BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//New York Photography, Prints, Portraits, Events, Workshops - ECPv6.17.0//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://jamesmaherphotography.com
X-WR-CALDESC:Events for New York Photography, Prints, Portraits, Events, Workshops
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/New_York
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20240310T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20241103T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20250309T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20251102T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20260308T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20261101T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20270314T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20271107T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20280312T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20281105T060000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0500
TZOFFSETTO:-0400
TZNAME:EDT
DTSTART:20290311T070000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0400
TZOFFSETTO:-0500
TZNAME:EST
DTSTART:20291104T060000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;VALUE=DATE:20250101
DTEND;VALUE=DATE:20280102
DTSTAMP:20251203T225112Z
CREATED:20250317T001947Z
LAST-MODIFIED:20251203T225112Z
UID:10000005-1735689600-1830383999@jamesmaherphotography.com
SUMMARY:New York at its Core: 400 Years of NYC History
DESCRIPTION:“Framed around the key themes of money\, density\, diversity\, and creativity\, New York City’s history and future come alive in this first-of-its-kind exhibition\, through the stories of innovation\, energy\, struggle\, and the vision of generations of immigrants\, politicians\, tycoons\, dreamers\, master builders\, and ordinary New Yorkers. \nNew York at Its Core captures the human energy that drove New York to become a city like no other\, featuring the city’s “big personalities” – among them\, Alexander Hamilton\, Walt Whitman\, Emma Goldman\, JP Morgan\, Fiorello La Guardia\, Jane Jacobs\, and Jay Z. The stories of lesser-known New York personalities\, like Lenape chieftain Penhawitz and Lower East Side denizen Susie Rocco\, also figure prominently in the exhibition\, as do some of the furred and shelled residents who shaped the city’s economic and daily life – among them\, the pig\, the beaver\, and the oyster. \nThrough almost 450 historic objects and images\, many from the Museum’s rich collection\, as well as contemporary video\, photography\, and interactive digital experiences\, we welcome you to dive deep into the city’s past and create your own visions for its future.” \nhttps://www.mcny.org/nyatitscore
URL:https://jamesmaherphotography.com/event/new-york-at-its-core-400-years-of-nyc-history/
LOCATION:Museum of the City of New York\, 1220 5th Avenue\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2025/03/image-4.jpeg
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
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: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: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: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: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: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:20260909
DTEND;VALUE=DATE:20261130
DTSTAMP:20260906T163744Z
CREATED:20260906T163744Z
LAST-MODIFIED:20260906T163744Z
UID:10000163-1788912000-1795996799@jamesmaherphotography.com
SUMMARY:New Openings Against Old Surfaces: On Gordon Matta-Clark’s Walls Paper
DESCRIPTION:Printed Matter is pleased to present New Openings Against Old Surfaces: On Gordon Matta-Clark’s Walls Paper\, the first exhibition focused specifically on the publishing output of pioneering artist Gordon Matta-Clark\, with a particular focus on his project Walls Paper. The show offers an in-depth consideration of the 1973 publication\, situating the work as a key experiment within the artist’s diverse and ambitious practice\, and with the artists’ book medium at large. The exhibition is organized with the participation of the Estate of Gordon Matta-Clark\, with materials drawn from its archives\, and the Gordon Matta-Clark collection at the Canadian Centre for Architecture (CCA) in Montreal. On occasion of the exhibition\, Printed Matter will realize two newly-created commissions from contemporary artists in dialogue with the legacy of Matta-Clark. \nNew Openings Against Old Surfaces is presented as part of Printed Matter’s 50th Anniversary programming\, connecting the artist’s experimentation in book form to the radical milieu that characterized the time of PM’s founding—and with contemporary artists’ practice today. \nPublished by Buffalo Press in 1973\, Walls Paper gathers and abstracts a series of photographs by Matta-Clark depicting the crumbling interior walls of half-demolished tenement buildings across the South Bronx and Lower East Side. The images are reproduced in low-contrast black and white\, and overprinted with hazy neons that likely referenced the patchwork of exposed wallpapering he encountered. The publication—Matta-Clark’s most formally inventive and arguably his one true artists’ book—features newsprint pages that have been bound together and horizontally bisected\, effectively creating two distinct booklets in one. Produced at a time of political upheaval and artistic awakening\, Walls Paper shares the structural and conceptual daring of the early architectural interventions that Matta-Clark performed in response to the dire conditions of economic crisis\, systemic neglect\, and widespread urban decay of New York City in the early 1970s. \nhttps://www.printedmatter.org/programs/events/2276
URL:https://jamesmaherphotography.com/event/new-openings-against-old-surfaces-on-gordon-matta-clarks-walls-paper/
LOCATION:Printed Matter\, 231 11th Ave\, New York\, NY\, 10001\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/matta-clark-walls-paper-printed-matter.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: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: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: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: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:20260916
DTEND;VALUE=DATE:20261112
DTSTAMP:20260906T163850Z
CREATED:20260906T163850Z
LAST-MODIFIED:20260906T163850Z
UID:10000164-1789516800-1794441599@jamesmaherphotography.com
SUMMARY:Milk Teeth: Allie Tsubota
DESCRIPTION:Milk Teeth takes as its starting point a photograph made in 1870 depicting 75 Chinese boys and young men who were trafficked from California to North Adams\, Massachusetts\, to work as strikebreakers against French Canadian workers. Confined to the factory site under carceral conditions\, they remained in North Adams during the decade preceding the Chinese Exclusion Act of 1882. Using archival and original photographs\, sculptural works\, and an extended fictional text\, Tsubota traces the interconnected histories of race\, immigration\, labor\, extraction\, and photography. \nhttps://www.baxterst.org/all-exhibitions/?schedule=upcoming
URL:https://jamesmaherphotography.com/event/milk-teeth-allie-tsubota/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/milk-teeth-allie-tsubota-baxter-st.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260916
DTEND;VALUE=DATE:20261112
DTSTAMP:20260906T164142Z
CREATED:20260906T164142Z
LAST-MODIFIED:20260906T164142Z
UID:10000165-1789516800-1794441599@jamesmaherphotography.com
SUMMARY:Where To\, From Here: Azikiwe Mohammed
DESCRIPTION:Where To\, From Here brings together 140 photographs drawn from an ongoing series begun in 2023\, which now comprises approximately 280 images. Made primarily with Polaroid film\, the photographs trace Mohammed’s travels across the United States\, documenting people\, places\, and sites of gathering along the way. \nhttps://www.baxterst.org/all-exhibitions/?schedule=upcoming
URL:https://jamesmaherphotography.com/event/where-to-from-here-azikiwe-mohammed/
LOCATION:Baxter St (Camera Club of New York)\, 154 Ludlow Street\, New York\, NY\, 10002\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/where-to-from-here-azikiwe-mohammed.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260917
DTEND;VALUE=DATE:20261108
DTSTAMP:20260906T155220Z
CREATED:20260906T155220Z
LAST-MODIFIED:20260906T155220Z
UID:10000156-1789603200-1794095999@jamesmaherphotography.com
SUMMARY:Sarah Sense: Land\, Line\, Blood\, Memory
DESCRIPTION:Bruce Silverstein Gallery is pleased to announce Land\, Line\, Blood\, Memory\, the gallery’s third solo exhibition of work by Chitimacha/Choctaw artist Sarah Sense (b. 1980)\, who for more than two decades\, has been a defining voice in contemporary photography. Comprising of more than twenty new photo-weavings made from the artist’s contemporary landscape photographs\, archival documents\, historical images\, maps\, printed bamboo and rice papers\, cotton thread\, ribbon\, and hand-prepared rivercane\, the exhibition considers the relationship between Indigenous people and ancestral land and the systems of representation\, ownership\, and erasure that have attempted to sever that connection. \nSense’s practice is grounded equally in inherited knowledge and original research. Her grandmother\, Chile Blanche Stouff\, kept a collection of family baskets that gave Sense her first love of the form\, while summers in her grandfather’s Chitimacha community in Louisiana rooted her in the culture that made them. With the blessing of the Chairman of the Chitimacha Tribe\, Sense began developing her variation of traditional basketry methods while earning her MFA at Parsons the New School for Design. A curator\, writer\, and researcher as well as an artist\, she held a British Library Eccles Centre Fellowship from 2019 to 2022 and is the author of Weaving the Americas. The maps\, records\, and images in her work are primary sources she located through this research\, transforming them into dynamic and beautiful works of art. \nHer latest series\, Land\, Line\, Blood\, Memory\, provides a framework for the intertwined histories embedded throughout the work.  In Sense’s Artist Statement she writes\, “Land\, Line\, Blood\, Memory is about connecting to ancestry through basket weaving and generational healing. Woven photographs intertwine images of land that hold memory\, baskets that hold\, ancestry\, historical photography that tell stories\, and maps that draw lines.” (For the full Statement\, click here.) \nhttps://brucesilverstein.com/exhibitions/241-sarah-sense-land-line-blood-memory/overview/
URL:https://jamesmaherphotography.com/event/sarah-sense-land-line-blood-memory/
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/2026/09/sarah-sense-land-line-blood-memory.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: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: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:20270319
DTSTAMP:20260618T151013Z
CREATED:20260618T143828Z
LAST-MODIFIED:20260618T151013Z
UID:10000138-1789689600-1805414399@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:20260920
DTEND;VALUE=DATE:20270503
DTSTAMP:20260812T170027Z
CREATED:20260812T170027Z
LAST-MODIFIED:20260812T170027Z
UID:10000150-1789862400-1809302399@jamesmaherphotography.com
SUMMARY:Taking Back Our Space: Photographic Perspectives
DESCRIPTION:In 1972\, the West German artist Marianne Wex began a visual survey of gendered body language. She picked up her camera and covertly photographed people in her hometown of Hamburg\, observing how men and women were socialized to inhabit space differently. She also rephotographed pictures from advertisements\, newspapers\, magazines\, film\, television\, and art catalogues\, pasting the images onto boards organized into categories like “standing arms\,” “sitting legs\,” “lying down\,” and “possessive holds.” For Wex\, “these mostly unconscious actions” were “essential parts of our communication.” \nPresenting a robust selection\, the exhibition also brings Wex’s watershed feminist project into dialogue with contemporary artists Nona Faustine\, Martine Gutierrez\, K8 Hardy\, Yuki Kihara\, Joiri Minaya\, Paulina Olowska\, and Wendy Red Star. These contemporary practitioners reappraise the relationship of bodies to public space from Black\, queer\, and 21st-century feminist perspectives. In this context\, the notion of “taking back space” resonates as a reclamation of physical territory\, historical narratives\, and the ability to represent oneself. \nhttps://www.moma.org/calendar/exhibitions/5678
URL:https://jamesmaherphotography.com/event/taking-back-our-space-photographic-perspectives/
LOCATION:Museum of Modern Art\, 11 W 53rd St\, New York\, NY\, 10019\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/08/taking-back-our-space-moma.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: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:20261015
DTEND;VALUE=DATE:20270105
DTSTAMP:20260812T170024Z
CREATED:20260812T170024Z
LAST-MODIFIED:20260812T170024Z
UID:10000149-1792022400-1799107199@jamesmaherphotography.com
SUMMARY:Laia Abril: On Rape and Institutional Failure
DESCRIPTION:In On Rape and Institutional Failure\, an exhibition centered on the second chapter of her ongoing project A History of Misogyny\, Laia Abril examines different forms of violence against women throughout history. \nWeaving together images\, compiled testimonies\, archival materials\, select objects\, and installations with sound and video\, the exhibition investigates how gender-based stereotypes\, coupled with worldwide prejudices and misconceptions\, have contributed to a systemic rape culture that persists today. \nBy focusing on institutions\, Abril aims to avoid narratives of victim-blaming\, instead addressing the on-going problem of social accountability that has allowed offenders and enablers alike to avoid justice. On Rape and Institutional Failure was first exhibited in 2020 in the wake of the initial\, galvanizing allegations against Harvey Weinstein and other powerful men. While #MeToo has led to few sustained consequences and little systemic change\, Abril offers a meaningful opportunity to address the long history of silencing victims and the transgenerational trauma that has developed as a result. \nhttps://www.icp.org/exhibitions/laia-abril-rape-and-institutional-failure
URL:https://jamesmaherphotography.com/event/laia-abril-on-rape-and-institutional-failure/
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/2026/08/laia-abril-on-rape-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261015
DTEND;VALUE=DATE:20270112
DTSTAMP:20260812T170020Z
CREATED:20260812T170020Z
LAST-MODIFIED:20260812T170020Z
UID:10000148-1792022400-1799711999@jamesmaherphotography.com
SUMMARY:I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now
DESCRIPTION:I’m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now reconsiders and expands on the history of Japanese photography through the work twenty-eight intergenerational artists from the 1950s to today. Presented in partnership with Aperture and curated by Pauline Vermare\, Lesley A. Martin\, and Takeuchi Mariko\, the exhibition includes work Fujioka Aya\, Hara Mikiko\, Hiromix\, Ishikawa Mao\, Ishiuchi Miyako\, Katayama Mari\, Kawauchi Rinko\, Komatsu Hiroko\, Kon Michiko\, Nagashima Yurie\, Narahashi Asako\, Ninagawa Mika\, Nishimura Tamiko\, Noguchi Rika\, Nomura Sakiko\, Okabe Momo\, Okanoue Toshiko\, Onodera Yuki\, Sawada Tomoko\, Shiga Lieko\, Sugiura Kunié\, Suzuki Nozomi\, Tawada Yuki\, Tokiwa Toyoko\, Ushioda Tokuko\, Watanabe Hitomi\, Yamazawa Eiko and Yanagi Miwa. \nSpanning photography\, installation\, photobooks\, and printed matter\, the exhibition explores the experiences and perspectives of women in Japan through delicate and blunt observations of everyday life\, critical reflections on the roles inhabited and reshaped by Japanese women\, and approaches that push the boundaries of photography. The exhibition is accompanied by a major publication (Aperture\, 2024) that expands upon content of the show through essays\, historical material\, and a comprehensive bibliography of photobooks made by Japanese women. \nhttps://www.icp.org/exhibitions/im-so-happy-you-are-here-japanese-women-photographers-1950s-now
URL:https://jamesmaherphotography.com/event/im-so-happy-you-are-here-japanese-women-photographers-from-the-1950s-to-now/
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/2026/08/im-so-happy-japanese-women-photographers-icp.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261106
DTEND;VALUE=DATE:20270315
DTSTAMP:20260906T162518Z
CREATED:20260906T162518Z
LAST-MODIFIED:20260906T162518Z
UID:10000161-1793923200-1805068799@jamesmaherphotography.com
SUMMARY:PROPS: Eikoh Hosoe and Jason Wee
DESCRIPTION:Curated by Yasufumi Nakamori. \nhttps://leslielohman.org/exhibitions/props-two-works-with-jason-wee-and-eikoh-hosoe
URL:https://jamesmaherphotography.com/event/props-eikoh-hosoe-and-jason-wee/
LOCATION:Leslie-Lohman Museum of Art\, 26 Wooster St\, New York\, NY\, 10013\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/09/props-hosoe-wee-leslie-lohman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20261125
DTEND;VALUE=DATE:20270426
DTSTAMP:20260310T011549Z
CREATED:20260310T011549Z
LAST-MODIFIED:20260310T011549Z
UID:10000126-1795564800-1808697599@jamesmaherphotography.com
SUMMARY:New York Now: After Dark
DESCRIPTION:Opening to the public on November 20\, 2026\, New York Now: After Dark is the next iteration of the Museum’s acclaimed triennial series. This edition will explore the vibrant and multifaceted nightlife of New York City through the lens of contemporary photography\, delving into what nightfall means to New Yorkers across the five boroughs. \nOnce the sun sets\, the city transforms into a realm of possibility\, mystery\, and freedom—where inhibitions fade and ambitions expand. For some\, nighttime is defined by work and commerce; for others\, it offers opportunities for leisure\, entertainment\, and social connection. These contrasting worlds intersect to create the distinctive\, electric energy that defines New York City after dark. \nAbout the Triennial \nIn 2023\, the Museum launched the Photography Triennial\, a bold and forward-looking initiative dedicated to showcasing the best of contemporary photography. The Triennial amplifies the voices of photographers who are capturing the vibrancy and complexity of New York today—its people\, streetscapes\, cultures\, and contradictions.  \nAbout the Museum’s Photography Collection \nThe Museum of the City of New York’s photography collection is a cornerstone of our mission to document and celebrate the dynamic story of New York City. Spanning from 1840 to the present day\, the collection is housed in a state-of-the-art facility and serves as an unparalleled visual record of the city’s transformation across nearly two centuries.  \nhttps://www.mcny.org/exhibition/new-york-now-after-dark
URL:https://jamesmaherphotography.com/event/new-york-now-after-dark/
LOCATION:Museum of the City of New York\, 1220 5th Avenue\, New York\, NY\, 10029\, United States
ATTACH;FMTTYPE=image/jpeg:https://jamesmaherphotography.com/wp-content/uploads/2026/03/MCNY.jpg
END:VEVENT
END:VCALENDAR