at work\, stopping with his camera\, waiting for something to happen. Looking\, lingering\, passing the time. Álvarez Bravo\, she says\, taught her about life\, and it would seem few people understood life—including its mysteries and shapeshifting surfaces\, its very resistance to understanding—as well as he did. \nBorn in 1902\, he lived a hundred years\, during which he witnessed the violence of revolution\, the rise of a global avant-garde\, and the transformation and modernization of his country; in an interview from the 1990s\, he lamented that even the light in Mexico City had changed. Although introduced to photography as a child\, his first forays into the working world were jobs at a textile factory\, the Mexican Treasury department\, and for the head of a utilities company—a role that\, by happenstance\, placed him in contact with a selection of international photography magazines\, rekindling that early interest in the medium. Pictorialism still held sway in early 1920s and Álvarez Bravo initially followed suit\, studying the techniques that gave photographs an affected\, painterly look\, before disowning the style (and destroying his early work) in favor of clarity and directness—an approach championed by his friends Edward Weston and Paul Strand. Even so\, for Álvarez Bravo things are never straightforward description. \nHe understood that the camera offered the capacity to bear witness\, to transmit social strife. He famously made a bloody image of a murdered striking sugar worker named Resendo in the 1930s. But he tended to be drawn to the subtle dramas of the everyday: stretched light\, creeping shadows\, obscured figures rendered\, despite the sun’s incandescent intensity\, with delicate\, dreamlike softness. The world as he found it was abstract and strange\, waking life its own phantasmagoria. European influences mingled with the ancient and pre-Colombian. Álvarez Bravo created an indelible record of form and ritual in Mexico: angular patterning decorating a ruin in Oaxaca\, mannequins frozen mid-laughter in a shop window\, the austere geometry of a dense cacti forest\, religious iconography\, folk festivals and celebrations\, portraits of Indigenous communities. He photographed gravesites\, funerals\, toy skulls\, reflecting a culture steeped in the connectedness of life and death. The small altars he constructed in his home\, built with small stones and other detritus\, suggest that he believed everything\, even the most seemingly mundane\, was worthy of elevation through attention. \nIn 1939\, André Breton featured Álvarez Bravo in an exhibition called “Mexique” and he appeared in Minotaure\, the unofficial organ of the Surrealist movement. Even though his photography is often interpreted in relation to Surrealism\, he wasn’t entirely fond of the term\, even if there is a bit of automatism\, of the subconscious at play\, in his description of his process. “It is part of my life to take photographs\, to develop\,” he said. “It is like eating. It is a spontaneous thing.” He was out on the streets\, moving about the countryside\, among the physical world making images that not only described but transformed reality. He often cited the influence of Eugène Atget\, whose chronicle of a changing fin de siècle Paris was also celebrated by the Surrealists. Both Atget and Álvarez Bravo observed fading architecture\, commercial storefronts\, eerily empty streets. Locations bound by their historical moment but somehow out of time. Álvarez Bravo credits Atget with shaping his way of looking. “He made me gaze differently. He made me conscious of where I walked and what I saw.” Today\, Álvarez Bravo’s gaze does the same for us; it is a reminder of the possibility of revelation close to home. \n–Michael Famighetti \nManuel Álvarez Bravo’s work has been the subject of numerous solo exhibitions\, beginning with Galería Posada\, Mexico City\, MX (1932)\, following his inclusion in the First Salón Mexicano de la Fotografía (1928). His career went on to include over 150 solo exhibitions and participation in more than 200 group exhibitions. Notable presentations include exhibitions at the Palacio de Bellas Artes\, Mexico City\, MX (including a 1935 exhibition alongside Henri Cartier-Bresson with catalogue texts by Langston Hughes and Luis Cardoza y Aragón\, and a retrospective in 1968); the Pasadena Art Museum and the Museum of Modern Art\, New York\, NY (1971); the Corcoran Gallery of Art\, Washington\, DC (1978); the National Library of Spain\, Madrid\, ES (1985); and the J. Paul Getty Museum\, Los Angeles\, CA (2001). His work was included in André Breton’s surrealist exhibition at Galería Inés Amor (1940)\, Twenty Centuries of Mexican Art (1940) at the Museum of Modern Art\, New York\, NY\, and Edward Steichen’s The Family of Man (1955)\, which traveled\ninternationally. \nWorks by the artist are held in major public collections worldwide\, including the Museum of Modern Art\, New York\, NY; Metropolitan Museum of Art\, New York\, NY; Instituto Nacional de Bellas Artes (Museo de Arte Moderno)\, Mexico City\, MX; Fundación Televisa\, Mexico City\, MX; Fomento Cultural Banamex\, Mexico City\, MX; Bibliothèque nationale de France\, Paris\, FR; Musée d’Art Moderne de la Ville de Paris\, FR; Fonds national d’art contemporain\, Paris\, FR; Hasselblad Foundation\, Gothenburg\, SE; Art Institute of Chicago\, IL; George Eastman Museum\, Rochester\, NY; Museo de Arte Moderno\, Caracas\, VE; National Museum of Modern Art\, Kyoto\, JP; J. Paul Getty Museum\, Los Angeles\, CA; Victoria and Albert Museum\, London\, UK; Philadelphia Museum of Art\, Philadelphia\, PA; New Orleans Museum of Art\, New Orleans\, LA. \nhttps://www.newyorklifegallery.com/exhibitions/19-manuel-alvarez-bravo-19022002/press_release_text/
URL:https://jamesmaherphotography.com/event/manuel-alvarez-bravo/
LOCATION:New York Life Gallery\, 167 Canal St Fl 5\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/07/manuel.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260604
DTEND;VALUE=DATE:20260913
DTSTAMP:20260618T135657Z
CREATED:20260618T135657Z
LAST-MODIFIED:20260618T135657Z
UID:10000133-1780531200-1789257599@jamesmaherphotography.com
SUMMARY:Allen Ginsberg & Vivian Maier: Notes from the Margins
DESCRIPTION:Howard Greenberg Gallery will present Notes from the Margins: Allen Ginsberg and Vivian Maier\, a new exhibition marking the centennial of two singular artists born in 1926\, whose work emerged from the cultural periphery and came to leave a lasting mark on the visual and literary imagination of the 20th century. On view from June 4 through September 12\, 2026\, Notes from the Margins offers a timely reconsideration of two distinct yet unexpectedly resonant artistic legacies. Bringing together Ginsberg’s poetic and photographic sensibility with Maier’s extraordinary street photography\, the exhibition explores how each transformed everyday experience into a powerful record of memory\, observation\, and human presence. \nThe legacies of Allen Ginsberg and Vivian Maier endure. For Ginsberg\, poetry and photography became a vehicle for radical openness – documenting queer identity\, political unrest\, spiritual searching\, and the emotional intensity of postwar America. Maier\, who spent much of her life working as a nanny while privately producing an immense body of photographs\, only discovered by chance after her death\, transformed ordinary city life into an imperishable and deeply human visual archive. Neither artist fit comfortably within institutional frameworks during much of their lives\, yet both produced work that continues to challenge ideas of visibility\, authorship and belonging. \nGinsberg (1926 – 1997) is primarily known as a great American poet\, the figurehead of the Beat Movement (the post-World War ll American literary and social movement centered in New York and San Franciso). But from the early 1950s to about 1964\, he regularly used an inexpensive camera to take snapshots of his now famous friends\, including the writers Jack Kerouac\, William Burroughs\, Gregory Corso\, and Neal Cassady. Almost all are affectionate\, straightforward portraits. Many have a subtly playful spirit\, and some carry Ginsberg’s annotations handwritten on prints. Soon after making these pictures\, Ginsberg lost the camera he’d been using\, and it would be another 20 years before he would return to photography. \nMaier (1926 – 2009) was an American street photographer whose massive\, unseen body of work came to light when it was purchased from an auction in Chicago in 2007. Maier worked in Chicago for most of her life. In her leisure time\, she ventured into the art of photography. Consistently taking photographs over the course of five decades\, she would ultimately leave behind over 100\,000 negatives. While her photographs have compelled viewers around the world since being brought to the public eye\, there is much that remains unknown about the enigmatic woman behind the lens. \nNotes from the Margins features approximately 80 modern and vintage prints\, along with Maier’s experimental film footage and a film of Ginsberg reciting his poem “Howl.” Self-portraits and the urban landscape are a recurring thread through the exhibition. Together\, Ginsberg’s and Maier’s work reveals two singular modes of looking: one public and outspoken\, the other private and elusive. \nEach artist used the camera—and\, in Ginsberg’s case\, language as well—to record fleeting moments\, overlooked people\, and the textures of modern city life. By placing these works in conversation\, the exhibition highlights themes of observation\, self-fashioning\, solitude\, marginality\, and the enduring power of artists who worked beyond conventional expectations of fame\, audience\, and recognition. It considers the margin not simply as a place of absence\, but as a generative space – one where alternative histories\, identities and visual languages take shape. In many ways\, the margin functions as a site of invention. \nNotes from the Margins: Allen Ginsberg and Vivian Maier is part of an extensive series of events happening throughout the year marking the Ginsberg centennial. \nhttps://www.howardgreenberg.com/exhibitions/198-allen-ginsberg-and-vivian-maier-notes-from-the-margins/
URL:https://jamesmaherphotography.com/event/allen-ginsberg-vivian-maier-notes-from-the-margins/
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/2026/06/Howard.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260529
DTEND;VALUE=DATE:20260703
DTSTAMP:20260618T135040Z
CREATED:20260618T135040Z
LAST-MODIFIED:20260618T135040Z
UID:10000132-1780012800-1783036799@jamesmaherphotography.com
SUMMARY:Victoria Sambunaris: Fall Line
DESCRIPTION:Yancey Richardson is pleased to present Fall Line\, an exhibition of new work by Victoria Sambunaris that continues her ongoing project of examining changes to the landscape of the American West resulting from human intervention. Featuring seven large-scale photographs taken over several years with a large format\, five-by-seven wooden field camera\, this exhibition investigates the complex topography of waterflows\, their cultural significance and their current precarity\, particularly that of the vast Colorado River system with its seven-state reach and many of its tributaries and drainage systems now diminished or dry. Highly detailed and dramatically composed\, Sambunaris’ topographic portraits convey a deeply layered sense of place and our complex relationship to a post-colonial West. The exhibition will be on view from May 29 through July 2\, 2026. An opening reception will be held on Friday\, May 29 from 6–8PM. \nFall Line builds upon Sambunaris’ 2023 exhibition with the gallery\, High and Dry\, which explored the California desert from the reservoir at Lake Mead in Nevada to the All-American Canal\, a marvel of engineering that delivers water to California’s Imperial Valley. Following the heavy rains of Hurricane Hilary in August of that year\, Sambunaris took a detour to Death Valley’s Badwater Basin\, the lowest point in North America\, which had transformed into an ephemeral lake—a six-mile wide\, one-foot-deep body of water that appears only rarely\, then evaporates. From there\, she shifted emphasis to the Colorado River’s broader geography. Over several trips made between 2023-2025\, covering northeast Colorado down to the Mexican border of California and Arizona\, Sambunaris made images not only of the river but of the monumental terrains shaped by its presence and its absence.  \nCaptivated by the primordial landscapes that now serve as sites for agriculture\, industry and recreation\, and inspired by the intrepid 19th-century photographers whose historic work helped to form an earlier understanding of the region\, Sambunaris has embarked on extended\, solitary road trips each year since 1999\, creating her own unique form of cultural landscape photography\, which details the ever-changing ways humans inhabit the landscape. The awesome perspectives in her photographs—each of which she achieves with a restrained and methodical approach\, traversing the terrain on foot and waiting sometimes hours for the precise light to appear—are troubled by the subtle traces of powerlines\, housing developments\, railways and people themselves\, reduced as they often are to nearly microscopic proportions. Though nature remains sublime in Sambunaris’ work\, it is ever tempered by civilization’s steady march. \nEven where human subjects are absent\, evidence of their activity disrupts otherwise placid views\, highlighting the long-term effects of rapacious development of the land for extractive purposes. In her photographs\, Sambunaris effectively situates competing and oftentimes contradictory concerns of different communities—ranchers\, oil workers\, miners and urban populations who look on from afar—within the deep time scale of geological history. As water depletion continues to impact the Colorado River and in turn shape the broader region\, Sambunaris’ photographs remind us of the urgency of this crisis while also vividly depicting the abiding beauty of the landscape\, showing us what can still be lost.  \n\n\nCopies of Victoria Sambunaris: Transformation of a Landscape\, published by Radius Books in 2024\, will be available at the gallery. Her first book in over ten years\, Transformation of a Landscape shares the nuance and majesty of Sambunaris’ practice in a large-scale book format that features archival documentation of experiences and observations on the road\, such as snapshots\, maps\, road logs\, journals\, geology and history books\, mineral specimens artifacts and an essay by Angie Keefer.  \nVictoria Sambunaris was born in Lancaster\, Pennsylvania in 1964\, and currently lives and works in New York. She received a BA from Mount Vernon College in 1986 and an MFA from Yale University School of Art in 1999. She has held teaching positions at Yale University and Sarah Lawrence College\, and is currently Guest Critic at Yale School of Architecture.  \nHer work has been widely exhibited in museums and galleries throughout the United States including National Gallery of Art\, Washington\, DC; Museum of Modern Art\, New York; San Francisco Museum of Modern Art; Albright-Knox Art Gallery\, Buffalo; Museum of Contemporary Photography\, Chicago; Contemporary Arts Museum Houston; and New Mexico Museum of Art\, Santa Fe. Her work can be seen in numerous collections throughout the United States\, including those of the Albright-Knox Art Gallery\, Buffalo; Lannan Foundation\, Santa Fe; Museum of Fine Arts\, Houston; The Museum of Modern Art\, New York; the National Gallery of Art\, Washington\, DC; San Francisco Museum of Modern Art; and Whitney Museum of American Art\, New York. \nSambunaris has received numerous awards\, including the John Simon Guggenheim Memorial Foundation Fellowship (2021); Charles Red Fellowship in Western American Studies\, Brigham Young University (2015); Aaron Siskind Foundation Individual Photographer’s Fellowship (2010); and the Anonymous Was a Woman Award (2010). A monograph of her work\, Taxonomy of a Landscape: Victoria Sambunaris\, was published by Radius Books in 2013. \nhttps://www.yanceyrichardson.com/exhibitions/victoria-sambunaris6
URL:https://jamesmaherphotography.com/event/victoria-sambunaris-fall-line/
LOCATION:Yancey Richardson\, 525 West 22nd Street\, New York\, NY\, 10011\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/Yancey.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260522
DTEND;VALUE=DATE:20261026
DTSTAMP:20251202T061315Z
CREATED:20251202T061315Z
LAST-MODIFIED:20251202T061315Z
UID:10000107-1779408000-1792972799@jamesmaherphotography.com
SUMMARY:Hujar: Contact
DESCRIPTION:Hujar:Contact offers an unprecedented look into the life\, times\, and creative evolution of a master photographer. The exhibition features more than 110 contact sheets and 20 enlargements from the Morgan’s Peter Hujar Collection\, which includes over 5\,700 contact sheets from throughout the artist’s career. \nPeter Hujar (1934–1987) began filing contact sheets and assigning them job numbers at age twenty-one. His records make it possible to track his development—from two decades as a studio assistant (1955–67)\, when he pushed himself to try work of every kind\, into the late 1960s and his work as a freelancer in fashion\, music\, and advertising\, through his mature period (1974–87) as a fiercely independent and influential artist in the East Village. \nMany of the contact sheets bear editing marks that indicate ideas about cropping and printing and contextualize the exposures Hujar ultimately decided to enlarge. The intense\, interactive quality of his portrait work comes to life in contact sheets that read as intimate pictorial narratives\, revealing the nature of his attention and the unique personality of each of his subjects. As Hujar matures and struggles\, and as the character of his social world changes from the 1950s through the 1960s\, 1970s\, and 1980s\, his contact sheets tell the nuanced story of a lifetime\, a community\, and an era. \nhttps://www.themorgan.org/exhibitions/hujar-contact
URL:https://jamesmaherphotography.com/event/hujar-contact/
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/2025/12/Hujar_Sontag_422054v_0002.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260516
DTEND;VALUE=DATE:20260531
DTSTAMP:20251125T175523Z
CREATED:20251125T175523Z
LAST-MODIFIED:20251125T175523Z
UID:10000100-1778889600-1780185599@jamesmaherphotography.com
SUMMARY:Photoville 2026
DESCRIPTION:SUBMIT YOUR WORK! Photoville Festival 2026\n  \nCelebrating 15 Years of Photoville!\nWe are gearing up for our 15th anniversary festival in 2026\, and we cannot wait to see what you will bring. With the steadfast support of our longtime partners — Brooklyn Bridge Park\, NYC Parks\, and a vibrant network of cultural institutions and public spaces across the city — Photoville remains a platform for photographers\, educators\, and curators from around the world to share powerful visual stories that connect and inspire. \nSubmit a Proposal Today!\nOur Photo Village will be returning to Brooklyn Bridge Park – with additional open-air exhibitions in NYC Parks\, and other NYC cultural institutions and public spaces throughout the five boroughs.
URL:https://jamesmaherphotography.com/event/photoville-2026/
LOCATION:Photoville\, 17 Water St\, Brooklyn\, NY\, 11201\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/11/photoville.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260512
DTEND;VALUE=DATE:20260702
DTSTAMP:20260618T161919Z
CREATED:20260618T161919Z
LAST-MODIFIED:20260618T161919Z
UID:10000139-1778544000-1782950399@jamesmaherphotography.com
SUMMARY:Nobuyoshi Araki and Roe Ethridge
DESCRIPTION:Anton Kern Gallery presents Nobuyoshi Araki and Roe Ethridge\, a photography exhibition selected and sequenced by Ethridge\, that brings together two series from Araki’s archive alongside works by Ethridge\, both new and revisited. \nFor the exhibition\, Ethridge has created new prints for his series Floral Arrangements (1995–1997/2026): pinhole photographs of carnations\, daisies\, and other flowers bought in bulk and arranged in thrift store vases that he painted\, against floral textile fabrics. For each image\, he worked directly onto the textiles using acrylic paint\, editing their existing patterns—filling in visual “noise\,” establishing a palette\, and reconfiguring the ground before introducing the vase and selecting the flowers. Suburban decorative codes and memories of his mother’s floral arrangement calendars are reframed through flattened pictorial space. His use of the pinhole lens softens detail and disperses focus\, giving the images a kind of “Pop Pictorialism”: a synthesis of the flat affect of pop with the dreamy impressionistic intentions of the late 19th and 20th-century photography movement. \nFor Ethridge\, his Floral Arrangements are in an unintended dialogue with Nobuyoshi Araki’s Painted Flowers (2004)\, in which bouquets and foliage were dripped with Liquitex before being photographed. Though not included in the exhibition\, the memory of Painted Flowers sparked Ethridge’s decision to reengage the pinhole flower images for Nobuyoshi Araki and Roe Ethridge. In both series\, painterly intervention is integral\, and the photograph becomes not an objective record but a site of layered construction. \nFrom Araki’s archive\, the exhibition includes works from Flower Cemetery (2017)—cut flower bouquets arranged with plastic figurines like dinosaurs and action figures\, and other uncanny objects—and Tokyo Nude (1989)\, which pairs female nudes with mundane views of the city. In both series\, meaning emerges through juxtaposition: Tokyo’s backstreets—its “naked” face—are set against the naked female body\, collapsing private and public experiences within a single work. In Flower Cemetery\, the bouquets read less as still lifes than as psychological assemblages\, animated by the residual charge of their embedded figures and disrupting any straightforward notion of beauty. \nTwo of Ethridge’s new works on view\, Romantic Hand with Goossens Crystal Flowers and Egyptian Funerary Mask and Me\, were part of a 2025 commissioned series of still life images for the inaugural issue of Chanel Arts & Culture Magazine. In these tableaux\, Ethridge combines materials from Chanel’s historical archives\, as well as artifacts and objects from Gabrielle Chanel’s apartment at 31 rue Cambon with set design elements. Also on view is Sculptures on a Shelf\, 1st Floor\, Joel Shapiro Studio\, September 2025\, 2026\, made in the late sculptor’s studio\, which presents a wooden shelf holding painted objects\, irregular blocks and forms in pastels\, black\, and white\, that register as provisional sculpture. Together\, the works trace the afterlives of objects and the formal connections to works in the exhibition by both Araki and Ethridge. \nLanding in Tokyo\, 2026\, an image made with Ethridge’s iPhone upon his arrival in Japan (for his exhibition Fugue at 31 rue Cambon)\, recalls the diaristic\, spontaneous mode Araki has long practiced and theorized as “I-photography” (shi-shashin): the camera as a record of presence\, before the image has time to become deliberate. Simultaneously\, it invokes a more universal\, contemporary gesture that we almost all participate in: the taking of a picture out of an airplane window. In Ethridge’s version\, the blue clouds and Tokyo Bay appear in a monochrome\, with Mount Fuji floating in the distance; the scene both ordinary and sublime. The image connects to the diaristic sensibility of the Tokyo Nudes as well as the atmospheric and Pictorialist qualities of the pinhole flowers. \nhttps://www.antonkerngallery.com/exhibitions/521-nobuyoshi-araki-and-roe-ethridge/
URL:https://jamesmaherphotography.com/event/nobuyoshi-araki-and-roe-ethridge/
LOCATION:Anton Kern Gallery\, 16 E 55th St\, New York\, NY\, 10022\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/06/araki-anton.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260508
DTEND;VALUE=DATE:20260511
DTSTAMP:20251202T064018Z
CREATED:20251202T063941Z
LAST-MODIFIED:20251202T064018Z
UID:10000109-1778198400-1778457599@jamesmaherphotography.com
SUMMARY:ICP Photobook Fest 2026
DESCRIPTION:The ICP Photobook Fest presents leading photobook publishers\, independent and small presses\, artist book makers\, and photographers showcasing and celebrating their latest image-based books. The three day event also hosts in-person book signings\, conversations\, workshops and more\, spanning the entire building at the International Center of Photography located on the Lower East Side in New York City. \nhttps://www.icp.org/content/icp-photobook-fest-2026
URL:https://jamesmaherphotography.com/event/icp-photobook-fest-2026/
LOCATION:International Center of Photography\, 84 Ludlow Street\, New York\, NY 10002\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/05/icpphotobookfestival-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260430
DTEND;VALUE=DATE:20261020
DTSTAMP:20260906T152623Z
CREATED:20260906T152623Z
LAST-MODIFIED:20260906T152623Z
UID:10000152-1777507200-1792454399@jamesmaherphotography.com
SUMMARY:Andy Warhol Family Album
DESCRIPTION:Few American artists have shaped modern visual culture as profoundly as Andy Warhol (1928–1987)\, whose experimentation with mass media helped define what it means to be an artist in an image-saturated age. Photography was central to Warhol’s philosophy and his obsession with self-representation. He carried a camera with him wherever he went\, taking hundreds of thousands of photographs during his career. Warhol purchased his first Polaroid in the mid-1960s\, and by the early 1970s\, it would become his tool of choice: both the Big Shot model\, ideal for close-ups with its fixed lens and bright flash\, and the more versatile\, portable SX-70. This technology was instrumental to his process—forming the first stages of his commissioned silkscreen portraits and a mode through which he could document compulsively\, treating his own life as material.  \nAndy Warhol Family Album presents a collection of Polaroids from 1972 to 1973 that captures Warhol’s immediate world of collaborators\, celebrities\, and friends. These photographs come from one of six Holson albums containing hundreds of snapshots Warhol maintained as a personal archive and named for the brand’s generic product type: the “family album.” Together the images—ranging from posed portraits and candid shots of guests visiting his home in Montauk\, Long Island\, to documentation of his travels to Europe and even pictures of his dog Archie—offer a varied glimpse into Warhol’s day-to-day life. \nhttps://whitney.org/exhibitions/andy-warhol-family-album
URL:https://jamesmaherphotography.com/event/andy-warhol-family-album/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort St\, New York\, NY\, 10014\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/WMAA68946_WMAA68946_2014_29_536_cropped-CBjwvM.jpe
END:VEVENT
END:VCALENDAR